Although a fourth Aynsley Dunbar Retaliation album (Remains to Be Heard) would be cobbled together from outtakes and recordings done without Dunbar, their third LP, To Mum, From Aynsley and the Boys, was truly the final proper full-length release by the original group. Dunbar had expressed some interest in moving further afield from the blues-rock format around the time the record was done, and the addition of keyboardist Tommy Eyre (from the Grease Band) to the lineup was one step in that direction. The enlistment of John Mayall as producer was perhaps another step in attempting to refine their sound. Still, much of To Mum, From Aynsley and the Boys is pretty standard late-'60s British blues-rock, in line with the previous two albums by the band. Eyre does inject some of the arrangements with a jazzy, more R&B feel, particularly on "Leaving Right Away" and the instrumental "Unheard," the latter of which sounds like a rock band trying to do modern jazz and finding themselves a bit out of their depth.
The eighth and ninth studio albums (there was a live recording between them) from the Atlanta Rhythm Section got a belated U.K. CD release in 2010. These closed out the act's affiliation with Polydor Records and are condensed onto a single CD here, as well as digitally remastered. It's another in the classy series of ARS reissues from BGO, which has treated the Southern pop act's catalog with utmost respect on four previous discs that bring the group's original albums back in print for collectors and music fans who want more than the 17 hits on Polydor's well-chosen 1982 vintage Best Of. Liner notes from Campbell Devine tend to be fawning but include a comprehensive history of the band, recounting its story leading up to and even after the recording of these tunes. Musically, ARS captured a unique style halfway between the smooth West Coast pop of the late '70s and the Southern rock of the era.
One of the Boys is the third studio solo album by the Who's lead vocalist, Roger Daltrey. It was first released in 1977, on Polydor in the UK, and MCA in the US. The sessions were recorded at the Who's Ramport Studios during the winter of 1976 (vocals were recorded at Pathe Marconi Studios in Paris, due to tax complications), and Daltrey allowed students from the local Battersea technical school to film them as an educational project. This also marked the first time that Daltrey had written or co-written a song since "Here For More" (released as the B-side of the Who's "The Seeker") in 1970, and Lisztomania in 1975. Daltrey's original choice for producers were Jerry Leiber and Mike Stoller, but they declined.
The Aynsley Dunbar Retaliation's third and fourth (and final pair of) albums, To Mum, from Aynsley and the Boys and Remains to Be Heard, are combined into this two-CD reissue, which adds lengthy historical liner notes by British blues-rock expert Harry Shapiro. Although Remains to Be Heard would be cobbled together from outtakes and recordings done without Dunbar, their third LP, To Mum, from Aynsley and the Boys, was truly the final proper full-length release by the original group. Dunbar had expressed some interest in moving further afield from the blues-rock format around the time the record was done, and the addition of keyboardist Tommy Eyre (from the Grease Band) to the lineup was one step in that direction.
Recorded during Thin Lizzy's first Australian tour in 1978 (at a huge festival), Boys Are Back In Town was released for the first time in America through Rhino nearly 20 years after the actual concert (it was available as a Japanese import for years). The tour featured the Black Rose line-up of Lizzy - singer/bassist Phil Lynott, plus guitarists Scott Gorham and Gary Moore - but regular drummer Brian Downey was replaced by session-man Mark Nauseef for the shows (Downey remained behind to sort out 'personal problems' and would later re-join). Despite the sudden disappearance of a founding member, this brief line-up was still able to create the expected excitement of a Lizzy show…