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(2000/RPM) 15 tracks – 6 panel color fold-out.  – The original Album was released in 1969 and issued in the US only and then quickly withdrawn. This release is remastered and includes 2 other songs recorded during that weekend in April 1969 plus alternate takes recorded on different nights. …

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(2000/RPM) 15 tracks – 6 panel color fold-out.  – The original Album was released in 1969 and issued in the US only and then quickly withdrawn. This release is remastered and includes 2 other songs recorded during that weekend in April 1969 plus alternate takes recorded on different nights.  – The little lady with the big voice is captured here at the legendary PJ’s Club in 1969.The original album release on Liberty consisted of only 8 tracks, was issued in the US only, and coupled with some studio material on side two, then quickly withdrawn. RPM present the LIVE half of the album, released for the first time in Europe, and reissued for the first time anywhere, now digitally remastered and enhanced by the reinstatement of the two other songs recorded across that weekend in April ’69. Bonus tracks have also been added in the form of alternate takes recorded on different nights, of three of the songs, all recently mixed down from the original 1′ mutli-track masters. The sound is very soulful, Timi is backed by a tight Stax sounding house band, and she performs wills her customary passions. ALL TRACKS RECORDED LIVE AT THE PJ’S CLUB, APRIL 1969 BY 1969 TIMI YURO was at a professional crossroads, hitless in over four years and unsure which musical direction to pursue. Furthermore, she was by now also at something of a personal crossroads, shortly about to get married and enter into a period of semi-retirement. And yet with all this as a backdrop she went out and cut one of the most powerful LP’s of her career – although ironically, the album was destined to remain unissued for over thirty years (this actually represents its first ‚full‘ release). The previous year, following a three-year spell with Mercury Records which had proved both commercially and artistically disappointing, she’d returned to Liberty Records in a bid to get her recording career back on track. But although they’d been desperately keen to re-sign Timi, Liberty had no more idea what to do with her than they’d had four years earlier – which was essentially why she’d left them the first time around. Her 1968 LP Something Bad On My Mind (which span off a much-vaunted UK Northern Soul collectors‘ item, a fine revival of Baby Washington’s It’ll Never Be Over For Me) had presented an entirely new, up-to-date Timi Yuro -she even looked totally different, what with her Mary Quant hairjob and boyish fringe. But despite encouraging reviews, Something Bad… bad done considerably better in the UK and Europe than it had in the US – and yet ironically, it had been a superb set, arguably Timi’s strongest album, wholly contemporaneous at the time of its release, evincing a wholly Soulful feel which many of her earlier albums had failed to achieve. But oddly enough, despite Trini’s spectacular singalong successes few other artists had recorded there since, which might go some way towards explaining why Timi’s Live album was fraught with technical problems. For when we asked Timi about the project she was largely dismissive of it, commenting that ultimately, she’d been glad the record company had cancelled its release. She recalled that the LP had been recorded in less than ideal conditions, using what she described as ‚inferior‘ recording equipment – in particular, she felt that the gig had been poorly mic’d – and they’d suffered endless technical hitches. There had been a major equipment failure on the first night, which was repeated when they tried to ’save‘ the project the following night using different recording equipment. And to top it all off, she’d not worked with the PJ’s house band previously. i in the beginning Subsequently, in an endeavour to present Timi in an even more contemporary context, Liberty decided that she should record a Live album. It seems the thinking behind this was that it would cover all bases: it would demonstrate her ease with finger-clicking supper-club material, thus appealing to the MOR audience, ditto Soul material, which with she’d always evinced a strong affinity, and it would also feature a couple of her old hits, as a nod to her long-term fans. Nonetheless in the final analysis three nights were recorded, and after hours of editing and mixing, the following tracklisting eventually emerged:A Place In The Sun, For Once In My Lie/Stand By Your Man, Make The World Go Away, Loving You/Something’s Wrong With My Baby, Bang Bang, What’s A Matter Baby/Why Am I Treated So Bad, A Place In The Sun. However, although it was mastered, allocated a catalogue number (Liberty LST 7627) and scheduled for release (August ’69), Timi Yuro Live At PJ’s was withdrawn at the last minute (NB: around half the tracks would later appear on …
Timi Yuro
RPM

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