Pas Koji je Voleo Vozove The Dog That Liked Trains (1977)

Esoteric Recordings are pleased to announce the release the classic album by Birmingham outfit The Dog That Bit People. Issued by Parlophone in 1971, it was the only album by the group that had evolved from the ashes of legendary band Locomotive by Bass player Mick Hincks and drummer Bob Lamb. Joined by keyboard player Keith Millar and guitarist John Caswell, the group recorded this album in 1970. This Esoteric Recordings reissue has been remastered from the original master tapes and includes the rare B-side of the band s only single as a bonus track.

Though they came out of the same East L.A. scene as Los Lobos and El Chicano, the Delgado Brothers – frontman Joe, bassist Bob, and drummer Steve with keyboard player Billy Steinway – forsake Hispanic inspiration for the most part, relying instead on blues/R&B and sweet vocal harmonies. Signed to the Hightone label, the group worked with producers Bruce Bromberg and Dennis Walker (Robert Cray), and released The Delgado Brothers in 1987. After laying low in the first part of the '90s, the Delgado Brothers re-formed at the urging of John "Juke" Logan. Percussionist Ray Solis was added to round out their Latin beat and R&B mix. "Let's Get Back" on the Mocombo label brought the Delgados back to the fold, where they continue to play up and down the West Coast.

Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss' operetta Die Fledermaus did this in Vienna in the 1870s; Jerome Kern's Show Boat did it for Broadway musicals of the 1920s; and the Beatles' Sgt. Pepper's Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s. Saturday Night Fever, although hardly as prodigious an artistic achievement as those precursors, was precisely that kind of musical phenomenon for the second half of the '70s – ironically, at the time before its release, the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to black culture and the gay underground in America…

Michael Chapman's The Man Who Hated Mornings might be seen as comparable to Eric Clapton's Slowhand release of the same year, and the presence of guitarist Mick Ronson (reunited with Chapman after six years spent elsewhere) does ensure that the frets get a fair workout as the album goes on. The comparison, however, has more in common with the mood of the record than any virtuoso concerns – it is Chapman at his most laid-back, and only occasionally stirring himself into first gear. A cover of Dylan's "Ballad in Plain D" is a triumphant highlight, seguing into Chapmans own "Steel Bonnets" instrumental to emerge a shoo-in for any "best-of" Chapman anthology.