Encased in a classy sleeve painted by Scottish playwright John "Patrick" Byrne, the first LP from the tumultuous Stealers Wheel is a debonair affair comprised of the kind of accomplished and polished pub pop for which impetus Gerry Rafferty would become known as he subsequently rode out the decade on the sublime radio single "Baker Street ." Rafferty released his first solo slab, Can I Have My Money Back? (the title already showing signs of unrest) in 1971, and brought amigo Joe Egan from those sessions to the princely proceeding here. Worthy musical moments abound, all forever overshadowed by the clever corporate-snub "Stuck in the Middle With You" which branded the duo a one-hit wonder when the track took on a life of its own…
After the righteous anger and occasional despair of the socially motivated Innervisions, Stevie Wonder returned with a relationship record: Fulfillingness' First Finale. The cover pictures his life as an enormous wheel, part of which he's looking ahead to and part of which he's already completed (the latter with accompanying images of Little Stevie, JFK and MLK, the Motor Town Revue bus, a child with balloons, his familiar Taurus logo, and multiple Grammy awards)…
Ray Benson's Asleep At The Wheel deserve admiration for keeping alive the sounds of western swing, but with a rhythm section that's usually straight-up-and-down stiff, The Wheel's recordings mainly just leave you craving their inspirations. The 18-song Tribute overcomes this problem by loading up on singers who do their best to swing even when the band doesn't. George Strait, doing "Big Balls In Cowtown," is a natural, of course, as are the offerings from Willie Nelson, Merle Haggard, Lyle Lovett and Dolly Parton. Even Garth Brooks' go at "Deep Water," who mimics Strait to perfection here, is a pleasant surprise.
Fan Made Release - Not For Sale! Vinyl Transfers by Prof Stoned & Luke Pacholski. Released in July 1969, Great White Wonder was pressed and distributed by two Los Angeles-based, fringe-of-record-business hustlers, Dub Taylor and Ken Douglas, who went on to become the biggest players in the bootleg market. The album set a high quality-benchmark: great music, good audio. Like almost all bootlegs of the early 1970s, it came in a white cardboard sleeve with a rubber-stamped title but no artist name.