"C.C.S" by C.C.S [1st Album from 1970] (2009 Repertoire 'Expanded' CD Remaster Of Their 1st Album on RAK Records From 1970) - A Review by Mark Barry...

"…Spin Your Threads….Spider Of Forgetfulness…"

C.C.S. (short for COLLECTIVE CONSCIOUSNESS SOCIETY) made 3 studio albums and 7 singles for Mickie Most's RAK Records in the early Seventies, before the band finally split up in late 1973.  This fantastically clear-sounding Repertoire CD is the first of those three - their self-titled debut album remastered and supplemented with four relevant bonus tracks. The Digipak on this 'Expanded Edition' Reissue/Remaster CD mimics the album's original laminate gatefold artwork (a nice touch) and has an 8-page booklet with a CHRIS WELCH essay on the LP and the band's history. Here's a 'whole lotta love'...

Released April 2000 (reissued June 2002) - "C.C.S." by C.C.S on Repertoire REP 4851 (Barcode 4009910485125) plays out as follows (54:34 minutes):

1. Boom Boom

2. (I Can't Get No) Satisfaction

3. Waiting Song

4. Looking For Fun

5. Whole Lotta Love

6. Living In The Past [Side 2]

7. Sunrise

8. Dos Cantos

9. Wade In The Water

Tracks 1 to 9 are the debut album "C.C.S." by C.C.S. - originally released October 1970 on Rak Records SRAK 6751 in the UK and issued later as "Whole Lotta Love" in the USA on Rak 30559 in April 1971

BONUS TRACKS (Non-Album Singles):

10. Walking

11. Salome

Tracks 10 and 11 UK issued February 1971 on RAK Records RAK 109 as a stand-alone 7" single. "Walking" is a DONOVAN cover version while "Salome" is a John Cameron and Alexis Korner original.

12. Tap Turns On The Water

13. Save The World

Tracks 12 and 13 UK issued August 1971 on RAK Records RAK 119 as a stand-alone 7" single. Both songs are Korner/Cameron originals.

The huge ensemble group was the brain-child of British Blues Boom Godfather ALEXIS KORNER who along with Danish singer PETER THORUP and British arranger JOHN CAMERON pulled together the cream of brass/flute-playing session-men of the time and went after the BLOOD, SWEAT & TEARS market for funked-up rock. Mickie Most's timing couldn't have been better. Deciding right from the start to include cover versions ala B, S & T, they did a fantastic brassed-up take on Led Zeppelin's "Whole Lotta Love" that not only complimented the original, but also defined that "CCS" sound. So when the new BBC pop program "Top Of The Pops" needed a cool new theme song, they took this winner, dropped the flute intro and the vocal middle and end - and a theme song legend was born. Even now, I can remember vividly as a budding teenager watching Top Of The Pops on a Thursday night (for what seemed literally like years) and when that theme came on, a rush went through your veins! I dare say that experience was repeated all across the land and it's probably one of the reasons why CCS is held in such affection to this day. "Whole Lotta Love" came before "Walking" as their 1st 7" single issued in October 1970 on RAK 104 with their cover of John Lee Hooker's "Boom Boom" on the B-side (both tracks are on the debut LP).

But the best bit is the SOUND. Repertoire re-issues are always good in my book, but this licensed-from-EMI remaster is exceptional. I'd expected wads of hiss, but the transfers are very clean - and given the amount of brass coming at you, muscular to a point where you have to sometimes reach for the volume control! Plus what also impresses is that there are a lot of quiet patches in between all the musical bluster in the songs and they sound lovely too - a really great job done.

Musically the album itself has been a treasure trove to me - the structure of the songs being complicated and therefore bear repeated listening and discovery. While I'm not overly mad about Thorup's vocals to be truthful, the gravel voice-over wonder that was Alexis Korner's larynx will always send a chill up my spine. A sadly, sadly missed man and God bless him wherever he may be. Their stabs at covers of Jethro Tull's "Living In The Past", The Stones' "Satisfaction" and John Lee Hooker's magical stop-start "Boom Boom" all impress - as does the swagger of the Traditional "Wade In The Water". Originals like "Waiting Song" "Lookin' For Fun" and "Sunrise" are superb too. But I've always loved "Dos Cantos" - an 8-minutes passage of pure C.C.S. melodrama and fun (lyrics from it title this review) - Korner's lyrics and menacing voice rattling around the speakers like some uncle you both love and don't trust!

When C.C.S folded, both Korner and Thorup teamed up with King Crimson's BOZ BURRELL and IAN WALLACE to form SNAPE who issued some albums in Europe. But my heart is with the fab C.C.S. on RAK Records. I’m biased of course because I've loved their albums since I was knee-high and I can say with certainty that this re-issue and its great remaster is superlative and highly recommended to those who love their Seventies Rock with a bit of balls and a sense of humour…

PS:

For those who want more, their second album from 1972 also called "C.C.S." on the original vinyl (CCS II for CD purposes) is also available in this series - as is their 3rd and last album from 1973, "The Best Band In The Land". I've bought the other two also - and remastered with bonus tracks - they're the business too. I've also extensively reviewed Esoteric Recordings "Tap Turns On The Water: The C.C.S. Story" 2CD Anthology from 2013 which has equally stupendous audio quality...

"His Band And The Street Choir" by VAN MORRISON (2015 Warner Brothers 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"...Nice Feel..." 

When Van Morrison’s entire Back Catalogue was promised to us on shiny new Expanded CD Remasters in 2008 and 2009 - lovers of Van The Man’s music will know two things – the last two batches were cancelled – and even then there were exceptions not available as Remasters no matter what – "Astral Weeks", "Moondance" and this – "His Band And The Street Choir".

Fans have had to wait nearly a decade for the legal wrangles to be sorted out – and at last in late October 2015 – we get the first two physical fruitions – 1968's magisterial "Astral Weeks" and 1970's more approachable "His Band And The Street Choir" - both reissued by Warner Brothers in Gatefold Card Sleeves on 'Expanded Edition' CD Remasters and both pitched at mid-price. Here are the Gypsy Queens...

UK and USA released Friday, 30 October 2015 – "His Band And The Street Choir" by VAN MORRISON on Warner Brothers 081227952303 (Barcode 081227952303) plays out as follows (61:42 minutes):

1. Domino

2. Crazy Face

3. Give Me A Kiss

4. I've Been Working

5. Call Me Up In Dreamland

6. I'll Be Your Lover, Too

7. Blue Money [Side 2]

8. Virgo Clowns

9. Gypsy Queen

10. Sweet Janine

11. If I Ever Needed Someone

12. Street Choir

Tracks 1 to 12 are the album "His Band And The Street Choir” – released November 1970 in the USA on Warner Brothers WS 1884 and December 1970 in the UK on Warner Brothers WS 1844 (re-issued in the UK in August 1971 on Warner Brothers K 46066). All songs are written and produced by VAN MORRISON.

BONUS TRACKS (Previously Unreleased):

13. Call Me Up In Dreamland (Take 10) – 4:14 minutes

14. Give Me A Kiss (Take 3) – 2:33 minutes

15. Gypsy Queen (Take 3) – 4:13 minutes

16. I've Been Working (Alternate Version) – 4:26 minutes

17. I'll Be Your Lover, Too (Alternate Version) - 4:14 minutes

Musicians:

VAN MORRISON – Vocals, Guitar, Harmonica and Tenor Saxophone on "Crazy Face" and "Call Me Up In Dreamland"

JOHN PLATANIA – Lead and Rhythm Guitars and Mandolin

JACK SCHROER – Alto, Baritone, Soprano saxophone and Piano

KEITH JOHNSON – Trumpet and Organ

ALAN HAND – Piano and Organ

JOHN KLINGBERG - Bass

DAHAUD ELIAS SHAAR – Drums, Percussion, Bass Clarinet and Backing Vocals

THE STREET CHOIR – Ellen Schroer, Martha Velez, Janet Planet, David Shaw, Andy Robinson and Larry Goldsmith

EMILY HOUSTON, JUDY CLAY and JACKIE VERDELL – backing Vocals on "If I Ever Needed Someone"

This 2015 CD Reissue comes in a gatefold card sleeve (gold sticker on the outer shrinkwrap) - textured like the matt original American vinyl album cover with the word 'Stereo' centred at the top and the 'Seven Arts' Warner Brothers logo design on the rear cover. The rear artwork is as per the US original but has cleverly been altered to allow for the 'Bonus Tracks' to be placed in the same typeface alongside the text without looking odd (the new CD label also reflects the original issue in colour). The inner gatefold reproduces Janet Planet’s liner notes to the left and the collage of musicians involved in making the album to the right.

The 12-page booklet continues the theme of Master Tape Boxes that "Astral Weeks" has and shows the 'E.Q. Copy' of Side 1 as its cover. The texture of the pages is similar to the superb "Moondance: Deluxe Edition" of 2013 - recycled and woody - and contains new liner notes called "Street Choir, Sing Me The Song For The New Day" by CORY FRYE - an American Newspaper Editor and noted Musicologist. STEVE WOOLARD has produced the Reissue and CHRIS BELLMAN has carried out the Remaster at BERNIE GRUNDMAN MASTERING (the outer gold sticker declares it to be 'First Time Remastered' – has worked with Neil Young, Carole King and Alanis Morissette and been Grammy nominated). Including five bonus tracks (all outtakes) – the total playing time of 61:42 minutes is reasonably generous too. But all of that tasty aesthetics is as nothing to the glorious Audio...

Having had the occasional track remastered across the last 30 years or so (Japanese SHM-CDs and "Best Of" compilations) – it comes as something of a sonic shock to finally hear the 'whole album' sparkle. Like "Astral Weeks" - this thing sounds fabulous – really wonderful. All the instruments resonate and feel alive – the analogue warmth is very much intact and the happiness of Van’s headspace flows out of the playing and the short jaunty songs. This is a properly sweet sounding CD Remaster (well done to all involved).

Coming after the one-two sucker punch of "Astral Weeks" in 1968 and the crowd-pleasing chart-placing "Moondance" in early 1970 – November 1970's "His Band And The Street Choir" was bound to disappoint a tad and has therefore always had a 6 out of 10 rating amongst music historians. But for me this stunning new Audio Remaster and the genuinely useful/complimentary extras warrants a more appropriate 9 in the hindsight of 2015. Similar to the 2015 Expanded Remaster of "Astral Weeks" - there are hiss traces on "Crazy Face" and "I'll be Your Lover, Too" for sure - and I’m glad of that. None of the tracks sound compressed or dulled or tampered with for the sake of modern cleanliness - it's a careful transfer – yet alive - with the air circulating around the music.

The impact of this Remaster is absolutely immediate. The opening 15 seconds of "Domino" is just sensational – the band and the song cooking like never before. In December 1970 Warner Brothers USA and UK tried it as a 45 on WB 7434 with "Sweet Jannie" on the flipside and were rewarded with a No. 9 chart placing in the American charts (the album hit No. 32). "Crazy Face" has hiss at the outset but settles down and that warbling Van Morrison Saxophone solo sounds amazing. The jaunty pop of "Give Me A Kiss" is so pretty (the title for this review comes from the studio patter at the song's end) - but if I was to single out one song that shows just how good the transfer is - it would be the Soulful Acoustic Funk of "It's Been Working". Seems like I’ve been waiting 40 years (grinding so long) to hear this wicked little groover sound 'this good' - the clarity when he goes into that "...woman, woman, woman..." chant with the saxophones following is awesome. "Call Me Up In Dreamland" sounds just as good too and feels like a Moondance companion piece. But again the Audio on the Side 1 finisher "I'll Be Your Lover, Too" will knock fans sideways. As already mentioned it has hiss as the drummer soft-shoe-shuffles on the highhats – but those Acoustic flourishes and the sheer devotion of his Soulful vocal is why his singing sends chills up the spine. It's exquisite music as Frye quite rightly states in his excellent liner notes.

Side 2 opens with the fairly throwaway "Blue Money" – a poppy ditty that never really ignites for some reason. Far better is the beautifully produced "Virgo Clowns" – one of the album's true hidden nuggets where John Plantania's Mandolin playing compliments a simple and gorgeous acoustic guitar melody as Van sings "...let your laughter fill the room..." Just as pretty is "Gypsy Queen" while the B-side "Sweet Jannie" was another 'make everything alright' hit in the making. His spirituality and personal needs come pouring out of "If I Ever Needed Someone" where he implores (not for the first time) for 'someone to see me through'. He returns to Gospel for the album's lovely finisher "Street Choir" – the organ and ladies voices giving it a churchy feel (beautiful audio too).

The Bonus Material features five outtakes/alternate versions and for me makes this reissue a solid sender. A funky Bass run provides the lead in for Take 10 of "Call Me Up In Dreamland" offset against a faint girly chant in the background. Take 3 of "Give Me A Kiss" is beautifully recorded and has the joy quotient down pat – but Take 1, 2 and 3 of "Gypsy Queen" will thrill fans. It has witty 'spaceman' dialogue (in a Belfast accent) before Van finally gets all falsetto on the vocals and the band play a blinder –and although you can hear why the vocals got away from him - this is great stuff. But my crave is one of the final bonuses – "I've Been Working" – a track that turned up in long variants on the "Moondance" Deluxe and Super Deluxe Editions and goes back to the "Astral Weeks" period. This 'Alternate Version' is just as Funky as the shorter 3:26 minute album cut - but with more prominence given to the Organ and Saxophone solo. I love this and I suspect Mods will be spreading the Talcum Powder on this 4:26 minute extended winner...

Like "Astral Weeks" - it has taken nearly fifty bleeding years to show this forgotten Van Morrison album some proper respect – and when fans clap ears on this remaster – they’ll let out a sigh of relief that WB finally got it right.

"...Rescue you from the pain...see you smile again..." – Van The Man sings on "Virgo Clowns". Amen to that...

This review and hundreds more like it can be found in my SOUNDS GOOD Music Book Series - CLASSIC 1970's ROCK - Exceptional CD Remasters is available to buy/download at Amazon at the following link...

"Stone The Crows/Ode To John Law" by STONE THE CROWS [featuring James Dewar and Maggie Bell] (2015 Angel Air 2CD Remasters) - A Review by Mark Barry...

"...The Blind Man Stood On The Road And He Cried..."

Fronted by not one but two stunning Vocalists in Maggie Bell and James Dewar – Scotland's STONE THE CROWS also boasted the guitar talents of Leslie "Les" Harvey (younger brother of Alex Harvey) and the songwriting genius of Keyboardist John McGinnis. I’ve been after their wicked run of four albums on Polydor between 1970 and 1972 on affordable decent CDs for years now – and at long last Angel Air of the UK (and in conjunction with the band) have acquired the tapes and remastered all four back into digital form – and even found space to chuck on four bonus tracks.

This first 2CD reissue gives you their "Stone The Crows" debut and 2nd LP "Ode To John Law" – the 3rd and 4th albums "Teenage Licks" and "'Ontinuous Performance" arrive in October 2015 on another expanded 2CD set (Angel Air SJPCD468). Here are the pious birds of good omen (they’re stoned and all)...

UK released Friday 4 September 2015 – "Stone The Crows/Ode To John Law" on Angel Air SJPCD463 (Barcode 5055011704633) gives us their first two studio albums onto a 2CD set with four bonus tracks and plays out as follows:

Disc 1 (61:31 minutes):

1. The Touch Of Your Loving Hand

2. Raining In Your Heart

3. Blind Man

4. A Fool On The Hill

5. I Saw America [Side 2]

Tracks 1 to 5 are their debut LP "Stone The Crows" – released July 1970 in the UK on Polydor Super 2425 017 and in the USA on Polydor 24-4019

BONUS TRACKS:

6. Freedom Road (Live)

7. Hollis Brown (Live)

Tracks 6 and 7 are from the "Radio Sessions: 1969-72" – released May 2009 as a 2CD Stone The Crows set on Angel Air SJPCD272

Disc 2 (52:03 minutes):

1. Sad Mary

2. Friend

3. Love 74

4. Mads Dogs And Englishmen [Side 2]

5. Things Are Getting Better

6. Ode To John Law

7. Danger Zone

Tracks 1 to 7 are their 2nd studio album "Ode To John Law" – released February 1971 in the UK on Polydor Super 2425 042 (no USA release)

BONUS TRACKS:

8. The Touch Of Your Loving Hand (Live)

9. Raining in Your Heart (Live)

Tracks 6 and 7 are from the "Radio Sessions: 1969-72" – released May 2009 as a 2CD Stone The Crows set on Angel Air SJPCD272

STONE THE CROWS was:

MAGGIE BELL – Lead Vocals

JAMES DEWAR – Lead Vocals and Bass

LESLEY HARVEY – Guitars

JOHN McGINNIS – Keyboards

COLIN ALLEN – Drums and Percussion

Although the 8-page inlay has new liner notes from Malcolm Dome and includes interviews with Maggie Bell and Colin Allen as well as a few photos – it's a disappointingly slight affair that doesn’t even bother to provide catalogue numbers for the LPs. What you do get is a potted history of the Scottish band arising out of the ashes of The Power who were managed by Zeppelin's Peter Grant. Grant had them change their name because an American group had already nabbed it – and it was he who suggested the much cooler moniker of STONE THE CROWS. A nice touch is that each CD is a picture disc of the album front covers - but the inner gatefold artwork in both cases is missing. There is no mention of who remastered the albums but there is a credit that the material is licenced from Maggie Bell and Colin Allen. The audio is a mixed bag of brilliant clarity one moment followed by awful hiss the next (thankfully the later is more in ascendancy).

The bluesy opening track "The Touch Of Your Loving Hand" (written by Bell and Dewar) is covered in dreadful hiss - which is devastating because it's a stunning six-minute keyboard-lead Soulful Blues song highlighting the magnificent set of pipes on both Dewar and Bell. It even features a sweet guitar solo from Harvey. The Fusion of the Harvey/Dewar composition "Raining In Your Heart" comes at you like Brian Auger meets the Latin rhythms of Santana – it’s brilliant and sounds a lot better than the opener. But then you're hit with an absolute stunner – the 5:12 minutes of "Blind Man" – a Josh White cover version doing entirely in Acoustic Blues. Les Harvey rattles those steel strings while zipping up and down the fretboard in impressive runs. But then Maggie Bells comes at you with 'that voice' – and its Janis Joplin look out baby – there's a new queen in town. It's a stunning Bluesy vocal – the kind of thing that makes the hairs on the back on your neck stand up. They finish Side 1 with a sort of Joe Cocker version of "A Fool On The Hill" – giving The Beatles classic a piano-lead rendition that brings out a sweet Soul in the song.

Side 2 is taken up with one piece – the 17:21 minutes of "I Saw America" - written by Leslie Harvey, Colin Allen and the album's Producer Mark London. It opens with almost Buddy Holly acoustic guitars and then builds Yes-like into a keyboard flourish which is brilliant. At about three minutes it calms down into a slow melody with soft guitars, Maggie's vocals and organ – then back into Genesis territory circa "Nursery Cryme" – back into Blues Rock - onto more Jazz - returns to Prog. And then James "Jimmy" Dewar sails in as Vocalist - what a blast it is...

Maggie Bell's "Freedom Road" (10:32 minutes) and Dylan's "Hollis Brown" (13:05 minutes) are the lengthy 'Live' bonus tracks. Although it doesn't advise where they were recorded – there's no audience response so I'm presuming their BBC recordings. The audio is good – the playing great – and both feel like smartly chosen sonic companions to the album cuts. The dynamic vocal duo of Bell and Dewar rock it out on "Freedom Road" with Harvey tearing up the guitar – but the unwieldy "Hollis Brown" overstays it rumbling welcome.

The second LP opens with a Rocker – "Sad Mary" penned by Keyboardist John McGinnis. It was used as a B-side to the band's first UK 7" single with "Mad Dogs And Englishmen" on the A (Polydor 2066 060, released early 1971). It riffs along in fine form (couple of Zeppelin I touches in there) – but at about 5:25 there's terrible surface noise. That same worn tape background afflicts the beginning of "Friend" until the brilliant keyboard funk kicks in – thereafter the audio is wonderful (bass, drums and vocals). Another keyboard bum-wiggling winner from the pen of John McGinnis is "Love 74" (wrongly credited on the CD sleeve as just "Love"). It ends Side 1 – again the band sounding like a Funk-Rock outfit with American Soulfulness at its AWB core.

Written by Colin Allen and Leslie Harvey – the upbeat "Mad Dogs And Englishmen" is an obvious single – structurally sounding not unlike Dave Mason's “Feeling Alright” as done by Joe Cocker on his "Joe Cocker!" album from early 1970 (see separate review). And again Maggie's vocals are so damn good (I’d forgotten how cool this little song is). The John McGinnis tune "Things Are Getting Better" was chosen as 45 in Germany and Sweden by Polydor with "Mad Dogs And Englishmen" relegated to the flipside – and with its Joe Cocker commercialism you can understand why. Based on the events of 4 May 1970 in the USA - the title track "Ode To John Law" chronicles how the Ohio State Police fired guns into a crowd of longhaired protesting students in Kent State University injuring many but killing four of them. The cops became known as 'pigs' in the USA or in the mind of Colin Allen - 'John Law'. As Maggie Bell sings, "You're a pig...spread your mace in my face..." to a threatening keyboard barrage – the whole song feels deeply uncomfortable throughout (still does). The album ends on the high of "Danger Zone" - a Curtis Mayfield cover version and probably the best song on the album (certainly the most Soulful – huge keyboard chords and tasteful guitar licks). Although it's a set of hugely soulful and accomplished performances from Dewar and Bell – the bonus track BBC Live sessions for "The Touch Of Your Loving Hand" is inflicted with a lot of background noise that dampens this winner (what a shame). But thankfully "Raining In Your Heart" fares a lot better – the band on fire and clearly enjoying boogieing out.

So there you have it – a mixed bag audiowise for sure - but I'm still thrilled these criminally forgotten albums are back on my shelves. Maggie Bell of course went on to a great solo career with Zeppelin's Swan Song label in the mid Seventies and tours to this day while Lead Vocalist James Dewar gave every Robin Trower Chrysalis album a vocal soul they would have been remiss without. After years of genetic medical illness and declining health - he sadly passed away in 2002 aged only 53. I miss him...check out his Rock-Soulful legacy on YouTube.

Stone The Crows – a great band and a wicked legacy. Can't wait for batch Number 2. Even the name makes me tingle...

This review and hundreds more like it can be found in my SOUNDS GOOD Music Book Series - CLASSIC 1970's ROCK - Exceptional CD Remasters is available to buy/download at Amazon at the following link...

"The Moonstone" - TOMMY FLANDERS [Ex Blues Project] (2007 Rev-Ola CD - Nick Robbins Remaster) - A Review by Mark Barry

"…Could It Be That We've Both Got Something Together To Share…"

Issued February 1970 in the UK - Tommy Flanders "Moonstone"

Prior to the end of the Sixties - Tommy Flanders main claim to fame was being the original lead vocalist with 'The Blues Project' whose debut album "Live At The Café Au Go-Go In New York" was released in early 1966 to great acclaim. And although he'd left the band at the time of release and only featured on 4 of the tracks - he'd made a name for himself to such a degree that he signed a solo deal with Verve. But Flanders then went off the radar for years only to reappear in late 1969 at the age of 25 with this unheralded and very unbluesy debut album - "The Moonstone". 

To this day it remains a bit of a Folk-Rock singer-songwriter unknown - but as the liner notes to this 2007 Rev-Ola CD reissue on Rev-ola CR REV 206 (Barcode 5013929450622) proudly heralds - here is an LP that deserves "...much overdue re-appraisal..." - and in parts I agree (39:15 minutes). 

1. Since You’ve Been Gone

2. Blue Water Blue

3. Morning Misty Eyes 

4. A Detective Story

5. Purple And Blue

6. The Moonstone

7. By The Mailbox We Stood [Side 2]

8. Angel Of Mercy 

9. Boston Girls 

10. Sleepin’

11. She’s My Love 

With Flanders producing and Denis McCarthy arranging - "The Moonstone" was recorded in May 1969 in Los Angeles and featured BRUCE LANGHORNE (Electric Guitars), DICK ROSMINI (Acoustic & 12-String Guitars), JERRY SCHEFF (Bass) and MICHAEL BOTTS (Drums). The album was first released in the USA in late 1969 on Verve Forecast FTS-3075 (in Stereo Only) and wasn't released in the UK until February 1970 on Verve SVLP 6020 (reissued in 1972 on MGM Records 2353 027). For all accounts its arrival went unnoticed on both sides of the pond and it didn't seem to trouble LP charts anywhere. 

The album produced a lone US 7" single at the time of release - "The Moonstone" b/w "Between Purple And Blue" on Verve Forecast PB 3075. Rare copies even had the album artwork as a picture sleeve - but it tanked. There was a further attempt at 45-success in 1970 by pairing "Between Purple And Blue" with the non-album "First Time, Last Time" on MGM 14143, but again to no avail. Prior to these two issues he'd even made a very rare single in 1967 called "Friday Night City" b/w "Reputation" on Verve 5064 - but again no joy. With regard to this CD reissue - it's a damn shame that these non-album sides (there's also album outtakes known to exist) weren't included as `bonus' tracks here, but alas...

Vocally Tommy Flanders is very similar to that other star 'The Blues Project' produced - Al Kooper - only there are also touches of Tim Buckley, Tim Hardin and even Dylan thrown in. The arrangements are very easy on the ear - it opens with the lovely "Since You've Been Gone" and your hit with a big plus - the superb sound quality. Remastered by NICK ROBBINS at London's Sound Mastering, he's done a gorgeous job - it's warm, clear and gives a real loveliness to the primarily acoustic ballads (the "Big Sur" song "Morning Misty Eyes" and the jaunty "Boston Girls" for example).   

So why is the album forgotten - the truth is that it's not just melancholic in tone; it's only half good at it. Flanders wrote all the songs himself except "Morning Misty Eyes" which is co-written with Gabriel Mekler (worked with Etta James among others) - and many are nice, but not much more. However, I would argue that 3 tracks on the record are truly great and absolutely worth the price of your admission - "Blue Water Blue", "The Moonstone" and "She's My Love". The title track is the most inspired tune on the record - slightly trippy, it's instantly catchy and has turned up on cool compilations like Jon Savage's "Meridian 1970" (see separate review), while the finisher "She's My Love" (lyrics above) is undeniably beautiful (even if it does have some cruddy dialogue at the beginning and end of it). 

This is a clever reissue on the part of Rev-Ola (a subsidiary of Cherry Red Records). It's not all genius of course, but the good stuff genuinely deserves your attention. Check "The Moonstone" out - it's worth the effort...

PS: another very nice release in this series is the gorgeous "If The Jasmine Doesn't Get You...The Bay Breeze Will" by VINCE MARTIN (Fred Neil's old folk partner in the mid Sixties on Elektra). It's another folky gem rarity from 1969 (on Capitol Records) - and again - it has beautiful sound quality...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is COOL 1960s MUSIC - an E-Book with over 200 entries and 2000 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

"Hot Rats" by FRANK ZAPPA (2012 Zappa Records CD - 2008 Bernie Grundman Remaster) - A Review by Mark Barry...

"...Son Of Mrs. Green Genes..."

It's hard not to look at Christine Frka's frizzy-haired mad-as-a-dingbat-on-acid stare as she peaks over a wrecked/abandoned Beverley Hill's swimming pool on the cover of Frank Zappa's iconic Jazz-Rock album "Hot Rats" - and not smile. In some ways she summed up the adventure contained within the grooves – gonna be a little frizzled around the edges by the time you're done (Miss Christine was one of the all-girl group The GTOs - Girls Together Outrageously – another Bizarre Records act – she talked Frank into signing Alice Cooper).

After five incendiary albums with The Mothers Of Invention since 1966 (two of which were doubles) – it was time for the inevitable Solo LP proper from Frank Zappa and instead of Vocal Group pastiches and Comedy Soundtracks – Zappa went Rock in a very Jazzy way and never looked back. "Hot Rats" even hit No 9 in the UK charts in late February 1970 – his first and highest chart placing in good old Blighty (the Bizarre Records LP scraped into 173 in the USA).

His CD reissues from this period have been dogged with controversy. Having acquired the rights to own back catalogue - Zappa began remixing the masters to what many felt were sacred cows – even adding posthumous parts that weren't on the originals thereby altering their very nature (he argued he was the artist). Most notorious is the extra four minutes of music added on to the 12:53 of "The Gumbo Variations" on the 1995 Rykodisc CD reissue. Using the Zappa approved 'edit' master of the 1969 album – this BERNIE GRUNDMAN 2008 Remaster goes back to basics and yet still packs a lot of punch especially in those huge instrumental stretches within "Willie The Pimp", "Son Of Mrs. Green Genes" and the Saxophone-driven "The Gumbo Variations". Here are the 'little umbrellas'...

UK released July 2012 – "Hot Rats" by FRANK ZAPPA on Zappa Records 0238412 (Barcode 824302384121) is a straightforward transfer of the original 1969 LP onto CD (using a 2008 remaster) and plays out as follows (43:19 minutes):

1. Peaches En Regalia

2. Willie The Pimp

3. Son Of Mrs. Green Genes

4. Little Umbrellas [Side 2]

5. The Gumbo Variations

6. It Must Be A Camel

Tracks 1 to 6 are the album "Hot Rats" – released early October 1969 in the USA on Bizarre/Reprise RS 6356 and February 1970 in the UK on Reprise RSLP 6356  (re-issued July 1971 in the UK on Reprise K 44078).

Players were:

FRANK ZAPPA – Guitars, Octave Bass & Percussion

IAN UNDERWOOD – Flute, Clarinet, Saxophone & Keyboards (solo on "The Gumbo Variations")

CAPTAIN BEEFHEART – Vocals on "Willie The Pimp"

SUGAR CANE HARRIS – Violin on "Willie The Pimp" and "The Gumbo Variations"

JEAN LUC PONTY – Violin on "It Must Be A Camel"

LOWELL GEORGE – Guitar (uncredited)

MAX BENNETT – Bass on all except "Peaches En Regalia"

SHUGGIE OTIS – Bass on "Peaches En Regalia"

JOHN GUERIN – Drums on "Willie The Pimp", "Little Umbrellas" and "It Must Be A Camel"

PAUL HUMPHREY – Drums on "Son Of Mr. Green Genes" and "The Gumbo Variations"

RON SELICAO – Drums on "Peaches En Regalia"

The fold-out inlay reinstates the colour photos on the inner gatefold of the original LP and those not quite complete musician credits – but unfortunately very little else. Someone could have produced the lyrics to the only song with vocals on it – "Willie The Pimp" – or even explained about the album's intricate history on LP and CD – but alas – you barely get the BG remaster mention and that's it. Still at least the Audio is restored and wicked into the bargain...

The album opens with perhaps his most famous piece – the instrumental "Peaches En Regalia" which features the Bass playing of future Columbia Records guitar whizz Shuggie Otis. Great audio as those keyboard overdubs punch in. The mighty Captain Beefheart adds his considerable larynx to "Willie The Pimp" giving the 9:23 minutes an anchor – but what shines even more is Frank's Guitar soloing giving the piece an almost hypnotic feel as it stoner-rocks along defying all conventional wisdom as to what a Pop Song should be.

The battle between Zappa's Guitar, Sugar Cane Harris' Violin and Paul Humphrey’s extraordinary Drumming on relentless groove of "The Gumbo Variations" certainly tests the Remaster to the max and Bernie Grundman has seen to it that you can appreciate the individual contributions and crescendo all at the same time. The Piano and Flute passages on "Little Umbrellas" are fuller and the almost lounge-room vibe of the Piano and Drums on "It Must Be A Camel" is very clear - a sort of five-minute 'settle down' piece of Jazz Rock that ends the album on a mellow vibe.

The only real let down is the average presentation (sans regalia more than peaches) – otherwise here's one sizzling rodent you need in your suburban pool Mrs. Green Genes...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is COOL 1960s MUSIC - an E-Book with over 200 entries and 2000 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap).