"Emerson, Lake & Palmer: Deluxe Edition" by EMERSON, LAKE & PALMER (2016 BMG/Manticore 2CD 'Deluxe Edition' Reissue - Andy Pearce and Steve Wilson Remasters) - A Review by Mark Barry...

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"...Oh What A Lucky Man He Was..."

In many ways Emerson, Lake & Palmer's November 1970 debut LP (Island Records in the UK and Cotillion in the USA) was Part 2 of the Prog explosion set off in earnest by another extraordinary debut - King Crimson's "In The Court Of The Crimson King" in October 1969.

Dorset Guitarist and Singer GREG LAKE had been a founder-member of Crimson and featured on that first LP – Yorkshire keyboard virtuoso KEITH EMERSON had played with Gary Farr, The V.I.P’s and done his five-album stint with The Nice (even adding keyboard touches to Rod Stewart's "I Wouldn't Ever Change A Thing" on his debut album "An Old Raincoat Won't Let You Down" released February 1970 in the UK) - whilst Brummie Drummer CARL PALMER had whacked his sticks for The Crazy World of Arthur Brown and formed Atomic Rooster with Vincent Crane. When these three huge forces of 60ts Avant Garde came together as a band in June 1970 - their initial album was always going to be an event.

But before they unleashed that beast on a fractured counter-culture - a spot of Proggy grandstanding was in order. On the 29th of August 1970 - they took to the stage at the Isle Of Wight Festival with suitably bombastic crowd-pleasing results - cannon fire mixed with neo-classical arrangements and squealing keyboards with more wires and jump leads than Mission Control at Cape Canaveral. Island Records immediately thought - that's the band for me. They signed ELP pronto and in November the record was out - peaking at No.4 in the UK album charts with the Yanks waiting until February of 1971 to eventually push it up to No. 18 (it stayed on their charts for an impressive 42 weeks only to be replaced in July 1971 with the similarly challenging "Tarkus"). Which brings us to an equally tortured history of this first ELP album on CD...

In truth I've lost count at how reissues/remasters of their catalogue there's been – seven or eight hundred maybe – but I'm sure that this 2CD 'Deluxe Edition' for 2016 will offer fans what they've always wanted – the album in its best sound and tastily presented too. But therein again lies another battle. Some felt that the 2012 remix done by Reissue Godhead Steve Wilson was clean for sure but also sonically neutered from the waist down. Others loved it. What you get here is two versions – the 2012 Remaster carried out by an Engineer I hugely favour – ANDY PEARCE (who works in tandem with MATT WORTHAM) on Disc 1 – with the STEVE WILSON Alternate Version of Disc 2. Andy has even mastered this release for both discs. If the Wilson Mix is too clinical for your tastes – the warmer Pearce version is the baby for you. Pearce and Wortham have twiddled the knobs on CD reissue catalogues for Rory Gallagher, The Kinks, Frankie Miller, Pentangle, Thin Lizzy, Wishbone Ash, Budgie and the recent Free reissues (all praised) and are currently tackling Deep Purple's Seventies output as we speak (a knicker-wettingly exciting prospect). Wilson has transformed Jethro Tull, King Crimson, Gentle Giant and Yes catalogues with universally worshipped outcomes. All three Audio Engineer names are about as respected as it can get these days. So let's knuckle down to the details at hand...

UK released 29 July 2016 (1 September 2016 in the USA) - "Emerson, Lake & Palmer: Deluxe Edition'" by EMERSON, LAKE & PALMER on BMG/Manticore BMGCAT2CD1 (Barcode 4050538179897) is a 2CD 'Deluxe Edition' which features the Andy Pearce Remaster of the album on Disc 1 (2012) and the Steven Wilson 'Alternate Album Stereo Remix' from 2012 - both mastered in 2016 by Andy Pearce. It plays out as follows:

Disc 1 - The Original 1970 Album (2012 Remaster) - 41:18 minutes

1. The Barbarian

2. Take A Pebble

3. Knife-Edge

4. The Three Fates [Side 2]

(i) Clotho - Royal Festival Hall Organ

(ii) Lachesis - Piano Solo

(iii) Atropos - Piano Trio

5. Tank

6. Lucky Man

Tracks 1 to 6 are their debut album "Emerson, Lake & Palmer" - released November 1970 in the UK on Island ILPS 9132 (Pink Label Pressing) and February 1971 in the USA on Cotillion SD-9040. Arranged by ELP and Produced by GREG LAKE (Eddy Offord of Yes fame was the Engineer) - it peaked at No. 4 in the UK and No. 18 in the USA. "The Barbarian" is based on "Allegro Barbaro" by Bela Bartok (arranged by ELP), "Take A Pebble" by Greg Lake (arranged by Keith Emerson), "Knife-Edge" by Leos Janacek and Johann Bach (arranged by ELP), "The Three Fates" by Keith Emerson (all three-parts), "Tank" by Keith Emerson and Carl Palmer with "Lucky Man" by Greg Lake.

Disc 2 – The Alternate Album (2012 Steven Wilson Stereo Mix) – 55:41 minutes

1. The Barbarian

2. Take A Pebble

3. Knife-Edge (With Extended Outro)

4. Promenade

5. The Three Fates: Atropos

6. Rave Up

7. Drum Solo

8. Lucky Man

9. Take A Pebble (Alternate Take)

10. Knife-Edge (Alternate Take)

11. Lucky Man (First Greg Lake Solo Version)

12. Lucky Man (Alternate Version)

The three-way foldout card digipak has a series of three black and white photos of the boys larking about (ELP Archives) – various live shots of all three – a superlative worldwide 7” singles display on the centre-pages of the album's lone 45 "Lucky Man" b/w "Knife-Edge" (Holland, Germany and Japan are in there) – as well as new liner notes from noted writer and music buff CHRIS WELCH. The reissue is dedicated to Keith Emerson who died 14 March 2016 – and released in July 2016 – couldn't have known of Greg Lakes' sad passing on 7 December 2016. There's a full page trade advert for the album on Page 13 – the usual reissue credits – and interviews with Emerson and Lake regarding the recordings (Keith was only just learning the Moog when he played his solo on "Lucky Man" – done in one take – it was owned by Mike Vickers of Manfred Mann). Downsides - both CD labels are Manticore only - the reissue label from the mid Seventies - where's the British 'Pink I' Label or the American Cotillion original? The liner notes are good as I say but there's not a word on Disc 2 – no insights into the Alternates or Remix process. But that all goes out the window once you hear the actual audio on 'both' CDs...

ANDY PEARCE did the Remaster for Disc 1 back in 2012 – while Disc 2 is Porcupine Tree's STEVEN WILSON version also from 2012 – with both now mastered by ANDY PEARCE is 2016. I take on board what some have said about the cleanness of Wilson's take in 2012 – but frankly whatever Andy has done with this slight tweak in 2016 - I think most will absolutely love it. So if you want more breathing - AP's take is the one for you – if you want a more humane clean cut – then Disc 2 is your go-to. Either way – you're quids in. And I'm also shocked at the quality of the outtakes on Disc 2...superb stuff we'll get into later...

As the heavy-heavy monster sound of "The Barbarian" comes stomping into your living room (based on "Allegro Barbaro" by Bela Bartok and arranged by ELP) – in less than 20-seconds you’re immediately aware of the power of the band and that this is no-prisoners Progressive Rock. The audio is amazing – full and in your face – not over-trebled – but thumping you in the chest and making you think – this is probably what that Isle of Wight audience felt. "...Then watch the ripples that unfold into me..." – Greg Lake sings on the undeniably pretty "Take A Pebble" – for me one of their greatest moments on record. Opening with piano-frame strums that are soon followed by Bass and Drums – the Audio on this 12-minute album centrepiece is fabulous – Emerson showing beautiful piano delicacy as he plays – Palmer snaking his percussive way over those hi-hats. Then you get that distant acoustic guitar section – a very sweet transfer where Lake’s playing comes sailing out as the hand-claps build – finally followed by Keith showing his musicality. Before all the pomp took over – this is surely the ELP many fans want to remember – minus all the flashy synths – there’s just the three of them and their virtuosity making a sound that is Emerson, Lake & Palmer. For a band that’s (let’s face it) so often derided – I often play this track alone to prove the opposite – a piece of music that warrants respect. Again amazing clarity on the Bass and treated-vocal of Greg Lake as he sings about spread-eagle claws on "Knife-Edge" – a very Crimson song and the one chosen to represent ELP on the 2005 Island Records 3CD Mini Box Set "Strangely Strange But Oddly Normal".

Based on a Greek legend of three sisters who could control a person’s destiny and fate - Side 2 opens with the "The Three Fates" Suite by Keith Emerson. The first part is suitably grandiose utilising the Royal Festival Hall’s Organ for the massive chords of "Clotho" (special permission sought and given) while Part 2 is pure Emerson – sat at Advision Studios' seven-foot long Yamaha grand piano giving it some finger-plonking welly. Palmer and Emerson then join forces for the frenzied Piano/Percussion battle of "Atropos" that again feels like King Crimson having an epiphany moment. The near seven-minutes of "Tank" is a big ELP fan fave – a dancing Clavinet perfectly matched by Lake and Palmer – rounded off by Palmer giving it some Ginger Baker – a drum solo. Quite aside from the naff nature of Drum Solos in the live environment for the whole of the Seventies – you have to say that the audio here rocks. "Lucky Man" was apparently the first-song Greg Lake wrote after his mum bought him an Acoustic Guitar at the age of 12 (nice one Mrs. L). An obvious single with its ‘ooh what a lucky man he was’ voices and those lovely acoustic guitars – and of course the rupture-the-sky Moog solo that to this day sends chills up my arms (he used the Moog Mike Vickers from Manfred Mann had left in the studio).

Disc 2 offers up a lot more than I’d bargained for. The very hissy “Promenade” features Lake and Emerson duetting on Vocals and Organ for one and half minutes – while track 5 cleverly isolates "Atropos" in "The Three Fates" Suite and accentuates that rattling percussion as Keith hammers those piano keys. Of real interest is the near five-minute "Rave Up" where Lake flicks about on an Electric Guitar as Emerson and Palmer keep jabbing with Keyboards and Drums – like they’re searching for something interesting to happen. It descends into a go-as-fast-as-you-can-go race to the instrumental finish – but I love it and the Audio is absolutely blistering. The three minutes of "Drum Solo" pretty much does what it says on the tin – Carl hitting his kit like he’s doing Brand’s Hatch in a E-Type Jag and needs to get round in a hurry. If I’m truthful I prefer Wilson’s version of "Lucky Man" – gorgeous Audio that seems to get more out of the Vocals. The Alternate "Take A Pebble" is preceded by some studio banter (let’s do it from the top) but despite its wickedly good sound quality – it disappointingly only lasts just under four minutes. But that’s not to say that I don’t think ELP fans will be chewing this up for breakfast – Keith’s playing – Greg on a clear Bass while Palmer caresses those cymbals. It ends quickly because someone fluffed their part and they giggle about it in some more dialogue. It’s fantastic stuff. The Alternate Take of "Knife-Edge" has huge sound and Keith’s extraordinary playing. Another prize is surely Greg Lake’s First Acoustic Solo Version of "Lucky Man" – those voices different yet still beautiful and no Moog break - while the final Alternate Version of the song has a thrashing Electric Guitar solo instead of that keyboard moment we all know and love – interesting

ELP would conquer the Prog world with "Tarkus" in 1971, "Trilogy" in 1972 and the delightfully titled "Brain Salad Surgery" in 1973 – before it all went preposterous and OTT. But there was a reason why they were huge – and that’s more than evident of this timely 2016 reissue. And with the 2012 version deleted and now starting at £50+ on the used marketplace – this is a ten-spot well spent on Amazon (UK)...

PS: This review is affectionately dedicated to Keith Emerson and Greg Lake who both passed in 2016 - thanks for the pebbles and the ripples...

"Deja Vu"by CROSBY, STILLS, NASH & YOUNG [Dallas Taylor and Nigel Reeves] (1994 Atlantic CD Reissue – Joe Gastwirt Remaster) - A Review by Mark Barry...

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"...Our House Is A Very Fine House..."

January 2006 saw a superlative 'Expanded & Remastered HDCD Edition' of CSN's monumental 1969 debut – "Crosby, Stills & Young" – but no such luck for the follow-up – the No. 1 album – "Deja Vu".

It seems astonishing that in January 2017 – almost 47 years after this masterpiece was released Stateside in March 1970 (May 1970 in the UK) – that we're essentially left with a Standard CD Remaster from the early 90's and a gatefold slip of paper as an inlay. No extras – no celebration – no annotation of any kind. In fact the one piece of info they do give is 'wrong' – quoting the US album's catalogue number as SD-19118 when that was the 1977 re-issue number – the original was Atlantic SD-7200.

I know that doesn't in any way lessen the achievement of both albums frankly – two melodious Americana masterpieces still casting a harmony-vocal shadow over today's myriad of musical landscapes. I just wish there was more for an album that's been a cornerstone of millions of record collections for closing on 50 years now. Still – let's deal with what we do have. Here are the details (for which I almost cut my hair)...

UK released August 1994 – "Deja Vu" by CROSBY, STILLS, NASH & YOUNG on Atlantic 7567-82649-2 (Barcode 075678264924) is a straightforward 'Digitally Remastered' CD version of the 10-track album from 1970 and pans out as follows (36:31 minutes):

1. Carry On

2. Teach Your Children

3. Almost Cut My Hair

4. Helpless

5. Woodstock

6. Déjà Vu [Side 2]

7. Our House

8. 4 + 20

9. Country Girl: (a) Whiskey Boot Hill (b) Down, Down, Down (c) "Country Girl" (I Think You're Pretty)

10. Everybody I Love You

Tracks 1 to 10 are their second studio album "Deja Vu" – released March 1970 in the USA on Atlantic SD-7200 and May 1970 in the UK on Atlantic 2401001. It rose to No.1 and No.5 respectively on the US and UK charts. It was first reissued in the UK in March 1972 onto Atlantic K 50001 (with the transfer of Atlantic’s catalogue to Kinney Music). "Carry On" and "4 + 20" written by Stephen Stills - "Everybody I Love You" written by Stephen Stills and Neil Young - "Teach Your Children" and "Our House" written by Graham Nash - "Almost Cut My Hair" and "Deja Vu" written by David Crosby - "Helpless" and "Country Girl" written by Neil Young with "Woodstock" being a Joni Mitchell cover version.

The gatefold inlay simply recreates the inner gatefold of the original vinyl LP (same both sides of the pond) – there’s a see-through CD tray with the words 'Digitally Remastered' on the spine and that's it. The good news is obvious the moment you play the CD – a JOE GASTWIRT Remaster from original tapes that rocks – warm, punchy and expressive when it needs to be.

I can remember when I first heard Stills' "Carry On" – the twanging acoustics – the hooky lyrics – but most of all those voices harmonising in a way that blew you out of the water. And the clever changes in tempos. Love is coming to us all indeed. Onwards to the code to live by – the feed them on your dreams "Teach Your Children" – a gorgeous Graham Nash ballad that wears its heart on a very open sleeve. In the UK the look-at-them-and-sigh "Teach Your Children" (with Gerry Garcia of The Grateful Dead on Steel Guitar) became the fourth 45 around the album when Atlantic paired it with "Deja Vu" on Atlantic 2019 039 in November 1970. David Crosby comes storming in like he’s Neil Young’s angrier brother with "Almost Cut My Hair" examining how peer pressure works and eventually deciding to remain individual – true to himself and let his freak flag fly. Neil decides to tells us in his nasal whine about a town in North Ontario where all his changes were – a place that still leaves shadows on his eyes (gorgeous audio as those voices come in on the chorus). They end Side 1 with a rocked-up version of Joni Mitchell’s peace weekend anthem "Woodstock" – Stills makes it more angry than it should be but I prefer the Matthews Southern Comfort 7" single version that went to No. 1 in the UK in 1970.

John Sebastian of The Lovin' Spoonful contributes a late Harmonica warble to the Side 2 opener "Deja Vu" – another David Crosby winner. As the years pass - I come back to the genius use of guitars, voices and tempo breaks in this superb 'makes me wonder' song - that wall-of-melody that only CSNY made when they sang. "...We have all been here before..." they chanted on "Deja Vu" – well yeah and I'll want to go back again. We go acoustic ethereal with "4 + 20" – a fabulous Stephen Stills tale of a troubled soul wondering why am I so alone. Atlantic put the three-part Neil Young "Country Girl" on the B-side of "Teach The Children" in April 1970 (Atlantic 2091 002) – a waitress winking at the hip clientele - but the sweet harmony vocals try to warn her that despite their amiable smiles love is hard to find in the city. What a brilliant song and I love that echoed Harmonica as it crescendos before fading out. The album ends of the Stills/Young rocker "Everybody I Love You" – guitars wailing as they "la la" those harmony vocals. What a record...

We should talk about what’s not here. There's a demo of the "Déjà Vu" classic "Teach Your Children" on the Expanded Edition of "Crosby, Stills & Nash" which would have had an obvious placing here. Fans will know that there is a version of "Almost Cut My Hair" on the 1991 "Carry On" 4CD Box Set by CSNY and a further version on Crosby’s 3CD Anthology from 2006 "Voyage". As well as those there’s the stunning stand-alone 7” single "Ohio" b/w "Find The Cost Of Freedom" – a brilliant two-sider that later turned on the "So Far - Best Of” LP compilation in 1974 – all ideal Bonus Tracks material. Perhaps one day we might get a Deluxe Edition 2CD set covering the event in its entirety – we remain helplessly hoping...

"...A different kind of poverty now upsets my soul... " – Stephen Stills sings on the quietly majestical "4 + 20". I never feel poverty when I listen to them - they've always lifted me up. Embrace the many-coloured beast...as the great man says...

"5 Classic Albums" by TRAFFIC [feat Steve Winwood, Jim Capaldi and Dave Mason] (2017 Universal/Spectrum 5CD Mini Box Set Of Remasters) - A Review by Mark Barry...

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"...Sure Took Me For One Big Ride..." 

Featuring the 1970 LP "John Barleycorn Must Die"

I suspect Traffic fans will say 'about bleeding time mate' - and they'd be right. Other artists like Fairport Convention, Pat Benatar, Scott Walker, The Jackson 5, Status Quo, Sandy Denny, Bob Marley & The Wailers, Dusty Springfield and even Graham Parker have received one of these '5 Classic Albums' multipack releases from Universal/Spectrum's monster back catalogue. But we've had to wait until January 2017 for that most brilliant of British groups - TRAFFIC. But at least we've been given five of their best and their remasters too. To the nitty gritty...

The packaging has good and bad points. The naff-looking outer card slipcase is flimsy and very easy to damage. In fact my shrink-wrapped set was already creased when I received it in the post. Each of the repro cards is a single sleeve (using UK Stereo artwork) with no inners. Back in the day the first three albums were gatefolds originally and the last two had cut-corner shaped packaging with inner sleeves. Bit much I suppose to expect faithful accuracy – but as a cheapo reissue (less than two quid per album) – the five front and rear sleeves are clear and the colour is very, very good. Another nice touch is that each CD label uses the differing Island Records logo designs as they progressed through the years - the pink label with the orange and black eye logo on the "Mr. Fantasy" debut from 1967 through to the pink-rimmed palm tree label of "Shoot Out At The Fantasy Factory" in 1973 (see photos below).

The two albums missing are "Last Exit" from 1969 (partially Live) and the double live set "Welcome To The Canteen" from 1971 and those poppy but (let's face it) horrible singles "Paper Sun" and "Hole In My Shoe" (many will feel that all of these are losses we can do without). But the best news is that these are Remasters (doesn’t say what date) – each sounding absolutely toppermost. I suspect these are the 24-bit digital transfers done in 1999 and later in 2005 by Ellen Fitton for the much praised "Gold" double. Whichever – they sound great. Here are the Pearly Queens...

UK released January 2017 – "5 Classic Albums" by TRAFFIC on Universal/Spectrum 5374164 (Barcode 600753741641) is a 5CD Set Of Remastered CDs housed in a card slipcase with singular repro art sleeves and plays out as follows:

Disc 1 "Mr. Fantasy" (34:39 minutes):

1. Heaven Is In Your Mind

2. Berkshire Poppies

3. House For Everyone

4. No Face, No Name And No Number

5. Dear Mr Fantasy

6. Dealer [Side 2]

7. Utterly Simple

8. Coloured Rain

9. Hope I Never Find Me There

10. Giving To You

Tracks 1 to 10 are their debut album "Mr. Fantasy" – released December 1967 in the UK on Island ILP 9061 (Mono) and ILPS 9061 (Stereo) and April 1968 in the USA on United Artists UAL 6651 (Mono) and UAS 6651 (Stereo) – the Stereo Mix is used. It was originally called "Heaven Is In Your Mind" in the USA when released on United Artists UAS 6651 with different artwork front and rear. It also featured two extra tracks – the hit singles "Paper Sun" and "Hole In My Shoe". This 2017 CD reissue uses the British 'fireside' cover artwork and the UK track list of 10.

Disc 2 "Traffic" (40:47 minutes):

1. You Can All Join In

2. Pearly Queen

3. Don't Be Sad

4. Who Knows What Tomorrow Might Bring

5. Feelin' Alright?

6. Vagabond Virgin [Side 2]

7. Forty Thousand Headmen

8. Cryin' To Be Heard

9. No Time To Love

10. Means To An End

Tracks 1 to 10 are their 2nd studio album "Traffic" – released October 1968 in the UK on Island ILPS 9081T and in the USA on United Artists UAS 6676 (Stereo).

Disc 3 "John Barleycorn Must Die" (34:35 minutes):

1. Glad

2. Freedom Rider

3. Empty Pages

4. Stranger To Himself [Side 2]

5. John Barleycorn

6. Every Mother's Son

Tracks 1 to 6 are their 4th studio album "John Barleycorn Must Die" – released July 1970 in the UK on Island ILPS 9116 (Stereo) and in the USA on United Artists UAS 5504 (Stereo). Produced by CHRIS BLACKWELL and STEVE WINWOOD -

Disc 4 "The Low Spark Of High Heeled Boys" (40:27 minutes):

1. Hidden Treasure

2. The Low Spark Of High Heeled Boys

3. Rock 'n' Roll Stew

4. Many A Mile To Freedom [Side 2]

5. Light Up Or Leave Me Alone

6. Rainmaker

Tracks 1 to 6 are their 5th studio album "The Low Spark Of High Heeled Boys" – released November 1971 in the UK on Island ILPS 9180 and in the USA on Island SW-9306. Produced by Steve Winwood – it peaked at No. 7 on the USA LP charts (didn’t chart UK).

Disc 5 "Shoot Out At The Fantasy Factory" (37:24 minutes):

1. Shoot Out At The Fantasy Factory

2. Roll Right Stones

3. Evening Blue [Side 2]

4. Tragic Magic

5. (Sometimes I Feel So) Uninspired

Tracks 1 to 5 are their 6th studio album "Shoot Out At The Fantasy Factory" – released January 1973 in the UK on Island ILPS 9273 and in the USA on Island SW-9323. Produced by Jim Capaldi and Steve Winwood – it peaked at No. 6 on the USA LP charts (didn't chart UK).

The debut album is a hippy beast - all Psychedelic soundscapes as the boys romp around the countryside in afghans and tie-die shirts with poppies in their hair and joints hanging out of their mouths - shagging anything that looks cute and grows mushrooms. The sound is unbelievably good - that wound up clock at the beginning of "House For Everyone" - Winwood's aching vocal accompanied by acoustic guitar on the lovely "No Face, No Name And No Number" and the sexy, sly 'tune' in "Dear Mr. Fantasy". Check out the Crosby, Stills, Nash & Young cover version from 1980 of the long and slow "Dear Mr. Fantasy" that turned up on their 1991 4CD Box set as a Previously Unreleased Track - it's unbelievably good with Stephen Stills stretching out on Guitar. The 'Summer Of Love' Sitar and spoken voice in "Utterly Simple" (you do understand that Lewis is Alice) is evocative stuff too. Overall a great beginning...

The improvement in songwriting for the second self-titled "Traffic" album is amazing (and who hasn't had that Island Records sampler LP "You Can All Join In" on Island IWPS 2 in their homes at one point - Traffic get the titular track at the end of Side 1). Comparing "Pearly Queen" on this CD to the 1995 Mobile Fidelity version I have (an Ultradisc II audiophile disc) holds up well - but there's no doubt the MF version is better. I'd forgotten how good "Don't Be Sad" is - that Harmonica and Saxophone combo - that 'Traffic' sound they made. The double-combo of "Who Knows What Tomorrow May Bring" and the mucho-covered Mason winner "Feelin' Alright?" confirm the album's greatness. "Feelin' Alright?" (with its question mark intact) is one of those Rock songs that lends itself to other artists - Joe Cocker, Grand Funk, Lulu, David Ruffin, The Chairmen Of The Board, Three Dog Night, Rare Earth, Hubert Laws, Wade Marcus - they're just some who've had a go (what a song - lyrics from it title this review). But it’s surely the flute and shakers of "Forty Thousand Headmen" that has cemented the album into hearts – a wickedly good groove with Steve Winwood 'soaring high above the clouds'. The harpsichord in "Cryin' To Be Heard" is clear as are the band when they kick in - drums and organ taking off. "No Time To Live" is amazingly accomplished - sounding just spiff - a big wheel of fortune ace. The funky Rock of "Means To An End" is similar to the vibe of "Feelin' Alright?" and at times the guitars sound so Delaney & Bonnie or Derek And The Dominoes...

If "Traffic" was an indication of greatness impending - 1970's "John Barleycorn Must Die" landed it. Right from the opening of "Glad" (a song that sounds like its title) – there’s a swagger in the Funky Rock on offer. In this near seven-minute instrumental (penned by Winwood) - Saxophones alongside Organ and Piano vie for the listener’s attention as they engage in cheery runs up and down the scales like time is of no consequence. LP3 almost sounds like another band compared to LP2 – Happy Jazz Hour meets Mellow Prog Rock and wins. This is confirmed by the Winwood-Capaldi sophistication of "Freedom Rider" – Chris Wood's Flute and Saxophone playing added a Jethro Tull/Blodwyn Pig feel to the song – Capaldi's drumming anchoring Winwood's piano runs and world weary vocals as he cries "...here he comes..."

You can almost feel Winwood's 'solo career' start with "Empty Pages" - a decidedly upbeat and commercial little bopper that at times feels like Charisma Genesis in its signature sounds (thumping Bass too). Side 2 gets all Bluesy with the brilliant "Stranger To Himself" - another Winwood/Capaldi funky one with a fuzzed-up guitar solo and a fabulous Stevie vocal. Things mellow into Folk with the ancient tale of "John Barleycorn" where Traffic sound like Fairport Convention - a tale of 'solemn vows' and 'bleeding' poor JB and 'men with pitch forks' doing their worst. The piano and flute are very clear - those voices harmonising beautifully - there's an amazing warmth to this transfer. It ends on yet another sound - treated guitars and keyboards wrapped around Winwood's impassioned vocals where Traffic almost sound like Joe Walsh’s James Gang impersonating Traffic. "Every Mother's Son" (like so many tracks on this album) has an epic feel that's hard to describe – it’s near seven minutes floating over you as that huge organ sound builds and builds and then crescendos – working those notes and guitars to the big finish (Winwood plays most instruments including guitar). Brilliant - I love this album...

"...There's a lot you can learn...if you listen..." - Winwood advises on "Hidden Treasure" (the band now a six-piece). A floating Acoustic/Flute melody that feels older than 1971 – "Hidden Treasure" is a song that feels smarter than us all. While that opener is good it's followed by Rock brilliance – one of my fave-rave Traffic songs – the 12-minute title track "The Low Spark Of High Heeled Boys". I never tire of this stunning groove and even at such a duration – it doesn't feel like the song overstays its welcome - huge organ notes drawn out over a bopping piano. If I ever want to convince of the band's greatness to my kids (22 and 19) - I play this slinky little number and they nod approvingly. Island USA tried "Rock 'n' Roll Stew" as a 45 (in two parts) on Island 1201 and were rewarded with a No. 93 placing in january 1972 for what is a rather plodding 'on the road again' riff (like a weedy Free). Things improve a bit with "Many A Mile To Freedom" but that guitar solo is weak. "Light Up Or Leave Me Alone" feels like Frankie Miller walked in off the street and took over at the microphone - a funky rock 'n' roll stroller (the audio is amazing on this one). The albums ends on the 8-minute "Rainmaker" - an excellent return to Traffic's sound of "John Barleycorn..." - another cool tune that's all flutes and lolly-gagging guitar strums as the voices harmonise beautifully. But while "The Low Spark Of High Heeled Boys" didn't deserve an inexplicable 'no placing' in the UK Top 50 LP charts - there is a sense already of a band winding down. I personally think it's worth another listen.

Finally we get to the short "Shoot Out At The Fantasy Factory" from 1973 with only five songs. It opens with the hooky guitar of the title track that at times bears an uncanny resemblance to that riff in Deep Purple's "Smoke On The Water". I've always liked its six-minutes of wah-wah guitars and funky feel. We then get a bit 'do do dah' with nearly twelve-minutes of "Roll Right Stones" - clearly trying to capture that "Low Spark" vibe. Winwood sings of 'spaces between my eyes' and 'standing stones in circles' that after centuries are all 'ancient torn and weather worn'. It's good but about six minutes in and the obvious endless solo makes it begin to feel like a Fairport Convention 'Liege & Leaf' experiment that should have ended twenty minutes ago. Side 2 opens with the Acoustic peacefulness of "Evening Blue" where our life-traveller hasn't slept for days - but the setting sun comes to save him. It's actually a rather lovely little cut (and the bass is gorgeous in the transfer). Musically "Tragic Magic" has always felt like an instrumental waiting to be lyric'd by its creator - personally I love that slow band-enjoying-itself-being-mellow vibe it exudes. The album ends on a song that at times sounds like its title "(Sometimes I Feel So) Uninspired)" - seven minutes of weary ache from Winwood where he talks of his room 'being wired' - but then turns it around with a pick-yourself-up chorus (great guitar work throughout too).

Despite the craziness, the line-up changes, the "Welcome To The Canteen" album not even bearing their name for legal reasons - TRAFFIC were magic throughout it all and made a sound that reaches out over the decades and casts a long shadow.

Capaldi, Mason and especially Steve Winwood would go on to long and eventful solo careers - but this rather brill little '5 Classic Albums' set reminds us why we loved them and their band so. Sure took us for one big ride indeed...

"Gold" by TRAFFIC [feat Steve Winwood, Jim Capaldi and Dave Mason] (2005 Universal 2CD Definitive Collection Remasters) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

THERE'S SOMETHING ABOUT 1970... - Exceptional CD Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"…If You See Something That Looks Like A Star…"

Featuring The 1970 LP "John barleycorn Must Die"

At last count - I numbered way over 50 artists across Universal’s vast catalogue given the 2CD “Gold” treatment (sometimes also known as a “Definitive Edition”). But with the artwork for these digitally remastered two-disc retrospective sets being so uninspiring and uninformative (a track list on the rear with bugger all else by way of detail) – many simply go unnoticed – languishing around in digital warehouses unwashed and unloved. But that isn’t to say there isn’t a deal for a buyer to be had…

Amidst their hidden gems - STEPPENWOLF and THE CRUSADERS are two "Gold" editions that jump to mind (I’ve reviewed and raved about both - amazing content as well as quality remastered sound). Well here comes another – the TRAFFIC instalment.

As you can see from the detailed lists below – you get great choices (and lots of them) and best of all (only credited on the inside booklet) - superb ELLEN FITTON mastering. Fitton is a name I’ve sung the praises of before – she mastered all of the extraordinary “Complete Tamla Motown Singles” book collections (75 discs across 14 volumes, 1847 tracks) and has also had a hand in large swaths of Hip-O Select reissues. Her work here is the same. So here are the smiling phases, paper suns and high-heeled boys with low sparks…

Released September 2005 – "Gold" by TRAFFIC on Universal/Island 0602498312070 (Barcode 602498312070) is a 2CD retrospective that breaks down as follows:

Disc 1 (79:49 minutes):

1. Paper Sun

2. Dealer

3. Coloured Rain

4. Hole In My Shoe

5. No Face, No Name, No Number

6. Heaven Is In Your Mind

7. Smiling Phases

8. Dear Mr. Fantasy

Tracks 1 to 8 are from their debut album “Mr. Fantasy” – released December 1967 in the UK on Island ILPS 9061 [Tracks 2, 3, 4, 5 and 6 on the British LP] and April 1968 in the USA as “Heaven Is In Your Mind” on United Artists UAS 6651 (Stereo) [Tracks 1 to 8 on the US LP – retitled “Mr. Fantasy on 2nd pressings].

9. You Can All Join In

10. Pearly Queen

11. Feelin’ Alright

12. Who Knows What Tomorrow May Bring

13. Forty Thousand Headmen

Tracks 9 to 13 are from their 2nd album “Traffic” – released October 1968 in the UK on Island ILPS 9081 and in the USA on United Artists UAS 6676 (Stereo)

14. Shanghai Noodle Factory

15. Medicated Goo

Tracks 14 and 15 are form their 3rd album “Last Exit” – released May 1969 in the UK on Island ILPS 9097 and in the USA on United Artists UAS 6702 (Stereo)

16. Glad

17. Freedom Rider

18. Empty Pages

19. John Barleycorn

Tracks 16 to 19 are from their 4th album “John Barleycorn Must Die” – released July 1970 in the UK on Island ILPS 9116 and in the USA on United Artists UAS 5504 (Stereo)

Disc (78:44 minutes):

1. Gimme Some Lovin’ (Live) – from the live album “Welcome To The Canteen” - released September 1971 in the UK on Island ILPS 9166 and in the USA on United Artists UAS 5550

2. Low Spark Of The High-Heeled Boys

3. Light Up And Leave Me Alone

4. Rock & Roll Stew

5. Rainmaker

Tracks 2 to 5 are from their 5th studio album “The Low Spark Of The High-Heeled Boys” – released November 1971 in the UK on Island ILPS 9180 and in the USA on Island SW 9306

6. Shoot Out At The Fantasy Factory

7. (Sometimes I Feel So) Uninspired

Tracks 6 and 7 are from their 6th studio album “Shoot Out At The Fantasy Factory” – released January 1973 in the UK on Island ILPS 9224 and in the USA on Island SW 9323

8. Something New

9. Dream Gerrard

10. Walking In The Wind

11. When The Eagle Flies

Tracks 8 to 11 are from their 7th and last studio album “When The Eagle Flies” – released November 1973 in the UK on Island ILPS 9273 and in the USA on Asylum 7E-1020

The 20-page booklet is unexpectedly substantial – cool photos, an essay on the band by SCOTT SCHNIDER and detailed reissue credits at the rear. And that superb remastered sound too…

To this day tracks like “Dear Mr. Fantasy” and Dave Mason’s wonderful “Feelin’ Alright” (covered by Joe Cocker, Grand Funk Railroad, Lulu and Three Dog Night within a few years of its release) still send me. There’s fantastic audio punch on “Medicated Goo” ("freaky Freddie!”) and Island Records literally named their budget label sampler LP after the “You Can All Join In” track on the 2nd LP. The opening instrumental “Glad” on “John Barleycorn Must Die” always sounded to me like Soul Rock or even Fusion before such a phrase was even coined – brilliant stuff.

The stunning eleven and half minutes of “Low Spark Of High-Heeled Boys” where Winwood cruises through this almost hypnotic groove still sounds unbelievably modern – I love it (lyrics above). For sure things began to taper off towards the bands last few albums - but I still feel there’s soulfulness in the Winwood/Capaldi slowy “(Sometimes I Feel So) Uninspired”. The eleven-minute “Dream Gerrard” (a co-write with Vivian Stanshall) has a good groove too - as does “Walking In The Wind” (another Capaldi co-write with Steve Winwood). All this and “Paper Sun”, “Smiling Phases” and the hippy sitar of “Hole In My Shoe”! Will we ever see their like again? I doubt it…

With generous playing times on both discs (a half-decent booklet too), top quality sound and an online price tag that is often below three pounds (three quid for God's sake!) - you’re getting a whole lot of bang for your buck here. Way to go…

"The Harvest Years 1969-1973" by EDGAR BROUGHTON BAND (2011 Parlophone/Harvest 4CD Reissue Set with 2004 Peter Mew Remasters) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

THERE'S SOMETHING ABOUT 1970... - Exceptional CD Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

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"...Out Demons Out..."

Re-listening to Warwick's EDGAR BROUGHTON BAND in 2017 and their five-strong haul of albums between 1969 and 1973 is like hearing two different bands – the first lot are a bunch of imps let loose in the studio with too many Smarties and funny cigarettes - the second is a more reflective trio of grown-up men with beards who’ve woken up to real music and its message to the masses.

The barking-mad and lippy debut "Wasa Wasa" and it’s 1970 follow-up "Sing Brother Sing" remind you of Captain Beefheart's "Trout Mask Replica" - both challenging listens with moments of brilliance amidst the lunacy - while the later albums like "Edgar Broughton Band" and especially "In Side Out" show serious songwriting maturity and real depth on top of the wit and snarl of old.

I'd be lying if I didn't say that all their records are hard work in some ways – and portions of the first two albums swerve dangerously close to period-dross that's tough to take no matter how fondly you may remember them. But there's much to love and admire here too - there really is...

This Parlophone/Harvest 4CD Anthology with five full albums, rare non-LP singles and Previously Unreleased live stuff on Disc 4 is seriously great value for money – sounds the aural business (Peter Mew Remasters from Abbey Road done in 2004) and makes available in one easy package incredibly rare British LPs on that darling label of all things Alternative and Prog Rock – England’s Harvest Records. Here are the Homes Fit For Heroes...

UK released January 2011 - "The Harvest Years 1969-1973" by EDGAR BROUGHTON BAND on Parlophone/Harvest 949 4882 (Barcode 5099994948820) is a 4CD Anthology with 2004 Peter Mew Remasters (Six Previously Unreleased Tracks) and plays out as follows:

Disc 1 (74:23 minutes):

1. Death Of An Electric Citizen

2. American Boy Soldier

3. Why Can't Somebody Love Me?

4. Neptune

5. Evil

6. Crying

7. Love In The Rain

8. Dawn Crept Away

Tracks 1 to 8 are their debut album "Wasa Wasa" - released July 1969 in the UK on Harvest SHVL 757.

9. Out Demons Out - Non-Album UK 7" single released April 1970 on Harvest HAR 5015, A-side

10. Up Yours! - Non-Album UK 7" single released May 1970 on Harvest HAR 5021, A-side [B-side is the album track "Officer Dan"]

11. Freedom - Non-Album UK 7" single released November 1970 on Harvest HAR 5032, B-side to "Apache Dropout" - Track 6 on Disc 2

12. There's No Vibrations But Wait!

13. The Moth (a) The Moth (b) People (c) Peter

14. Momma's Reward (Keep Them Freak's A Rollin')

15. Refugee

16. Officer Dan

Tracks 12 to 16 are Side 1 of their 2nd studio album "Sing Brother Sing" - released June 1970 in the UK on Harvest SHVL 772

Disc 2 (74:53 minutes):

1. Old Gopher

2. Aphrodite

3. Granma

4. Psychopath: (A) The Psychopath (B) Is For The Butterflies

5. It's Falling Away

Tracks 1 to 5 are Side 2 of their 2nd studio album "Sing Brother Sing" - released June 1970 in the UK on Harvest SHVL 772

6. Apache Drop Out - Non-Album UK 7" single released November 1970 on Harvest HAR 5032, A-side [B-side "Freedom" is Track 11 on Disc 1]

7. Evening Over Rooftops

8. The Birth

9. Piece Of My Own

10. Poppy

11. Don't Even Know Which Day It Is

12. House Of Turnabout

13. Madhatter

14. Getting Hard/What Is A Woman For?

15. Thinking of You

16. For Dr. Spock (Parts 1 & 2)

17. Call Me A Liar

Tracks 7 to 18 are their 3rd studio album "Edgar Broughton Band" - released May 1971 in the UK on Harvest SHVL 791

Disc 3 (69:15 minutes):

1. Get Out Of Bed/There's Nobody There/Side By Side

2. Sister Angela

3. I Got Mad

4. They Took It Away

5. Homes Fit For Heroes

6. Gone Blue

7. Chilly Morning Mama

8. The Rake

9. Totin' This Guitar

10. Double Agent

11. It's Not You

12. Rock 'n' Roll

Tracks 1 to 12 are their 4th studio album "In Side Out" - released July 1972 in the UK on Harvest SHTC 252

13. Someone - Non-Album 1st B-side on the UK 7" single to "Gone Blue" released March 1972 on Harvest HAR 5049

14. Mr. Crosby - Non-Album 2nd B-side on the UK 7" single to "Gone Blue" released March 1972 on Harvest HAR 5049

15. Hurricane Man/Rock 'n' Roller

16. Roccococooler

17. Eviction

18. Oh You Crazy Boy!

19. Things On My Mind

Tracks 15 to 19 are Side 1 of their fifth studio album "Oora" - released May 1973 in the UK on Harvest SHVL 810.

Disc 4 (65:29 minutes):

1. Exhibits From A New Museum/Green Lights

2. Face From A Window/Pretty/Hi-Jack Boogie/Slow Down

3. Capers

Tracks 1 to 3 are Side 2 of their fifth studio album "Oora" - released May 1973 in the UK on Harvest SHVL 810.

Live At Hyde Park, London, 18 July 1970 (Previously Unreleased)

4. Love In The Rain

5. Silver Needle

6. Drop Out Boogie

7. Refugee

8. American Boy Soldier

9. Out Demons Out

Band: 

EDGAR BROUGHTON - Lead Guitar and Vocals

VICTOR UNITT - Guitars (on "Edgar Broughton Band", "In Side Out" and "Oora")

"In Side Out" and "Oora")

ARTHUR GRANT - Bass

STEVE BROUGHTON - Drums and Vocals

Guests:

Vocalists The Ladybirds are on the "Edgar Broughton Band" album  

Mike Oldfield (Mandolin) and David Bedford (Piano) on the "Edgar Broughton Album"

David Bedford Arranged Strings and Wind Instruments on the "Oora" album 

Vocalists Doris Troy, Lisa Strike and Madeline Bell are on the "Oora" album

The 8-page booklet feels miserly and the recording/discography on the leaves beneath the see-through CD trays at the front and rear of the double jewel case is more of a hassle to access than a joy to read (microscopic print). There are some photos of the boys and new interviews by HUGH GILMOUR with the brothers Edgar and Steve about the band's history as a power trio (later joined by Guitarist Victor Unitt) with anecdotes about Harvest Records - backing Blind Faith in front of a huge crowd in London's Hyde Park - praising Peter Mew's Abbey Road Remasters (the whole set sounds amazing). I can’t help thinking it could have been done much better...

Sounding not unlike Captain Beefheart with a rage at society - "Wasa Wasa" contains very dated material like "American Soldier Boy" where they stick in a few jabs at the mindless Vietnam War and the young minds being sent there but still end up sounding like their slagging of kids with no choice. The single "Out Demons Out" has become a signature for them. The very Psychedelic 2nd platter features the ad-nauseam repetition of the word 'negative' on "There's No Vibrations But Wait!" but the clever lyrics bludgeon rather than hammer home the point. "The Moth" though shows real growth - a brilliant acoustic beginning goes wild after a while only to return to the opening acoustic refrain. Beefheart and even The Stooges get channelled in the angry "Momma's Reward..." while "Refugee" is just crap to me. Edgar goes the full Trout Mask Beefheart on Side 2's "Psychopath" - weird sounds accompanying his strangulated 'my dream...you should have heard her scream...' lyrics against a discordant rhythm (oh dear).

But the 3rd self-titled album is an altogether different beast – a long way from 1968 to 1971. The "Edgar Broughton Band" album is accomplished ("Even Over Rooftops" which features The Ladybirds on Backing Vocals) – has hard-hitting social commentary in "The Birth" - acoustic Brinsley Schwarz whimsy in "Piece Of My Own" where they long for a house of wood in the hills as the American fiddles play and a big black eagle flies in the sky above. Both the acoustic "Poppy" and the Richard Thompson guitar chug of "Don't Even Know Which Day It Is" display world-weariness that feels real - lost in the 'new confusion' - fantastic guitars carrying the 'crying inside'. There's even prettiness in "Thinking Of You" (Mike Oldfield and David Bedford contribute Mandolin and Piano respectively) and clever guitar parts in the very Kevin Ayers "Getting Hard/What Is A Woman For?" that goes all Bluesy halfway through and grows to a huge string-ending (shame about that crappy title though). "Hotel Room" asks would you give me your assistance even though you don't know my name - the acoustic strums and toned back voice sounding not unlike David Gilmour and Pink Floyd circa "Obscured By Clouds" - ending on the T. Rex guitar-funk of "Call Me A Liar" - a great groover with a catchy chorus that would have made a potential chart single (in edited form) akin to say Blackfoot Sue or John Kongos.

"In Side Out" came in 1972 when few were listening - which is a shame – because it’s stab at Social Welfare Britain deserved ears. "Get Out Of Bed..." is a three-part song that finds our boys once again searching - down a tunnel without light - emerging into another morning hoping their guitars and harmonica will lift the mood. After an acoustic ditty about comrade "Sister Angela" – we get another angry Edgar vocal in "I Got Mad" – a no-more-war song to a backdrop of melodic guitars. There’s an almost Rock ‘n’ Roll sloppiness to the guitars of "They Took It Away" as everything from furniture to free speech gets taken away. "Homes Fit For Heroes" is the kind of fighting-for-their-rights acoustic ballad Ray Davies would have written for The Kinks – depressing in subject matter (shafted soldiers) – but poignant. Someone thought "Gone Blue" would make a single (Harvest HAR 5049 in March 1972) – but its ‘hole in the back of her head’ and needle references might have put the squids up the BBC. Far better is the lonely guitar and distant vocals of "Chilly Morning Mama" – the kind of song that stays with you even though it initially feels slight (brilliant little tune).

The elaborate plastic outer sleeve artwork to the final album "Oora" from 1973 is nowhere to be seen – but we audible progress in the group’s sound. David Bedford arranged the Strings and Woodwinds and the Soulful trio of lady backing singers add a lot of weight to the walls of acoustic guitars - Doris Troy, Lisa Strike and Madeline Bell. Highlights include "Hurricane Man/Rock ‘n’ Roller" and "Things On My Mind" where the music feels more Richard Thompson than the Beefheart of old. The near eleven-minute "Face From A Window..." suite that opens Side 2 is ambitious stuff – once again the ladies giving it a very Bowie feel as the guitars strum and funk.

Despite Prog and Alternative dominating these seminal years - the Edgar Broughton Band didn't chart anything in their own Blighty and it's easy to hear why. But it's also obvious too as to how they engendered such cult status – the EBB made a uniquely British Prog sound – angry like Terry Stamp and Jim Avery in 1971's Third World War over on Fly Records (see separate review) - adventurous like Kevin Ayers and socially-minded like Michael Chapman (other Harvest label artists).

"The Harvest Years 1969-1973" won't be for everyone – but those who loved England's EBB will relish the great new audio and those cool rarities all in one place. A job well done...