“No Dice” by BADFINGER. (2010 Apple 'Expanded' CD Remaster) - A Review by Mark Barry...

"…Knock Down The Old Grey Wall…Be A Part Of It All…"

Monday 25 October 2010 in the UK saw 14 of the Apple Label albums remastered and reissued (see list below) - alongside a first-time-ever label 'Best Of' compilation CD not surprisingly called "Come And Get It" (named after a huge BADFINGER hit penned by Paul McCartney specifically for the band). This zippy little expanded CD reissue of their 2nd album "No Dice" is one of them.

"No Dice" by BADFINGER on Apple 5099990580727 (Barcode 5099990580727) is an 'Extended Version' CD Reissue/Remaster and breaks down as follows (57:42 minutes):

1. I Can't Take It

2. I Don't Mind

3. Love Me Do

4. Midnight Caller

5. No Matter What

6. Without You

7. Blodwyn

8. Better Days

9. It Had To Be

10. Watford John

11. Believe Me

12. We're For The Dark

Tracks 1 to 12 are the Stereo LP "No Dice" by BADFINGER released 27 November 1970 in the UK on Apple SAPCOR 16 and on Apple SKAO-3367 in the USA (it reached number 28 on the American Billboard Top 100). Note: "Love Me Do" is not a Beatles cover - but a Joey Molland original and "Without You" is the song made famous by NILSSON (Number 1 in the UK in February 1972).

BONUS TRACKS: 

Tracks 13 to 17 are all previously unreleased and exclusive to this 2010 reissue:

13. "I Can't Take It" is an Extended Version - 4:14 as opposed to 2:55minutes

14. "Without You" is a Studio Demo Version

15. "Photograph (aka "Friends Are Hard To Find')" is a Previously Unreleased Version

16. "Believe Me" is an Alternate Version

17. "No Matter What" is a Studio Demo Version

Requiring extra payment there are also 2 more tracks available via Digital Download from iTunes or Amazon - an Instrumental Version of "Love Me Do" and an Extended Stereo Version of "Get Down" (see either site for details).

BOOKLET/PACKAGING:

The gatefold sleeve of the original vinyl LP is reproduced while noted writer and music lover ANDY DAVIS does the new liner notes for the booklet (they're all a disappointingly weedy 12 pages long - EMI pushes the boat out again people). But with what little text he has been afforded, Davis does at least fill it with properly informative details - and there are 4 superb colour portraits of the band - PETE HAM, TOM EVANS, JOEY MOLLAND and MIKE GIBBINS.  It's cute, but you do wish there was more...

PLAYERS/CONTENT:

The original album was produced by GEOFF EMERICK of Beatles/Abbey Road fame (except for "No Matter What", "Believe Me" and the bonus tracks from 14 through to 17 which were produced by MAL EVANS). Unlike so many of the sessions of the time, the recordings 'didn't' include a number of The Beatles and their talented friends - so the band got to shine all by themselves.

SOUND:

The same team that handled the much-praised 09/09/09 Beatles remasters has done this too - GUY MASSEY, STEVE ROOKES, SAM OKELL and SIMON GIBSON. The audio quality is BEAUTIFUL - a massive improvement - makes you reassess a lot of the songs.

The album opens strongly with a Pete Ham original "I Can't Take It" - rocking guitars and pumping brass - it sounds really great. It's followed by the Big Star feel of "I Don't Mind" co-written by Tom Evans and Joey Molland - a song that starts out gently and then builds into an impressive melodious tune - it's excellent. Not so I'm afraid with "Love Me Do" (no relation to The Beatles song) - it's a poor man's rocker and doesn't really work. But then you're hit with a double-whammy of Badfinger excellence - "Midnight Caller" and the sublime "No Matter What" (lyrics above). Both stand the test of time - especially "No Matter What" - surely a contender for a Top Ten position in the list 'best 7" single ever released'.

"Without You" would of course be taken by NILSSON and transformed into one of the most extraordinarily powerful cover versions ever made. I heard in a car on the radio a few weeks back in the early morning on the way into work - and to this day it moves me - its opening chords still capable of calling up a shivering memory. "Blodwyn" is a ditty while the excellent "Better Days" turned up as the B-side to the UK 7" single of "No Matter What" (Apple 31) in November 1970 - they used "Carry On Till Tomorrow" as the B on the USA 7" (Apple 1822) - a track off their debut album "Magic Christian Music". The Mike Gibbins penned "It Had To Be" is a lovely song, while the band-composed "Watford John" is a rocker written about an Apple Studio Engineer called John Smith. The last two on the album are huge favourites among fans - Tom Evans' sweet "Believe Me" and Pete Ham's acoustic "We're For The Dark" - accomplished playing, melody builders - both define that certain 'Badfinger' sound. They end the album proper on a definite musical high note.

But like the other issues in this series, the best seems to be kept until last. Having grown used to the short album cut of "I Can't Take It" - I must say that I love the way it's spread out more on the fantastically rocking 'Extended Version'. You can see why it was cut, but in 2010 I'll take the 'indulgent' version any day of the week. Then fellows the 'Demo' of "Without You" which I find more affecting than the finished track - more akin to what Nilsson did with it - it's a gem. "Photograph" is a rough rock song - it's good, but it's eclipsed big time by a sweet-as-honey Alternate Take of "Believe Me" with more Piano and Electric Guitar - what a treat. The 'Demo' of "No Matter What" is close to the finished track, but without that killer electric guitar that made it. I must say that the bonus tracks are impressive rather than being superfluous. Very, very good indeed...

Niggles - the 2 download tracks will be desirable to fans and making them pay extra dollars for them via Download is cheapskate and crappy - and as you can see from the playing time above, there was plenty of room to include them on here (they're available as hardcopy on the double-CD that comes with the "Apple Box Set"). The gatefold card sleeve is nice to look at for sure, but the booklet and overall packaging feel lightweight (what EMI could get away with). The CD should also have one of those gauze inner bags to protect it - a problem that no record company seems to want to acknowledge (scuffing and damage). They're minor points I know, but they're worth making...

One star or Five - Badfinger have always divided people - many calling them one of the great overlooked bands of the period - others calling them lightweight. I'd say that if you're coming to them cold in 2014 then it's probably somewhere in between. But fans will see it differently - they will eat this reissue up big time. To sum up - I still see "No Dice" as a great album - with songmanship that shines through even now. And they repeated that craft and warmth on their next album "Straight Up" too.

Recommended - especially given the massive improvement in sound quality and those shockingly good bonus tracks.

The October 2011 Apple CD Remasters are (I've reviewed most):

1. Magic Christian Music - BADFINGER (January 1970)

2. No Dice - BADFINGER (November 1970)

3. Straight Up - BADFINGER (1972)

4. Ass - BADFINGER (1974)

5. Postcard - MARY HOPKIN (1969)

6. Earth Song - Ocean Song - MARY HOPKIN (1971)

7. Is That What You Want? - JACKIE LOMAX (1969)

8. Under The Jasmine Tree / Space - THE MODERN JAZZ QUARTET (1968 and 1969 - 2LPs on 1CD)

9. That's The Way God Planned It - BILLY PRESTON (1969)

10. Encouraging Words - BILLY PRESTON (1970)

11. The Radha Krishna Temple - THE RADHA KRISHNA TEMPLE (1971)

12. The Whale / Celtic Requiem - JOHN TAVENOR (1970 and 1971 - 2LPs on 1CD)

13. James Taylor - JAMES TAYLOR (1968)

14. Doris Troy - DORIS TROY (1970)

“Doris Troy” by DORIS TROY (2010 Apple 'Expanded' CD Reissue/Remaster) - A Review by Mark Barry...

"…Every Time I See You…You Keep On Coming On Strong…"

Released 25 October 2010 (along with 14 other CD titles on Apple) - Doris Troy’s self-titled album for The Beatles’ Apple label is a strange hybrid between 1970 Soul and Pop that works well on both fronts (if not a little awkwardly at times). 

"Doris Troy" by DORIS TROY on Apple 5099990824326 (Barcode 5099990824326) is an 'Expanded' CD Reissue/Remaster and breaks down as follows (65:07 minutes):

1. Ain’t That Cute

2. Special Care

3. Give Me Back My Dynamite 

4. You Tore Me Up Inside 

5. Games People Play 

6. Gonna Get My Baby Back

7. I’ve Got To Be Strong 

8. Hurry

9. So Far

10. Exactly Like You

11. You Give Me Joy Joy

12. Don’t Call Me No More 

13. Jacob’s ladder 

Tracks 1 to 13 are the LP "Doris Troy" released 4 September 1970 in the UK on Apple SAPCOR 13 (Stereo only) and on Apple ST-3371 in the USA. “Doris Troy” was her only solo album for The Beatles label but she also sang and co-wrote many songs on Billy Preston's two Apple albums - "That's The Way God Planned It" (1969) and "Encouraging Words" (1970) - see separate reviews.

BONUS TRACKS: 

Tracks 14 to 18 are the 5 bonus tracks on the 1992 reissue: 

"All That I've Got (I'm Gonna Give It To You)" (14) is co-written with Billy Preston. The song was his 3rd single on Apple in January 1970 (APPLE 21) - this is a different funkier take. 

"Get Back" (15) is a soulful cover of The Beatles classic. It turned up as the non-album B-side to Doris Troy's 2nd single "Jacob's Ladder" issued 28 August 1970 on APPLE 28 in the UK.

"Dearest Darling" and "What You Will Blues" (16 and 17) are Doris Troy originals - outtakes from the sessions first issued as bonuses on the 1992 reissue. "What You Will Blues" is essentially an instrumental version of "Give Me Back My Dynamite" with some extra wordless ad-lib vocals. 

"Vaya Con Dias" (18) is a mid-Fifties song first covered by Les Paul and Mary Ford, then Chuck Berry in the Sixties and others. It translates into "Go With God" and was the non-album B-side to her 1st single "Ain't That Cute" issued 13 February 1970 on APPLE 24 (co-produced be George Harrison). 

Track 19 is a new bonus for this 2010 issue - a previously unreleased 'Alternate Version' of "All That I've Got (I'm Gonna Give It To You)". 

BOOKLET/PACKAGING: 

Noted writer and music lover ANDY DAVIS does the new liner notes for the disappointingly weedy booklet (they all appear to be this generic length - 12 pages - EMI pushes the boat out again people). But with what little text he has been afforded, Davis does at least fill it with properly informative details - and it's peppered with some very tasty black and white photos of Doris, Stephen Stills and George all in the studio - with colour portraits of Doris solo and live with Billy Preston at the piano.  It's cute, but you do wish there was more...

CONTENT:

Two are co-written with GEORGE HARRISON - "Ain't That Cute" and "Give Me Back My Dynamite" while "Gonna Get My Baby Back" and "You Give Me Joy Joy" are shared songwriting-credits with Harrison and two other famous fans of Doris - RINGO STARR and STEPHEN STILLS. Cover versions include "Special Care" (a Stephen Stills song from his Buffalo Springfield days), "Games People Play" (Joe South), "Exactly Like You" (a 1930's Jazz Standard written by Jimmy McHugh and Dorothy Fields and brought to fame by The Ames Brothers) and "Jacob's Ladder" (a Traditional air arranged by George Harrison & Doris). "You Tore Me Up Inside" and "Don't Call Me No More" are co-written with New York blues guitarist RAY SCHINNERY and "I've Got To Be Strong" is with fellow label mate JACKIE LOMAX. The last two collaborations are "Hurry" with GREGORY CARROLL and "So Far" with bassist KLAUS VOORMAN (appeared on "Revolver"). Doris produced the whole album except "Ain't That Cute" which was done by George. Special mention should also go to Harrison’s aggressive guitar work on “Give Me Back My Dynamite” which you kind of wished was included on “All Things Must Pass” (it’s that good). 

PLAYERS:

Like so many of the sessions of the time, the recordings included some of The Beatles and many famous and talented friends - George played Guitar, Ringo on Drums, Klaus Voormann did the Bass with Stephen Stills, PETER FRAMPTON, ERIC CLAPTON and DELANEY BRAMLETT all on Guitar. BILLY PRESTON added keyboards - and although it doesn't say it - MADELINE BELL is probably on backing vocals too. 

Unlike some of the other Apple issues, there are no extra tracks via download. But the really big news is the SOUND...

SOUND:

The same team that handled the much-praised 09/09/09 Beatles remasters have done this - GUY MASSEY, STEVE ROOKES, PHIL HICKS and SIMON GIBSON. The audio quality is BEAUTIFUL - a massive improvement. It also makes you reassess a lot of the songs and especially the musicianship involved. 

The drums on "Give Me Back My Dynamite" (lyrics above) and the combined guitar licks on "You Tore Me Up Inside" (so Staple Singers on Stax) are nice and clear. The guitar and brass on "I've Got To Be Strong" are suddenly huge - great whack, but the strings on the orchestral "So Far" still seem too distant. Still, it's a lovely song and it features "you hurt me so" impassioned vocals.  It's probably the nicest song on here and easy to see Doris wanted to work with Voormann more - a killer combination of his melodic rock with her Diva Soul. It all ends in the 'praise the Lord' bombast of "Jacob's Ladder" complete with spoken studio dialogue after the song finishes...

Issued 4 September 1970 - a week before Billy Preston's equally brilliant "Encouraging Words" on the 11th - both albums can be mentioned in the same breath because they were very confident soulful affairs - and must have made fans think that these white English guys at Apple were catalysts supreme. Two crackers in the same month...

But you could say that the best is kept until last - the new 'Alternate Version' of "All That I've Got (I'm Gonna Give It To You)" is a gem. The version on Track 14 is a Piano led take (which is pretty), but this is a Funkier Guitar take and is a lot better for it. Like the previously unreleased from-the-vaults tunes on both Billy Preston CD reissues - this is that genuine rarity - a must-have bonus track. 

Niggles - the gatefold card sleeve is nice to look at for sure, but the booklet and overall packaging feel lightweight (what EMI could get away with). The CD should have one of those gauze inner bags to protect it - a problem that no record company seems to want to acknowledge (scuffing and damage). They're minor points I know, but worth making...

To sum up - like the two Preston albums she was involved with in 1969 and 1970 - I've loved rehearing this forgotten LP in hugely improved sound quality. Seventies Soul lovers 'need' to discover this record. A great reissue...

PS: see also my reviews for other releases in this October 2010 series:

"That's The Way God Planned It" (1969) and "Encouraging Words" (1970) by Billy Preston, "Doris Troy" (1970), "James Taylor" (1968), "Is This What You Want?" (1969) by Jackie Lomax, "Magic Christian Music" (1969), "No Dice" (1970), "Straight Up" (1972) and "Ass" (1973) by Badfinger

“Lie Back And Enjoy It” by JUICY LUCY. A Review Of Their 2nd Album From 1970 On Vertigo Now Reissued By Esoteric Recordings In 2010.

"…Ain’t Going Down That Lonesome Road…All By Myself…"

Released in September 1969 – JUICY LUCY’s self-titled debut LP was only the second album on the then new progressive rock label VERTIGO Records. And on the back of their blistering UK 7” single “Who Do You Love” which was lifted off the record and released in February 1970 - the "Juicy Lucy" album finally charted in the UK in April 1970. And that’s where this cool little CD reissue kicks in. "Lie Back And Enjoy It" was their hurriedly recorded follow-up LP (featuring a radically altered band line-up) – and it’s mid-price expanded CD reissue by the renowned Esoteric Recordings Label (part of Cherry Red) is a welcome boogie blast from my distant past…

UK released August 2010 (reissued June 2015) - "Lie Back And Enjoy It" by JUICY LUCY on Esoteric Recordings ECLEC2216 (Barcode 5013929731646) is an 'Expanded Edition' CD Remaster and breaks down as follows (39:08 minutes):

1. Thinking Of My Life

2. Built For Comfort

3. Pretty Woman

4. Whisky In My Jar

5. Hello L.A. Bye Bye Birmingham

6. Changed My Mind, Changed My Sign

7. That Woman’s Got Something

8. Willie The Pimp/Lie Back And Enjoy It Medley

Tracks 1 to 8 are the album "Lie Back And Enjoy It" released October 1970 in the UK on Vertigo 6360 014. The album charted at number 53 on the UK LP charts for one week in November 1970. Their next two albums were on the 'Bronze' and 'Polydor' labels ("Get A Whiff A This" from 1971 and "Pieces" from 1972).

Track 9 "I'm A Thief" (Mono) is the non-album B-side to their second 7" single "Pretty Woman" (Track 3 on Side 1). It was released September 1970 in the UK on Vertigo 6059 015 (also on the Spiral label) but failed to chart.

Boasting a new 24-bit remaster by BEN WISEMAN at Audio Archiving in London (it was first put out by Repertoire in 1994) - it's also available digitally at www.losttunes.com.

The 5-piece for this LP featured PAUL WILLIAMS on Lead Vocals, Congas & Piano [ex Zoot Money’s Big Band] with GLENN ROSS CAMPBELL on Lead Guitar, Mandolin and Vocals [ex The Misunderstood], MICKY MOODY on Guitars [ex Tramline, Mike Cotton Sound - later with Snafu, Whitesnake & duet work with Paul Williams], CHRIS MERCER on Saxophones & Keyboards [ex John Mayall's Bluesbreakers], KEITH ELLIS on Bass & Vocals [ex Koobas and Van Der Graaf Generator] and ROD COOMBES on Drums and Percussion.

Building on the greasy slide-guitar boogie-band feel of their self-titled debut, “Lie Back And Enjoy It” went down the same road – only this time they’d replaced Ray Owen as Lead Vocalist with Paul Williams and Neill Hubbard’s guitar work with that of Micky Moody. Like the first album it’s a mixed batch of the great and the ordinary. The Paul Williams penned “Pretty Woman” was released as the album’s only single and you can instantly hear why – catchy as a cold in Margate. The cover of the Willie Dixon song he gave to Howlin' Wolf "Built For Comfort" is less successful as is the awful version of Zappa’s “Willy The Pimp” (although it redeems itself at about 5 minutes 34 seconds in as it fades out and suddenly turns into a lovely 2-minute long piano instrumental - not surprisingly called “Lie Back And Enjoy It”). But the track I dig the most is “This Woman’s Got Something” which was co-written by Moody, Campbell and William (lyrics above) – it’s a bluesy builder with great guitar work and has graced more than a few 70’s FEST CDs I’ve made up for shop play.

Sound - like Esoteric’s 2010 reissue of "Juicy Lucy" the audio quality is incredibly clean and crisp, full of power and a massive improvement over what I had before - a really great job done. The 16-page booklet features a really detailed account by MARK POWELL of their transition from The Misunderstood of 1966 to Juicy Lucy of 1969 and onwards into 1970 and their many line-up changes. The original album artwork was an elaborate 4-way foldout poster affair that is reproduced in parts here. There are also full-page colour-plates for each member of the band, Vertigo adverts for the group and a foreign picture sleeve of the “Pretty Woman” single. Like its predecessor, it's all very nicely done.

There are some Seventies bands I go dolally over and JUICY LUCY is one of them. And although some of the tracks on here don't quite live up to the image and promise of the elaborate sleeve - there's tunes on here that do. I've loved re-hearing this long-forgotten album.

A wicked little reissue really...

PS: Their 1st Vertigo album from September 1969 "Juicy Lucy" has also been remastered and reissued by Esoteric in 2010 with a bonus track (see separate review)

“Kooper Session: Al Kooper Introduces Shuggie Otis” by AL KOOPER and SHUGGIE OTIS (July 2007 Repertoire CD Remaster) - 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)

"...Double Or Nothing..."

An impossibly cool album from the beginnings of 1970 (recorded in 1969) - and one that’s too bleeding difficult by far to find on original vinyl LP anyway – this fantastic CD reissue comes to our Bluesy rescue in 2014.

Originally released July 2007 (reissued 2014) - "Kooper Session: Al Kooper Introduces Shuggie Otis" by ALL KOOPER and SHUGGIE OTIS on Repertoire RES 2336 (Barcode 40009910233627) comes in natty CD card digipak repro sleeve and breaks down as follows (40:46 minutes):

THE SONGS (Side 1):

1. Bury My Body [Al Kooper song] - Al Kooper on Organ, Piano & Lead Vocals, Shuggie Otis On Guitar, The Harris Robinson Singers on Backing Vocals

2. Double Or Nothing [Instrumental cover of a Booker T. & The M.G.'s song from 1967] - Al Kooper on Organ, Mark "Moogy" Klingman on Piano, Shuggie Otis On Guitar

3. One Room Country Shack [Cover of a 1949 Blues song on Specialty Records by Mercy Dee Walton] - Al Kooper on Organ, Guitar & Lead Vocals, Shuggie Otis On Guitar

4. Lookin' For A Home [Cover of a 1961 Blues Song by 'Little Buster' Forehand]

THE BLUES (Side 2):

1. 12:15 Slow Goonbash Blues [Al Kooper & Shuggie Otis song] - Al Kooper on Organ and Piano, Mark "Moogy" Klingman on Piano, Shuggie Otis On Guitar

2. Shuggie's Old Time Dee-Di-Lee-Di-Leet-Deet Slide Boogie [Al Kooper & Shuggie Otis song] - Al Kooper on Piano, Shuggie Otis On Guitar

3. Shuggie's Shuffle [Al Kooper & Shuggie Otis song] - Al Kooper on Organ and Piano, Mark "Moogy" Klingman on Piano, Shuggie Otis On Guitar

Tracks 1 to 7 are the album "Kooper Session - Al Kooper Introduces Shuggie Otis" which was first released in January 1970 in the USA on Columbia Records CS-9951 and a few months later on CBS Records S 63979 in the UK.

"Kooper Session" featured a sensational new guitar prodigy called Johnny "Shuggie" Otis Jnr - son of the Fifties Rhythm 'n' Blues legend Johnny Otis - playing alongside Al Kooper and a group of complementary blues musicians (see credits above).

Capitalizing on his success with Stephen Stills, Mike Bloomfield and the first Blood, Sweat & Tears LP, Al Kooper was not only able to get the 15-year old Shuggie signed to a major label - he then produced and played on his debut album - and used his more famous name to get Shuggie noticed. Loose and even ramshackle in places, the record showcased the young wire-haired Californian guitar player and his extraordinarily accomplished playing. And it was hip and bluesy too...

The inner-flap of the digipak reproduces the Al Kooper liner notes on the rear of the original American album, while the 8-page booklet features in-the-studio photos of the session with new notes by respected UK music-writer CHRIS WELCH.

Side One was called "The Songs" and featured structured tunes - mostly blues covers - but Side Two called "The Blues" was instrumental loose jams (you can literally hear Shuggie say "...Take 1..." at the beginning of the superb instrumental "12:15 Slow Goonbash Blues"). Stu Woods from the group ARS NOVA played Bass, while Mark Klingman played organ and piano (would later become "Moogy" Klingman in TODD RUNDGREN'S UTOPIA) - but most of the time it was a duet guitar/vocal blues battle between Al Kooper and Shuggie Otis. The false 78" crackle added onto to National Steel Guitar blues of "Shuggie's Old Time..." may have seemed like a good idea at the time, but it sounds gimmicky now and gets in the way of hearing the great guitar chops on show...

It doesn't say who did the remaster, but the sound is superb - full and none too trebled to the nines for effect. One or two of the tracks on Side 1 are a little hissy but I suspect that reflects the loose nature of the original recordings. Stateside they even tried a 7" single edit of "Bury My Body" (lyrics above) with "One Room Country Shack" as its B-side - but it made little headway. The album was well received though and paved the way for his solo debut proper - 1970's superlative "Here Comes Shuggie Otis".

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"Kooper Session" is a good bluesy-based album and this reissue is a very reasonable way of getting a now hard-to-find vinyl album (especially in the UK)...

“Later That Same Year” by MATTHEWS SOUTHERN COMFORT [feat Ian Matthews] (2008 Beat Goes On 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"…Sylvie Don't You Cry No More…”

To my knowledge only a few bands in history have released three studio albums in the same year - Creedence Clearwater Revival and Fairport Convention jump to mind - and both of those managed this feat in 1969. The UK's MATTHEWS SOUTHERN COMFORT (featuring Ian Matthews - formerly of Fairport Convention) threw out three of such things in 1970 with "Later That Same Year" being the last of the trio before Ian Matthews jumped ship and went solo. And that’s where this wonderful Beat Goes On CD Reissue and Remaster comes galloping in…

UK released June 2008 - "Later That Same Year" by MATTHEWS SOUTHERN COMFORT on Beat Goes On BGOCD 807 (Barcode 5017261208071) is an 'Expanded CD Version' of their 3rd and final album and plays out as follows (55:48 minutes):

1. To Love

2. And Me

3. Tell Me Why

4. Jonah

5. My Lady

6. And When She Smiles

7. Mare Take Me Home

8. Sylvie

9. Brand New Tennessee Waltz

10. For Melanie

11. Road To Ronderlin

Tracks 1 to 11 are the British track listing for the album “Later That Same Year” released in the UK in November 1970 on MCA Records MKPS 2015. It was recorded at Morgan Studios in London and produced by Ian Matthews. "Later That Same Year" was belatedly released in the USA (as was the "Woodstock" single) on Decca DL 75264 in April 1971 and had a different 11-track run. If you want to sequence the US LP version from this CD it runs as follows:

Side 1: 12, 1, 2, 3, 5, 6

Side 2: 7, 8, 9, 10, 11

[Note: Track 4 on Side 1 of the UK LP "Jonah" was left off the US LP]

BONUS TRACKS:

12. Woodstock

13. The Struggle

14. Parting

15. Scion

Tracks 12 and 15 ("Woodstock" b/w "Scion") was the band's biggest hit single. Although she famously didn’t attend the August 1969 three-day concert - Joni Mitchell wrote "Woodstock" about the event and initially gave the song to Crosby, Stills, Nash & Young. They put out a rocking version of “Woodstock” on their 2nd album "Deja Vu" in 1970 which Ian heard and loved. However, Ian Matthews slowed the song down and softened the feel considerably – and in doing so – somehow captured the positive vibe of the time. "Woodstock" was first released in July 1970 in the UK on Uni Records UNS 521 with "Scion" as its B-side - both tracks being non-album at the time. Constant BBC Radio 1 airplay eventually saw it crawl to Number 1 in September 1970. Rather stupidly MCA didn't include it on the UK LP so "Later That Same Year" didn’t even crack the Top 50 album chart – even with a Number 1 single buzzing around it. The US single on Decca 32774 was issued in April 1971 with "Ballad Of Obray Ramsey" as its B-side (see note below) where it reached number 23 on the charts.

Tracks 13 and 14 are also non-album songs. Track 13 "The Struggle" was the B-side to "Colorado Springs Eternal" a single lifted from their debut album "Matthews Southern Comfort" released early in 1970. The British 45 was issued January 1970 on Uni Records UNS 513 and is said to feature Richard Thompson of Fairport Convention on Guitar.

Track 14 "Parting" was the B-side to "Ballad Of Obray Ramsey" lifted off their 2nd LP "Second Spring" - the 45 was issued May 1970 in the UK on Uni Records UNS 521.

I’d have to say that a downside for US fans is the exclusion of "Ballad Of Obray Ramsey" - the USA B-side to "Woodstock" - but it is available on another BGO release which gathers up the first and second albums in their entirety onto 1 CD – "Matthews Southern Comfort" and "Second Spring" on BGOCD 313 issued back in June 1996.

The original tapes have been remastered by ANDREW THOMPSON at Sound Performance and the transfer is stunningly clean and clear – a really great job done – especially after having to do with budget-label dull-sounding CDs until now. The 8-page booklet has informative and affectionate liner notes by noted compiler DAVID WELLS and there’s a classy card wrap on the outside (a sort of visual trademark for BGO releases in the last few years).

I’ve always thought that “Later That Same Year” was their best album. There’s three superb Matthews originals – “And Me”, “My Lady” and “Road To Ronderlin”. Even better (and a source of consternation within the band) are the three goodies from guitarist CARL BARNWELL – especially the gorgeous “Sylvie” (lyrics above), which practically defines their mellow and laid back sound. Other notables are the last track on Side 1 “And When She Smiles” and the opening track of Side 2 “Mare, Take Me Home” which were both written by Alan C Anderson (“Big” Al) of the US band THE WILDWEEDS who had a lone album appear in early 1970 in the US on Vanguard VSD 6552. He later joined NRBQ and is still active in writing country songs to this day. The Carole King cover “To Love” (off her “Writer” LP) is a jaunty opener while their version of Neil Young’s “Tell Me Why” is as lovely as his “After The Gold Rush” original.

So there you have it – a really good album - a beautiful remaster and it’s all properly presented too. For those who love their Seventies mellow and melodious – this superb little CD is one to bring you peace, love and understanding…

“My Feeling For The Blues” by FREDDIE KING. A Review of his US-Only 1970 Album on Cotillion Records Reissued By Repertoire on CD in 1991.

"…One Day We Have Ham And Bacon…And The Next Day…Ain’t Nothin’ Shakin’…"

The mid to late Sixties was a strange and difficult time for many Blues men – most were without contracts, forgotten and under-appreciated - then the Blues boom happened (particularly in the UK) and many had their careers kick-started again. Freddie King was no exception.

His last album had been for Federal in 1964, but with a new lease of life on the mighty Atlantic label, he produced two much revered LPs in rapid succession. The first was “Freddie King Is A Blues Master” released in 1969 on SD 9004 and then this peach - “My Feeling For The Blues” on Cotillion SD 9016 released in early 1970.

This 1991 Repertoire CD (REP 4170-WZ) is a straightforward transfer of that second 11-track album (36:03 minutes).

Ace saxophonist KING CURTIS produced the record - with all arrangements by Atlantic’s newest soul protégé DONNY HATHAWAY (except “Woke Up This Morning” which was Arranged by King Curtis).

The musicians for the sessions were:
Lead Guitar & Vocals – FREDDIE KING
Rhythm Guitar – CORNELL DUPREE
Tenor Saxophones – GEORGE COLEMAN and FRANK WESS
Tenor & Baritone Saxophones – TREVOR LAWRENCE and WILLE BRIDGES
Trumpets – ERNIE ROYAL and MARTIN BANKS
Piano – GEORGE STUBBS
Bass – JERRY JEMMOTT
Drums – KEVIN RICE
“What’d I Say” features Bass Marimba and Sax Solo by KING CURTIS
“You Don’t Have To Go” and “The Things I Used To Do” feature Harmonica by HUGH McCRACKEN

The 3-way foldout inlay has a brief but informative history of King’s career by BERND MATHEJA that is sided on Page 3 by a selected Discography. Although licensed from East West, it doesn’t advise who remastered what – but the sound quality is great nonetheless – clean, muscular and so enjoyable. Repertoire as a label has always had a good reputation when it comes to transfers.

Side 1 opens with the down and dirty “Yonder Wall” which not surprisingly for the date it was recorded name-checks men coming home from the Vietnam War. It’s followed by a cracking Freddie King instrumental called “The Stumble” – the kind of cool boppin’ blues tune that turns up on those hip compilations you read about. “I Wonder Why” and “Stormy Monday” (BB King and Jimmy Witherspoon covers) get the brassy treatment like “Yonder Wall” to great effect, while Side 1 ends with a wonderful take on Willie Mabon’s “I Don’t Know” with the bass really forward and funky in the mix.

Side 2 opens with a version of Ray Charles’ “What’d I Say” that builds like the Atlantic original did, which is followed by one of my favourites, a fabulous soulful take on Jimmy Witherspoon’s standard “Ain’t Nobody’s Business What We Do” (lyrics above). It’s followed by a superb harmonica driven shuffle, a cover of Jimmy Reed’s “You Don’t Have To Go” which features Freddie giving it some funky blues – such a cool number. The pace is then expertly changed to another “…my baby is gone…” song, a cover of B.B. King’s “Woke Up This Morning” with punchy brass fills (you can hear Hathaway’s soulfulness in a lot of the arrangements).

This album has been reissued subsequently in 2008 by another company but apparently the sound isn’t the greatest; the only other stop is the July 2009 Bear Family Box Set called “Taking Care Of Business” that covers everything from 1956 through to 1973 across 7 CDs and a Hardback Book - a Christmas treat I feel certain I’m going to allow myself.

Born in 1934, Freddie King suffered a heart attack at a concert in December 1976 and passed away two days later. Name-checked by hosts of luminaries like Eric Clapton and Peter Green, on hearing this totally forgotten peach of an album, it’s easy to see why this bluesman is remembered with such affection.

A nice CD and worth seeking out - next stop the bank-manager and Bear Family’s stupendous box set…