There's Something About 1970...

Tuesday, 11 October 2016

"The Band" by THE BAND (2000 Capitol 'Expanded Edition' CD Remaster of their 2nd album) - A Review by Mark Barry...

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"The Band" by THE BAND - UK LP on Capitol Records E-ST 132 in January 1970

"...Ain't No Reason To Hang My Head..."

Sounding like it was recorded in Uncle Bob's Basement and Garage (they used a house in the Hollywood Hills owned by Sammy Davis, Jr and padded it out with blankets and wood) - The Band's self-titled second album delivered on the promise of their 1968 debut "Music From Big Pink" in a huge way. Today it's revered as an Americana classic and this cool little CD Remaster from 2000 hammers that home big time. Here are the rag mama rags...

Released September 2000 - "The Band" by THE BAND on Capitol 525 3892 (Barcode 724352538928) is an 'Expanded Edition' CD Remaster and breaks down as follows (71:57 minutes):

1. Across The Great Divide

2. Rag Mama Rag

3. The Night They Drove Old Dixie Down

4. When You Awake

5. Up On Cripple Creek

6. Whispering Pines

7. Jemima Surrender [Side 2]

8. Rockin' Chair

9. Look Out Cleveland

10. Jawbone

11. The Unfaithful Servant

12. King Harvest (Has Surely Come)

Tracks 1 to 12 are their 2nd album "The Band" - released September 1969 in the USA on Capitol Records STAO-132 and January 1970 in the UK on capitol Records E-ST 132.

BONUS TRACKS:

13. Get Up Jake (Outtake - Stereo Mix)

14. Raga Mama Rag (Alternate Vocal Take - Rough Mix)

15. The Night They Drove Old Dixie Down (Alternate Mix)

16. Up On Cripple Creek (Alternate Take)

17. Whispering Pines (Alternate Take)

18. Jemima Surrender (Alternate Take)

19. King Harvest (Has Surely Come) (Alternate Performance)

THE BAND was:

GARTH HUDSON - Organ, Clavinette, Piano, Accordion, Soprano Tenor & Baritone Sax and Slide Trumpet

RICHARD MANUEL - Vocals, Piano, Drums, Baritone Sax & Mouth Harp

LEVON HELM - Vocals, Drums, Mandolin & Guitar

RICK DANKO - Vocals, Bass, Violin & Trombone

ROBBIE ROBERTSON - Guitar

Compiled by Cheryl Pawelski and Andrew Sandoval - the 16-page booklet has fantastically comprehensive liner notes by ROB BOWMAN that feature interviews stretching back twelve years (from 2000), photos of tracking sheets, mix instructions, American 45s and Picture Sleeves, trade adverts, colour snaps from the session in the house - and even a Time Magazine cover from January 1970. It's very well done as befits an album of this stature. But the big news is a great remaster by DAN HERSCH and ANDREW SANDOVAL. Recorded outside of a conventional studio in a loose manner and with `feel' being all-important - the tracks vary in sound quality. And you have to say that this remaster allows the whole lot to `breathe'. On tracks like "King Harvest (Has Surely Come)" and the beautiful "Whispering Pines" where hiss is more than evident - the transfers haven't tried to supress it - but given it space to shine - it's properly lovely.

Almost a mission statement as to `this is how we sound - love it or lump it' - the openers "Across The Great Divide" and the single "Raga Mama Rag" establishes that `Band' sound and feel. The joviality abates for the epic "Virgil Cane" Civil War ballad "The Night They Drove Old Dixie Down" with Levon Helm sounding literally like a beaten soldier from the South. It's one of Robbie Robertson's finest songwriting moments. Richard Manuel and Garth Hudson do a great vocal trade off on "When You Awake" but Manuel's lead on "Whispering Pines" is probably most people's crave - a gorgeous melody with all those croaking voices harmonizing and that organ giving it a church on Sunday backdrop. It ends Side One perfectly.

We go into boogie mode for "Jemima Surrender" - a top-notch chugger with the group sounding like they're enjoying themselves while discovering a special chemistry ("I'll bring over my Fender and play all night for you..."). But the biggies are the two finishers - Rick Danko sings "The Unfaithful Servant" where "that train is comin'..." and the malevolent "King Harvest (Has Surely Come)" is handled by Richard Manuel. There's even traces of Little Feat's funky sound in its 1969 grooves. The extra tracks provide a fabulous insight into the recording process - beginning with a real find - an outtake called "Get Up Jake" considered at the time as one too many for the album - its great. Listening to a string of Alternate Takes of songs you've known for decades is a strange and exhilarating experience - the acoustic "Dixie" is unbelievably intimate with its false starts and great sound. A keyboard-funky "Up On Cripple Creek" follows - but the real prize has to be another version of "Whispering Pines" which is just as achingly beautiful as the finished cut (even when it breaks down mid-take because of a `squeaky chair'). The loose guitar jam of "King Harvest" feels like eavesdropping on "union man" Americana. Wicked...

Dirt cheap from most online retailers - this is one of those occasions where you don't have to pay through the CD nose to get that great combo of top music and quality sound. And if ever a group deserved such a sweet outcome - then The Band are it...

Monday, 10 October 2016

"Shooting At The Moon" by KEVIN AYERS and THE WHOLE WORLD (2003 EMI/Harvest 'Expanded Edition' CD Reissue - Peter Mew Remaster) - A Review by Mark Barry...

"…Gemini Child…"

Ex Wilde Flowers and Soft Machine Bassist and Songwriter KEVIN AYERS would pump out eight eclectic and often utterly brilliant albums between 1969 and 1978 – six on EMI’s Harvest and the other two on Island Records.

Time now for the digital variants of those fondly remembered doo-dahs and you have to say that EMI/Harvest have done a totally sterling job reissuing the lot on CD. The first batch of four came in June 2003 and the remainder in September 2009 (the last two on download only) – all bolstered with great bonus tracks and quality Peter Mew Remasters.

Soft Machine's Robert Wyatt jumped ship - but October 1970's "Shooting At The Moon" continued on from the Witty/Eccentric Rock of November 1969’s debut album "Joy Of A Toy". But for that difficult platter number two they were credited as Kevin Ayers And The Whole World and the band containing such future luminaries as Lol Coxhill, David Bedford, Mick Fincher and a pre "Tubular Bells" Mike Oldfield. Here are the longhaired memories...

UK and Europe released June 2003 (reissued September 2005) – "Shooting At The Moon" by KEVIN AYERS and THE WHOLE WORLD on EMI/Harvest 07243-582777-2-2 (Barcode 724358277722) is an 'Expanded Edition' CD Remaster and plays out as follows (67:15 minutes):

1. May I?

2. Rheinhardt & Geraldine/Colores Para Delores

3. Lunatic's Lament

4. Pisser Dans Un Violon

5. The Oyster And The Flying Fish [Side 2]

6. Underwater

7. Clarence In Wonderland

8. Red Green And You Blue

9. Shooting At The Moon

Tracks 1 to 9 make up the album "Shooting At The Moon" issued October 1970 in the UK on Harvest SHSP 4005 (no US release). Produced by KEVIN AYERS and KEITH JENNER (Engineer Peter Mew) - all songs by KEVIN AYERS.

BONUS TRACKS:

10. Gemini Child - Recorded June 1970 - first released on the February 1976 UK compilation LP "Odd Ditties" on Harvest SHSM 2005

11. Puis Je? - Non-album song - B-side to the 9 October 1970 UK 7" single for "Butterfly Dance" on Harvest HAR 5027 – French language version of the A

12. Butterfly Dance - Non-album song - A-side to the 9 October 1970 UK 7" single on Harvest HAR 5027

13. Jolie Madame - Recorded November 1970 - released as an album outtake on the "Odd Ditties" LP from February 1976 on Harvest SHSM 2005

14. Hat - Previously Unreleased 'Take 4' recorded 20 May 1970

MUSICIANS:

KEVIN AYERS, DAVID BEFORD, LOL COXHILL, MIKE OLFIELD and MICK FINCHER

Guests:

ROBERT WYATT – Vocals on "Colores Para Delores"

BRIDGET St. JOHN - Duet Vocals on "The Oyster And The Fish" and the outtakes "Jolie Madame" and "Hats [Take 4]"

Compiled, researched and produced by noted Canterbury Scene genre expert MARK POWELL (of Esoteric Recordings) – the 16-page booklet is festooned with rare photos and a detailed history of the album's genesis and fruition (black and white snaps of the boys swilling beer in a pub, brooding on someone's carpet and playing live in Hyde Park between recording sessions for the album). The colour photograph variants of the snaps that turned up on the rear sleeve grace Page 8 (where did all that hair go?) along with a handwritten note and display diagram from Ayers as to where he wanted the band photos to go on the album sleeve. Powell's liner notes fill in the history gaps - original members of Pink Floyd Peter Jenner and Andrew King liking Ayers' Acoustic demos - Drummer Mike Fincher joining the ranks although Robert Wyatt did fill in on some of the live dates and how the session outtake "Hat" contained Dandelion Records folky BRIDGET ST. JOHN on vocals (Ayers would eventually re-record it as "Hat Song" for the "Rainbow Takeaway" album in 1978). But all of that is trumped by the superb Audio...

PETER MEW (who originally engineered the record back in the day) has remastered the first generation tapes at Abbey Road Studios (February 2003) and has done a typically stunning job – really beautiful Sound Quality. Mew has handled hundreds of CD reissues including Dr. Feelgood, Davie Bowie, Deep Purple, Donovan, Blodwyn Pig, Electric Light Orchestra, Free, Jethro Tull, Duncan Browne, Horslips, Man, Robin Trower (and many more) – I've reviewed all of the ones mentioned. His work here is amongst his best and Ayers specifically asked for Mew to carry out the transfers.

The first nine-minute song comes in three separate parts - (a) is "May I?" which opens with traffic and our Kevin asking some pretty girl could he sit and stare at her for a while - her looks enough to lift his dreary day (the audio here is amazing). But that soon gives way to some rather dated-sounding Jazz Rock in (b) "Rheinhardt & Geraldine" which unfortunately descends into some unlistenable backwards tapes (drunk on despair) and finally returns to the opening music in "Colores Para Delores" which supposedly features Robert Wyatt but I'm buggered if I can actually hear him. Things get all Velvet Underground Rock-Funky with a two-parter - first up is "Lunatics Lament" - think "Loaded" meets the debut with an incessant Bass and Organ and treated vocals. That's followed by the notorious "Pisser Dans Un Violon" that sounds like an eight-minute bad trip - staccato noises attacking your speakers but I'm afraid little else - it's an appalling waste of space and time.

Side 2 opens with the sea-shanty "The Oyster And The Fish" and its acoustic strums and combined vocals (Ayers and Bridget St. John) sound incredible. "Underwater" sounds like its title - pianos and bent bass notes giving it their best rendition of gurgles - more nonsense. "Clarence In Wonderland" is short but typically Ayers - a 'sitting on the beach' ditty about a woman who approaches him and makes him a 'wine' offer he can't refuse (feels like the musicians all accepted her boozy invite too). "Red Green And You Blue" is pretty but the title song "Shooting At The Moon" is more hard work than it should be.

The Bonus Tracks rescue what I feel is a patchy LP - the stand-alone "...Lady lady won't you come here quick..." 7" single of "Butterfly Dance" has a charming French language version of "May I?" on its flip-side - both way better than all of the more indulgent tracks on the album. Even the outtake "Gemini Child" feels like a song that should have been on the LP too while Bridget St. John's French language vocals on "Jolie Madame" again feel like they were destined for the record but dropped for something more Avant Garde.

So there you have it – in 2016 "Shooting At The Moon" is awfully dated for sure and yet occasionally brilliant too and even beautiful in places (it was 1970 after all). Both David Bedford and Mike Oldfield would return for the beginning of the biggies - 1972's "Whatevershebringswesing" - and thereafter his albums would get progressively better ("Bananamour" from 1973 and "The Confessions Of Dr. Dream And Other Stories" from 1974 are truly wonderful things). And those extras are worth owning too.

"Shooting At The Moon" was and still is hard work - but it's a fantastic sounding reissue of a Kevin Ayers rarity you never see on original vinyl LP and if you've any love for the record - then start your moon shots here...

PS: see also my reviews for his other EMI/Harvest 'Expanded Edition' CD Remasters:

"Joy Of A Toy" (1969 Debut), "Whatevershebringswesing" (1972), "Bananamour" (1973), "The Confessions Of Dr. Dream And Other Stories" (1974), "Sweet Deceiver" (1975) and "Yes We Have No Mananas, Get Your Mananas Today" (1976)

"T. Rex: Deluxe Edition" by T. REX [Marc Bolan and Mickey Finn] (2014 Universal/A&M 2CD 'Deluxe Edition' Reissue - Sean Magee Remasters) - A Review by Mark Barry...

"...Jewels Upon Her Lips..."

In May 1970 - Marc Bolan and Mickey Finn were still TYRANNOSAURUS REX for "Beard Of Stars" (their fourth platter under that Jurassic band name). But by the release of their self-titled fifth LP in December of that same year – the dynamic Hippy-Folk duo had wisely shortened it to T. REX and began to 'Bolan Boogie' for real. And that's where this uplifting yet oddly infuriating Universal 2CD 'Deluxe Edition' comes in.

The December 1970 album "T. Rex" was Marc Bolan going Electric – itching to rock 'n' roll your daughter and wear spangly stuff in his hair on Thursday night's 'Top Of The Pops'. And followed by the brilliant and uber-catchy "Ride A White Swan" 7" single in October 1970 – the tail end of 1970 really was the first time the British Public began to sit up and notice a genuine Pop Star in their midst. "...Wear your hair long baby..." as Bolan urged in the lyrics. Let's get to the details and the jewels on his lips...

UK released March 2014 - "T. Rex: Deluxe Edition" by T. REX on Universal/A&M 534 732-2 (Barcode 600753473221) is a 2CD 'Deluxe Edition' Remaster and plays out as follows:

Disc 1 (58:34 minutes):

The Original Album

1. The Children Of Rarn

2. Jewel

3. The Visit

4. Childe

5. The Time Of Love Is Now

6. Diamond Meadows

7. Root Of Star

8. Beltane Walk

9. Is It Love?

10. One Inch Rock

11. Summer Deep

12. Seagull Woman

13. Suneye

14. The Wizard

15. The Children Of Rarn

Tracks 1 to 15 are their fifth album (first as T. Rex) "T. Rex" - released 18 December 1970 in the UK on Fly Records HIFLY 2 and in the USA on Reprise RS 6440

BONUS TRACKS:

16. Ride A White Swan - 1st single as T. Rex - 9 October 1970 UK 7" single on Fly Records BUG 1, Non-Album Track, A-side

17. Summertime Blues - Non-Album Track, 2nd B-side to "Ride A White Swan" - the LP track "Is It Love?" was Track 1 on the B-side

18. Jewel - BBC Radio One, Top Gear, Recorded 26 Oct 1970, Broadcast 7 Nov 1970

19. Woodland Bop Medley (i) Woodland Bop (ii) Conesuala (iii) The King Of The Mountain Cometh (iv) Woodland Bop

BBC Radio, John Peel's Sunday Concert, 20 Dec 1970

20. Beltane Walk - Backing Track, Mixed For BBC Radio One Club, 29 March 1971 (prepared on 2 March 1970)

21. Summertime Blues - BBC Radio One, Dave Lee Travis Show, 9 December 1970

Disc 2 (59:36 minutes):

1. The Children Of Rarn Suite

2. Jewel (Alternate Take)

3. The Visit (Alternate Take)

4. The Time Of Love Is Now (Alternate Take)

5. Diamond Meadows (Alternate Take)

6. Root Of Star (Alternate Take)

7. Beltane Walk (Alternate Take)

8. Is It Love? (Alternate Take)

10. Summer Deep (Alternate Take)

11. Seagull Woman (Alternate Take)

12. Suneye (BBC Radio One, Top Gear, 26 Oct 1970)

13. The Wizard (Alternate Take)

14. The Children Of Rarn (Take 6)

15. Ride A White Swan (Mono) - BBC TV, Top Of The Pops, 12 November 1970

16. Dark Lipped Woman (Home Demo)

17. Deep Summer (Alternate Take)

18. Meadows Of The Sea (Electric Demo)

All PREVIOUSLY UNRELEASED except Tracks 1 and 12

The four inner flaps of the gatefold card digipak are filled with repro's of NME reviews, Fly Records promotional leaflets and sepia-tinted photos of MARC BOLAN and MICKEY FINN. The original British LP came with a die-cut front sleeve where the colour photo of the two on the front would come away from the cover and is pictured on the front of the jam-packed 24-page booklet. CLIVE JONES conceived, compiled and did the Tape Research - co-ordinating his extensive efforts with JOE BLACK at Hey Joe! and NIGEL LEES at Thurderwing Productions. MARK PAYTRESS - former leading light at the Record Collector Magazine well known worldwide authority on all things Marc Bolan did the hugely detailed liner notes. They’re peppered with a large number of unseen photos, memorabilia, the lyrics and a repro of a rare "Ride A White Swan" picture sleeve. SEAN MAGEE did the mastering at Abbey Road Studios using original tapes and the Audio is different to Gary Moore's version from 2004 for the single disc reissue that came in a card slipcase. There's wonderful clarity on this new go-round of familiar material.

I'd love to state categorically that "T. Rex" is an undiscovered masterpiece - even as a fan I couldn't say that with a straight face. After a 53-second intro in "The Children Of Rarn" (the final version also under the same name is 36-seconds) - we soon get down to something way more Funky-Rock - the wickedly good "Jewel" - a nasty groove that's still exciting to me - especially that grungy sound he gets and that wild ending. That promising start is followed by five Folkies - "The Visit", "Childe" and "The Time Of Love Is Now" amongst them - those warbling acoustic strums a little clearer. It's not until we reach "Beltane Walk" does that 'commercial' T. Rex start to register and I've always loved "Is It Love?" - another clever groover. But the side and even the whole album is dominated by the nine-minute new Rex sound of "The Wizard". The "...what's it called Marc?" dialogue that preceded the 'studio chatter' version of "Ride A White Swan" along with "Poem", Take 4 of "The Visit" and the Alternate Take of "One Inch Rock" that tail-ended the 2004 Remaster are oddly absent - replaced with BBC stuff - the best of which for me is their great cover of Cochran's "Summertime Blues". Amidst Disc 2's rarities - the fifteen and a half minute version of "The Children Of Rarn" is hard to take in one swallow but that "Dark Lipped Woman" demo is fascinating as is the Electric demo of "Meadows Of The Sea".

The precursor to "Electric Warrior" in September 1971 – "T. Rex" had that hangover Tyrannosaurus material that Bolan did well to ditch. So it’s a transitional album and has always suffered from that. In fact I’d argue that the now forgotten British compilation LP "Bolan Boogie" from May 1972 (a UK No. 1) was the LP "T. Rex" wanted to be all along but just never got there.

Still there’s much to love and even though it may cost you a wee bit more than its initial LP price of 42s 5d - this T. REX 'DE' has wickedly good audio and transitional stuff worth shelling out on...

Friday, 7 October 2016

"Fire And Water" by FREE (2016 Island Remasters CD - Andy Pearce/Matt Wortham Remaster) - A Review by Mark Barry...

"... Let’s Raise The Parking Rate..."

There are few Classic Seventies Rock fans that don't worship at the unfussy feet of ILPS 9120. But it's another decade, so we get another version with yet another sound – and despite its niggling flaws – what a barnstormer this 2016 reissue is.

FREE fans will know that the October 2001 and February 2002 CD reissue campaign of all seven of their albums (six studio and one live) came with great Peter Mew remasters, decent bonus tracks and expanded booklets to match - and were mid-price at the time. Then fans were hit with the motherlode – the 18 March 2008 2CD 'Deluxe Edition' set of "Fire And Water" on Universal/Island 5306090 (Barcode 600753060902) with copious amounts of bonus cuts, previously unreleased material, tasty presentation and fab sound. There has been Japanese SHM-CD variants since and a recent beautiful Half-Speed Remaster on VINYL done at Abbey Road in 2016.

But here we are in September 2016 with another CD reissue campaign of all seven albums accompanied by an eight - the "The Free Story" compilation (a 2LP set onto 1CD). Unfortunately these new 2016 single-disc versions strip away those brilliant bonuses entirely and unwisely substitute the hugely informative liner notes of the 2001 and 2002 issues for booklets with only band photos. Essentially for "Fire And Water" and we’re back to a straightforward transfer of the 7-track 1970 LP as is – but is another purchase necessary? I'd argue its 'essential'.

Despite the neutering of bonuses and the information-less booklet and even the sloppy wrong-order of tracks on the rear inlay (see photos below) – this new 2016 reissue offers us one genuinely worthy consolation prize – a new 2016 ANDY PEARCE and an uncredited MATT WORTHAM Remaster that breathes wonderful naturalistic vitality back into the album.

On buying and reviewing the underrated "Highway", "Free At Last" and "Heartbreaker" CDs in this 2016 reissue cluster and loving their audio – I splashed out on more and the results are equally magical. In fact I'd say that "Fire And Water" here has had more real work done on it than ever before and fans will need this in their homes. Also with most of the eight being offered on Amazon at less than five pounds including P&P – you can of course argue that the price is right - and with their generic 'Island Remasters' see-through side panelling on the jewel case – they look good too. Here are the details for Mr. Big and his great big hole in the ground...

UK released Friday, 9 September 2016 - "Fire And Water" by FREE on Universal/Island Remasters 473 187-4 (Barcode 602547318749) is a straightforward CD Remaster of the 7-track 1970 UK LP and plays out as follows (35:43 minutes):

1. Fire And Water

2. Oh I Wept

3. Remember

4. Heavy Load

5. Mr. Big [Side 2]

6. Don’t Say You Love Me

7. All Right Now

Tracks 1 to 7 are their 3rd studio album "Fire And Water" - released 26 June 1970 in the UK on Island Records ILPS 9120 and August 1970 in the USA on A&M Records SP-4268. Produced by FREE and JOHN KELLY (Engineered by ROY ROGER) - it peaked at No. 2 on the UK LP charts and No. 17 in the USA.

The six missing bonus tracks on the October 2001 Island Remasters IMCD 284 (Barcode 731458622727) version are: "Oh I Wept (Alternate Vocal Take)" from the "Bumpers" 2LP Island Sampler, "Fire And Water (New Stereo Mix)", " Fire And Water (BBC Session)", "All Right Now (BBC Session)", "All Right Now (Single Version)" and "All Right Now (First Version)". As you can see from this list of missing extras - your loss is considerable – most of these bonus tracks adding huge punch to the overall vibe of the 2001 reissue.

The new booklet is 16-pages and shows an 8-Track Tape-Box photo of their most famous song 'All Right Now' on Page 2 (dated 8 March 1970) as well as other black and white photos of the band and the lyrics to the songs (which is new and welcome). Even without any album release info or background details (not even a catalogue number) – its actually the prettiest of the booklets I've seen so far. Beneath the see-through CD tray are pictures of the seven reissued albums with the eight being "The Free Story" double-album compilation from 1974 (for catalogue numbers see notes below) and the CD label repro's the UK Pink 'I' Label logo design of Island Records in early 1970. There's no liner notes giving history, details etc. and the track list for the album on the rear inlay is sloppily in the wrong order (the booklet is right).

But a fabulous new master from ANDY PEARCE and an uncredited MATT WORTHAM – who did such great work on Pentangle, Frankie Miller, Thin Lizzy, Wishbone Ash, the 2012 Rory Gallagher CD remasters and most recently the 2016 Budgie 3CD Box Set and the new 'Deluxe Editions' of the Emerson, Lake & Palmer Island catalogue (see reviews for them all) - resoundingly compensates for all of that distasteful compromise.

I've had the October 2001 single-disc Remaster and the March 2008 Deluxe Edition 2CD Reissues for years now – both of which rock – but this new September 2016 single-disc version is an entirely different aural beast. There's suddenly staggering naturality and presence to the whole LP. Pearce and Wortham let things breathe (it's a trademark of their work) – and this notoriously lo-fi recording which was apparently rejected by Island's Chris Blackwell on first hearing – has always been a brute to get right. In a recent interview with Andy Pearce on the old dog and bone – I've learned than he and Wortham (both huge fans of the band) spent more hours with “Fire And Water” than any of the others and are proud of the outcome (even if Universal forgot to credit Wortham in the booklet - a fact they're trying to rectify on the second run). The results are powerful to say the least. Their version is muscular and meaty. This is not loudness for loudness sake – not shrill so to speak – just in your face – huge power and presence - like an original tape should be. In short this CD sounds fabulous. On to the music...

Prepped by the edited single of "All Right Now" in May 1970 which raced up to number 2 in the British charts (Island WIP 6082) - the vinyl album delivered what the public seemed to already know - here was a truly great British Rock band hitting its stride. And while Lead Singer PAUL RODGERS and Guitarist PAUL KOSSOFF always pull the plaudits – both SIMON KIRKE the Drummer and especially the Bassist ANDY FRASER added so much to the mix too. Andy Fraser was only 18 at the time and along with Rodgers they co-wrote five of the sevens songs - "Fire And Water", "Remember", "Heavy Load", "Don’t Say You Love Me" and of course the mighty slayer "All Right Now". Kossoff co-wrote "Oh I Wept" with Rodgers and Fraser also had a part in the fabulous "Mr. Big" as it was written by all four.

The simplicity of "Fire And Water" is still touching somehow – barely any credits – no inner sleeve – just the basic cover and the music. The rear sleeve of the American LP on A&M Records (Tan Label) simply referred to the big hit single as "All Right Now" (5:32 minutes) - but the British album had been preceded by a truncated 7" single in May 1970 with the instrumental "Mouthful Of Grass" from their 2nd album "Free" as its B-side (superb two-sider if ever there was one) - so they called it '(Long version)' on the original Island LP sleeves so that fans would know there was a difference between the LP cut and the 45.

It opens with "Fire And Water" where the elements have apparently '...made you their daughter...' and immediately you're struck by the power of the band. The remaster is fantastic – FREE in your living room – drums and guitars - all hairy and wearing unbuttoned shirts as they leer at your worryingly interested underage daughter. The surprisingly lovely "Oh I Wept" feels incredibly clean - that strummed guitar and gently patted high-hat followed by Fraser's clear-as-a-bell Bass - a wonderful job done. "Remember" still has that slightly odd guitar arrangement with the riff upfront and the licks in the background - it's clearer as Rodgers sings '...wish I had you near me...' like he's already pining for a less cluttered life. "Heavy Load" closes Side 1 on an 'ancient song' where the Piano features strongly - adding a Soulfulness to Free's brand of 'rawk'.

Side 2 is perfection to me - only three tracks - but each an absolute balls-to-the-wall winner. "Mr. Big" has Rodgers warning a potential suitor of his girl to watch out no matter what his connections are. The thud of that opening Drum followed by superb Kossoff Guitar and Fraser's wickedly effective Bass run make "Mr. Big" feel the single that should have followed "All Right Now". The Bass is incredible in the Remaster - dominating your speaker cones throughout even as Kossoff sails off into that drawn-notes solo before the big chiming build-up. Surely they're best ballad - "Don't Say You Love Me" is unfortunately still smitten with heavy amounts of tape hiss which I noticed was dampened for the 2008 version. Here its way more obvious but does sound warmer as the band kicks in around 1:30 minutes. And what can you say about their signature song "All Right Now" - it comes roaring out of your speakers here like it was recorded yesterday and not 46 years ago. This transfer alone should sooth the savage naysayers - well done Remaster boys...

Across the seven new 2016 reissues we probably loose thirty to thirty-five genuinely cool bonus tracks of old and all that enlightening info in the booklets too - so buying their catalogue yet again may become a chore for some fans. But they’re cheap at a fiver and we do gain fabulous new audio - and for many that's probably going to be the deciding factor.

"Fire And Water" is back with a bang - and how good is it to hear FREE sound so awesome again after all these decades...

PS: FREE titles in the 9 Sept 2016 Island Remasters CD Reissue Series are:

1. Tons Of Sobs (March 1969 debut UK LP) - Island Remasters 473 181-5 (Barcode 602547318152)

2. Free (October 1969 UK LP) - Island Remasters 473 187-1 (Barcode 602547318718)

3. Fire And Water (May 1970 UK LP) - Island Remasters 473 187-4 (Barcode 602547318749)

4. Highway (December 1970 UK LP) - Island Remasters 473 181-9 (Barcode 602547318190)

5. Free Live! (June 1971 UK LP) - Island Remasters 473 187-6

6. Free At Last (June 1972 UK LP) - Island Remasters 473 183-9 (Barcode 602547318398)

7. Heartbreaker (January 1973 UK Final Studio LP) - Island Remasters 473 182-6 (Barcode 602547318268)

8. The Free Story (March 1974 UK 2LP Compilation) - Island Remasters 472 262-9

There is also a VINYL Box Set "FREE - The Vinyl Collection" on Universal/Island 473 187-9 released 9 September 2016 with seven LPs (Barcode 0602547318794)

PPS: Amazon have typically lumped the 2001, 2008 and 2016 issues into the same review and it would appear - the same product entry – even though they’ve three distinct barcodes and prices. Even if you use the correct Barcode 602547318268 for the 2016 single-disc reissue it will bring you to the 2008 2CD Deluxe Edition entry. So if you're specifically after the 2016 reissue with its different remaster - ask the supplier you're buying from what version it is they're selling. If you’re just buying the Amazon Store issue for £4.99 – it will always be the 2016 7-Track remaster you receive...

Friday, 30 September 2016

"Gentle Giant/Acquiring The Taste" by GENTLE GIANT (2012 Beat Goes On 2CD Remasters by Andrew Thompson) - A Review by Mark Barry...

"...A Tall Tale..."

Talk about keeping it in the family – Portsmouth brothers and multi-instrumentalists Derek, Ray and Phil Shulman teamed up with classically trained guitarist Gary Green, keyboard whizz Kerry Minnear and drummer Martin Smith in 1970 to form GENTLE GIANT. Abandoning their Sixties Simon Dupree & The Big Sound pop sensibilities entirely – they powered full tilt into the emerging sound of the day – Progressive Rock. Eleven albums later and England's Prog heroes were still there in 1980 – giving it loads of difficult syncopations and selling bugger all records.

This first double-disc reissue of their extensive back-catalogue put out by England’s reputable Beat Goes On label remasters the South Coast boy’s first two Prog outings at Vertigo in 1970 and 1971 – home of many'd the eye-catching gatefold sleeve. Not dissimilar in style to King Crimson and Yes but without perhaps the same (dare we say it) commerciality – Gentle Giant nonetheless built a steady and fiercely loyal following - and on the evidence presented here you can understand why that affection still endures today. Amazing playing virtuosity - clever classical interludes and layered harmony vocals sat on top of a trademark guitar sound not unlike Robert Fripp enjoying himself - it's all here - sounding and looking great too. Here are the tall tales and the bearded technicalities for their first two steps…

UK released November 2012 – "Gentle Giant/Acquiring The Taste" by GENTLE GIANT on Beat Goes On BGOCD 1095 (Barcode 5017261210951) offers their first two studio albums remastered onto 2CDs and plays out as follows:

Disc 1 "Gentle Giant" (37:05 minutes):

1. Giant

2. Funny Ways

3. Alucard

4. Isn't It Quiet And Cold

5. Nothing At All [Side 2] 6. Why Not

7. The Queen

Tracks 1 to 7 are their debut album "Gentle Giant" - released November 1970 in the UK on Vertigo Records 6360 020 (it was not issued in the USA). Produced by TONY VISCONTI.

Disc 2 "Acquiring The Taste" (39:07 minutes):

1. Pantagruel's Nativity

2. Edge Of Twilight

3. The House, The Street, The Room

4. Acquiring The Taste

5. Wreck [Side 2]

6. The Moon s Down

7. Black Cat

8. Plain Truth

Tracks 1 to 8 are their 2nd studio album "Acquiring The Taste" - released July 1971 in the UK on Vertigo Records 6360 041 (not issued in the USA). Produced by TONY VISCONTI.

GENTLE GIANT was:

DEREK SHULMAN - Lead and Backing Vocals (some Bass), Alto Sax, Clavichord and Cowbell

RAY SHULMAN - Bass, Violin, Electric Violin, Viola, Spanish Guitar, 12-String Guitar, Organ Bass Pedals, Skulls, Tambourine Percussion and Backing Vocals

PHIL SHULMAN - Alto and Tenor Sax, Trumpet, Clarinet, Recorder, Piano, Claves, Maracas, Lead and Backing Vocals

KERRY MINNEAR - Electric Piano, Organ, Mellotron, Vibraphone, Moog, Piano, Celeste, Clavichord, Harpsichord, Tympani, Maracas, Bass, Cello, Lead and Backing Vocals and Tuned Percussion

GARY GREEN - Lead Guitar, 6 and 12-String Guitar, Wah-Wah Guitar, Donkey's Jawbone, Cat Calls and Vocals

MARTIN SMITH - Drums, Gongs,Tambourine and Percussion

Guests:

CLAIRE DENIZ - Cello on "Isn't It Quiet And Cold" on the "Gentle Giant" LP

PAUL COSH - Tenor Horn on "Giant" and played Trumpet and Organ on the "Acquiring The Taste" LP

TONY VISCONTI - Recorder, Bass Drum and Triangle on the "Acquiring The Taste" LP

The outer card slipcase gives the release a classy feel (now generic with all BGO releases) while the 16-page booklet is packed with original details (the Tony Visconti 'A Tale Tale' liner notes that graced the inner gatefold of the debut LP) and properly in-depth assessments of the albums and the band by noted writer DAVID WELLS (done in 2012). The final few pages give you the lyrics to both records - all of it centred by a black and white photo of the original six-piece band. ANDREW THOMPSON has carried out the new Remasters at Sound Performance in London and while the 1st LP is undoubtedly hissy in places - both records are full of presence and power - the second album "Acquiring The Taste" in particular shining like a new sixpence (there were mastering issues on the first run of these CDs but I've experienced none of that in 2016).

Defiant in their musical vision - you're struck at first by their playing - Gentle Giant was an accomplished band right from the off with musical adventure and boundary-breaking forcably built into their DNA. The debut album is ragged around the edges for sure – but it’s mighty in scope and daring. A doomy church organ hisses in for "Giant" and you're in ELP territory before Derek Shulman comes roaring in the vocals like the younger brother of Roger Chapman from Family. Things get really interesting with "Funny Ways" - a fantastic amalgam of beautiful cello, acoustic guitar, electric wah-wah and even a lone brass instrument all combining into a delicate choral rock track - Phil Shulman's lead vocal softer and more suited to the song. "Alucard" (Dracula spelt backwards and a label name used for GG reissues) is proper Prog - huge synth chords - phased vocals - brass jabs and lyrics about 'terror fills my soul' - nice. Side 2 opens with the Emily Bronte Baroque of "Isn't It Quiet And Cold" - whimsy vocals dancing daintily above a violin, harpsichord, cello and timpani plinking. Hardly surprising that the nine-minute "Nothing At All" was chosen as the representative track of the album on the 2005 Vertigo 3CD Box Set "Time Machine" (see separate review) - it's stunning - beautiful - surprising and the playing/arrangements are so damn accomplished like Yes meets Jethro Tull by way of Family (the Bass and that ever-present Acoustic Guitar

are particularly sweet and clear on the remaster). The guitar Prog of "Why Not" is superb too but the mock 'God Save' "The Queen" tests your patience a tad.

If the first album was an announcement and more-than-promising start - the largely improvised 2nd album delivered on that Prog entree. Like "Nothing At All" from the 1st LP - "Pantagruel's Nativity" was chosen as the representative of "Acquiring The Taste" for the "Time Machine" Vertigo Box Set - another near seven minutes of wickedly good mellotron and guitar. Inspired by the French Author Francois Rabelius and his tale of jousting giants 'Gargantua and Pantagruel' - it has fabulous audio especially on this chunky guitars and layered vocals. You're then thrown by the sheer prettiness of "Edge Of Twlight" as sounds flit from speaker to speaker - a pretty Prog ditty as I say but with menace provided by big kettle drums and phased voices. "The House The Street The Room" feels like Family meets Genesis somewhere between 1968's "Music In A Doll's House" and 1970's "Nursery Cryme". The short synth pavane of "Acquiring The Taste" precedes "Wreck" which has an almost catchy Uriah Heap chorus of 'hey yeah'. But for me the album is sealed by the final three - "The Moon Is Down", "Black Cat" and "Plain Truth" - all of which display more clever breaks than you can shake a stick at. At seven and half-minutes and opening with some wicked wah-wah guitar not unlike Hendrix having a doodle on his Strat - the longest of the three "Plain Truth" is very cool Prog indeed and leaves you impressed by an unsung hero of an LP (fans consider ATT a gem).

In the liner notes for "Acquiring The Taste" - GENTLE GIANT collectively stated that their music should be '...unique, adventurous and fascinating...' even '...at the risk of being very unpopular...' Job done boys...

"Highway" by FREE (2016 Universal/Island Remasters CD Reissue - Andy Pearce/Matt Wortham Remaster) - A Review by Mark Barry...

"...I'm The Stealer...Gonna Steal Your Love..."

This is the kind of CD reissue that does my nut in - one step forward and two steps back. Some explanation is needed...

FREE fans will know that the February 2002 CD reissue campaign of all seven of their albums (six studio and one live) came with great Peter Mew remasters, decent bonus tracks and expanded booklets to match - and were mid-price at the time. But here we are in September 2016 with another reissue campaign of all seven albums accompanied by "The Free Story" compilation (a 2LP set onto 1CD) that strips away those brilliant bonuses entirely – and unwisely substitutes the hugely informative liner notes for band photos.

But – these 2016 reissues do offer us one genuinely worthy consolation prize - new 2016 ANDY PEARCE and an uncredited MATT WORTHAM set of Remasters that breath wonderful naturalistic vitality back into the albums. With the eight being offered on Amazon at a less than five pounds sixty-five pence per reissue – you can of course argue that the price is right and with their generic 'Island Remasters' see-through side panelling on the jewel case – they look good too. But what real fans are essentially getting is great new sound - but lesser discs (one step forward etc). Here are the neutered nadges...

UK released Friday, 9 September 2016 - "Highway" by FREE on Universal/Island Remasters 473 181-9 (Barcode 602547318190) is a straightforward CD Remaster of the 9-track late 1970 UK LP and plays out as follows (36:02 minutes):

1. The Highway Song

2. The Stealer

3. On My Way

4. Be My Friend

5. Sunny Day [Side 2]

6. Ride On Pony

7. Love You So

8. Bodie

9. Soon I Will Be Gone

Tracks 1 to 9 are their 4th studio album "Highway" - released December 1970 in the UK on Island Records ILPS 9138 and February 1971 in the USA on A&M Records SP-4278. Produced by FREE and engineered by Andy Johns - it peaked at No. 40 on the UK LP charts (didn't chart in the USA).

The six missing bonus tracks on the 2002 Island Remasters version are "My Brother Jake (7" Single Mix)", "Only My Soul" (April 1971 non-album B-side to "My Brother Jake" released in the UK on Island WIP 6100), "Ride On A Pony (BBC Session)", "Be My Friend (BBC Session)", "Rain (Alternative Version)" and "The Stealer (7" Single Version Edit)". As you can see from this list of missing extras - your loss is considerable - every one of these bonus tracks adding huge punch to the overall vibe of the 2002 reissue.

The new booklet is 12-pages with a Tape-Box Photo of "The Stealer" on Page 2, other band photos and reissue credits on the centre colour spread (both guitarist Paul Kossoff and bassist Andy Fraser get a page each) - but there's no liner notes giving history, details etc. Beneath the see-through CD tray are pictures of the seven reissued albums with the eight being "The Free Story" double-album compilation from 1974 (for catalogue numbers see notes below). But a fabulous new master from ANDY PEARCE and an uncredited MATT WORTHAM – who did such great work on Pentangle, Frankie Miller, Thin Lizzy, Wishbone Ash, the 2012 Rory Gallagher CD remasters of his Polydor and Chrysalis catalogues and most recently the 2016 Budgie 3CD Box Set for their MCA Albums and the 'Deluxe Editions' for the Emerson, Lake And Palmer Island catalogue (see reviews for them all) - resoundingly compensates for all of that distasteful compromise. I've had the 2002 remaster and the Japanese 2008 SHM-CD reissue – both of which rock – but this version is better to my ears. There's suddenly staggering naturality and presence to the whole LP. Pearce and Wortham let things breathe (it's a trademark of theirs). Sure there's trace amounts of hiss and it's possibly louder than the other pressings – but its not loudness for loudness sake – not shrill so to speak – just in your face – huge power and presence - like an original tape should be. Buggering thing is I'll now need the lot if they all sound this good...

As an album December 1970's "Highway" has always been second fiddle to the mighty "Fire And Water" from earlier in the year (May 1970) with it's all conquering "All Right Now". But I'd argue it's the band's "Powerage" or "Communiqué" or "Goat's Head Soup" or "Tusk" - a record that followed monsters and therefore gets unfairly overlooked and slagged off. Granted a tune like the dreadfully weedy "Bodie" is not classic Free no matter how well the Acoustic Guitars now leap out of the mix. But check out the opener "The Highway Song" and suddenly that ramshackle British Rock thing The Stones and Mott The Hoople had in spades starts to fill your living room with trouser-filling swagger (look out ladies). The album cut of the truly fabulous "The Stealer" at 3:16 minutes is actually better than the slightly longer single mix at 3:23 minutes which has different guitar parts and a more accentuated Andy Fraser bass. Here the 2016 LP Version has amazing power - that fantastic 'she stood on the corner' riffage now has the gonads it’s always cried out for (surely Free at their best). Side 1 shows the mellow side of singer Paul Rodgers and songwriting bassist Andy Fraser when they end the A with two superb mid-tempo tunes "On My Way" and "Be My Friend" - massively underrated Free songs – beautiful remasters for both cuts too.

"Sunny Day" opens Side 2 in the same mellow mood - it's a song I honestly didn't think much of at first but now dig - especially as it's followed by the album's other nugget - the fab "Ride On A Pony" which should have been the follow-on single from "The Stealer". The remaster has given it oomph in every area. The Mellotron that featured on "Be My Friend" returns for the pretty and affecting "Love You So" - a very sweet FREE ballad. I never could abide "Bodie" but that mush is followed by an epic "Soon I Will Be Gone" which sounds utterly amazing on this Remaster.

Across the seven reissues we probably loose thirty to thirty-five genuinely cool bonus tracks and all that enlightening info in the booklets too - so buying their catalogue yet again may become a chore. But we do gain fabulous new audio - and for many that's probably going to be a deciding factor. Bugger but Universal wins again - because if they all sound this good - I'm gonna have to own the lot...