"Atlanta: Hotbed Of 70s Soul" by VARIOUS ARTISTS – Featuring Sixteen Previously Unreleased Tracks from the vaults of GRC, Aware and Hotlanta Records and other Michael Thevis Related Labels - Featuring Songs by Sam Dees, Joe Hinton, Kenneth Wright, Louvain Demps, Dee Ervin, King Hannibal and more (March 2024 UK Ace/Kent Soul CD Compilation with Nick Robbins Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Atlanta-Hotbed-Soul-Various-Artists/dp/B0CVS838KQ?crid=3E3EBJV37RDET&dib=eyJ2IjoiMSJ9.tXsscEnXTbbzj-o0pRb6OQ.xOdwXmy25XCJ6428c60q_g9N4T-VwUzmEjQZgV29jeE&dib_tag=se&keywords=029667109826&qid=1713357440&sprefix=029667109826%2Caps%2C71&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=6d5cfee0f6023ff3a582616ff99c6caf&language=en_GB&ref_=as_li_ss_tl

RATINGS:

*** Material

**** Audio Remasters

***** Presentation

"…Grant Me One More Day…"

Ace Records of the UK via their Kent-Soul label imprint have been on a crusade for a decade-plus now to repatriate the city of Atlanta in our hearts as a (as they would put it) criminally unacknowledged hotpot of US Soul. 

None no more so than the labels around entrepreneur Michael Thevis who owned and went to jail for GRC Records (General Recording Company). Giving a platform to quality singers and Southern-Soul songwriters like Sam Dees, Jimmy Lewis, Joe Hinton, Kenneth Wright, Joe Graham, Louvain Demps, Dee Ervin and James Shaw aka King Hannibal (to name but a few) – this 30 March 2024 CD compilation offers up a whopping Sixteen Previously Unreleased - sat comfortably alongside Eight other hard-to-find Soul Rarities. 

I would however counter Ace's claims that this is Primo Material – there's a feeling throughout the listen that these OK-renditions remained in the cans for reasons. Sure there are great discoveries and worthy inclusions (Miss Louistine, Shirlean Fant and Lorraine Johnson) and the Audio is far better than it had any divine right to be - but there are too many of the opposite to justify claims of Holy Grails. To the Love Making and the Love Stopping…here are the Hotlanta details...

UK released Friday, 29 March 2024 - "Atlanta: Hotbed Of 70s Soul" by VARIOUS ARTISTS on Ace/Kent Soul CDKEND 518 (Barcode 029667109826) is a 24-Track CD Compilation of Remasters that plays out as follows (79:15 minutes):

1. Con Me – MISS LOUISTINE (Previously Unreleased, 2024 – a David Camon and Sam Dees song)

2. Paper Man – ALPACA PHASE III (2023 UK 45-Single, Deep Soul 16, A-side – a 1974 Recording by Sam Dees, Wes Lewis, and Ken Walker)

3. Is There Someone Else – DEEP VELVET (Previously Unreleased, 2024 – a Mose Davis song)

4. The Soul Of Black Folks – KENNETH WRIGHT (Previously Unreleased, 2024, a Kenneth Wright song)

5. Grant Me One More Day – JOE HINTON (Previously Unreleased, 2024 – a Louvain Demps and Joe Hinton song)

6. Keep On Walking – THE STEPPERS (Previously Unreleased, 2024 – a JJ Barnes, James Davis and Herbert Ross song)

7. Time Is Winding Up – DOROTHY NORWOOD (from the 2011 UK 2LP set "Superfunk's Mission Impossible: Hard To Find And Unreleased Funk Masters (Volume 7)" on Ace/BGP Records BGP2 234 - CD Version is BGP Records CDBGPD 234 – a Kenneth Mims, Dorothy Norwood and Lois Snead song)

8. Love Making – JEAN BATTLE (April 1972 US 45-single, Red Lite RL 119, A-side – May 1972 UK 45-single, Mojo 2027 010, A-side – a Sam Dees song)

9. Extra-Extra – MISS LOUISTINE (Previously Unreleased, 2024 – a Sam Dees song)

10. I'm Tired Of Dreaming – DEEP VELVET (Previously Unreleased, 2024 – Joe Hinton and Marlin McNichols song)

11. Depend On Me – JOE HINTON (Previously Unreleased, 2024 – a Louvain Demps and Joe Hinton)

12. Me And Jen – KENNETH WRIGHT (Previously Unreleased, 2024 – a Kenneth Wright song)

13. What Am I To Do – JOE GRAHAM (Previously Unreleased, 2024 – a Joe Graham song)

14. Sure Could Do With Some You – SHIRLEAN FANT (Previously Unreleased, 2024 – a Brad Baker, Shirlean Fant and Ed Williams song)

15. Someone To Run To – ALPACA PHASE III (Originally an Alternate Version first issued January 2015 on the Sam Dees UK CD Compilation "It's Over: 70s Songwriter Demos & Masters", Ace/Kent Soul CDKEND 426)

16. Can I Hold You To It – LORRAINE JOHNSON (May 1973 US 45-single, Atlantic 45-2967, A-side – Sam Dees, Albert Gardner, Jesse Lewis, and Clinton Moon song)

17. When Will I Stop Loving You – LORRAINE JOHNSON (Previously Unreleased, 2024 – an Albert Gardner and Jesse Lewis song)

18. I Need Me Some More Of You – DEE ERVIN (Previously Unreleased, 2024 – Di Fosco Ervin and Dee Dee McNeil song)

19. Shouldn't I Be Given The Right To Be Wrong – JOE HINTON (1974 US 45-single, Hotlanta HL 306, B-side of "Hanna's Love")

20. Fight Fire With Fire – KING HANNIBAL (Originally issued on the July 2022 UK LP "Atlanta Soul Artistry 1965-1975" on Ace/Kent Soul KENT 523 – a James Shaw and Delia Gartell song – Shaw is King Hannibal)

21. Talk's Cheap – THE SURPRISE SISTERS (from the 2011 UK 2LP set "Superfunk's Mission Impossible: Hard To Find And Unreleased Funk Masters (Volume 7)" on Ace/BGP Records BGP2 234 - CD is BGP Records CDBGPD 234 – a Sam Dees song)

22. Loneliness Hurts Just A Little Bit – JOE GRAHAM (Previously Unreleased, 2024 – a Joe Graham song)

23.There'll Always Be Forever – LOMITA JOHNSON (Previously Unreleased, 2024 – a Di Fosco Ervin and Dee Dee McNeill song)

24. My Peaceful Forest – DEE CLARK (Previously Unreleased, 2024 – a Herb Ryals song)

NOTES: 
All Tracks STEREO except Tracks 8, 10, 12, 17, 19 and 20 in MONO

ADY CROASDELL does the honours once more for Ace in this latest Kent Soul CD compilation breaking down the liner notes info into Artists sections rather than a strict track-by-track. His vast and enthusiastic knowledge is key – swathes of facts and names and Promo photos for Deep Velvet, Miss Louistine, Joe Hinton, Lorraine Johnson, King Hannibal, and Dee Clark bringing up the rear (the last page of 20). The front cover of the booklet is The Steppers in all their 70ts regalia. The Audio is uniformly great even on some of the Demo-ish sounding Mono cuts (NICK ROBBINS for Ace once again displaying his transfer skills) but I wish I could be more enthusiastic about the actual playlist. It feels like 3-star material with 4-star Audio in a 5-star presentation. To the Soul Music…

"Atlanta: Hotbed Of 70s Soul" opens very strongly with a gorgeous Stylistics type Sitar Soul Ballad in Stereo from Miss Louistine – her "Con Me" promising a feast of similar discoveries. "Paper Man" too from Alpaca Phase III – only just issued in 2023 as a 45-single with a Sam Dees cut on the B-side – you can hear why its 3:37-minute warmth and great vocal would appeal. But then the CD starts to taper off into what feels like tunes that are good without ever having that magic. 

Things pick up with the Jesus-righteous Dorothy Norwood getting funky about the world falling apart in her excellent "Time Is Winding Up" (even the congregation is being attacked) while a genuinely uplifting sexy moment arrives with Jean Battle and her only UK 45-single – the decidedly racy and bedroom-saucy needs of a motivated lady in her "Love Making". Just the right side of Jean Knight and "Mr. Big Stuff" attitude – Jean had a great voice and with its Brass vs. Piano Funky groove and its my-man-is-a-top-man-in-loving lyrics, you can hear why this Red Lite Records US 45-obscurity from 1972 is garnishing interest. Unfortunately it is ruined by the manic Disco vibe of Extra-Extra by Miss Louistine – might have been a hit back in the day had it been released – but here in 2024 it just sounds painful.

Deep Velvet score for a second time with the excellent "I'm Tired Of Dreaming" – written by Joe Hinton and Marlin McNichols – it was mistakenly credited to just Joe Hinton on the July 2022 UK LP "Atlanta Soul Artistry 1965-1975" - but Kent Soul now credit it properly to Deep Velvet. Unfortunately the Kenneth Wright track "Me And Jen" has good ideas going on, but a DIY recording and his over-echoed refrains feel like bad Sly Stone doing a demo he won't make public any time soon. The Country-Soul Drifters-light smooch of "What Am To Do" by Joe Graham might have had a chance in the charts of the day, but his flat delivery on some lines explains why it was canned. And on it goes…

I love Sam Dees songs (his influence is everywhere on this disc) – but I found I was trying too hard to like "Atlanta: Hotbed Of 70s Soul" without getting a return. 

Fans will have to own it, but for the uninitiated, I would suggest a listen first…

"Osibisa/Woyaya" by OSIBISA – April 1971 and January 1972 UK Debut and Second Studio Albums on MCA Records – June 1971 and February 1972 in the USA on Decca (November 2004 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters – Reissued December 2012) - A Review by Mark Barry...

https://www.amazon.co.uk/Osibisa-Woyaya/dp/B0002U4EMI?crid=3PJ9L3ZSB1ADK&dib=eyJ2IjoiMSJ9.cpfQb4MPKaugqm9mX_mhQw.akvzoCijOOR6hpe_2PUvauVWqALvSBrlc-Hjzdafln4&dib_tag=se&keywords=5017261206466&qid=1713277528&sprefix=5017261206466%2Caps%2C78&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=d76b152a157a6bd14ba22ca7d9d9d7ce&language=en_GB&ref_=as_li_ss_tl

RATINGS: 

**** Material

***** Remasters

**** Presentation

"…The Beautiful Seven…"

Afro Rock, Afro Beat and Afro Funk owes a huge debt to the seven-piece OSIBISA – a band who followed in the Latin Rock footsteps of America's Santana in bringing another genre to the World Music stage in the early Seventies.

Three from Ghana and one each from Grenada, Antigua, Trinidad, and Nigeria – the beautiful seven (as they liked to call themselves) and their lengthy drums, brass, and funky rhythms songs (some with positive messages when they weren't making African noises) captivated audiences with their infectious sound. And resplendent in gorgeous ROGER DEAN gatefold artwork paintings and with Tull/Traffic-like Flute passages amidst the relentless Funky whacking of Tom Toms and Tablas - they also captured the eyes of Prog Rock fans too. OSIBISA kept going for over 40 years in one form or another but in truth are largely forgotten here in 2024. 

Even though MCA Records in those early Seventies years was more about Budgie, Wishbone Ash and bands like The Who - both Osibisa Afro-Rock albums charted well in the USA (No.55 and No.66 on Decca) whilst doing even better in a mucho-toured Blighty (No.11 in both cases, 1971 and 1972). 

This superb-sounding BGO Twofer 2CD Compilation therefore compiles both Osibisa's first two studio efforts and was first issued November 2004, then reissued December 2012 and seems to have been kept on catalogue ever since. To the beautiful seven details…

UK released 19 November 2004 (reissued 17 December 2012) - "Osibisa/Woyaya" by OSIBISA on Beats Goes On Records BGOCD646 (Barcode 5017261206466) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows (song playing times from the CDs):

CD1 (41:07 minutes):

1. The Dawn (7:02 minutes) [Side 1]

2. Music For Gong Gong (5:29 minutes)

3. Ayiko Bia (7:52 minutes)

4. Akwaaba (4:19 minutes) [Side 2]

5. Oranges (4:40 minutes)

6. Phallus C (7:13 minutes)

7. Think About The People (4:26 minutes)

Tracks 1 to 7 are their debut album "Osibisa" – released April 1971 in the UK on MCA Records MDKS 8001 and June 1971 in the USA on Decca Records DL 75285. Produced by TONY VISCONTI (Engineered by Martin Rushent) – it peaked at No. 11 on the UK Rock LP charts (No. 55 in the USA on Billboard). 

CD2 (40:54 minutes):

1. Beautiful Seven (6:42 minutes) [Side 1] 

2. Y Sharp (6:20 minutes)

3. Spirits Up Above (7:18 minutes)

4. Survival (5:40 minutes) [Side 2]

5. Move On (5:08 minutes)

6. Rabiatu (5:07 minutes)

7. Woyaya (4:28 minutes)

Tracks 1 to 7 are their second studio album "Woyaya" – released January 1972 in the UK on MCA Records MDKS and February 1972 in the USA on Decca Records DL 75327. Produced by TONY VISCONTI (Engineered by John Punter) – it peaked at No. 11 on the UK Rock LP charts (No. 66 in the USA on Billboard).

OSIBISA:

TEDDY OSEI (from Ghana) – Tenor Sax, Flute, African Drums and Vocals on Tracks 1 to 3 on CD1

SOL AMARFIO (from Ghana) – Drummer

MAC TONTOH (From Ghana) – Trumpet, Flugel Horn and Kabasa

SPARTACUS R (from Grenada) – Bass Guitar and Assorted Percussion

WENDELL RICHARDSON (from Antigua) – Lead Guitar & Vocals on Track 7 on CD1

ROBERT BAILEY (from Trinidad) – Organ, Piano  & Timbales

LOUGHTY LASISI AMAO (from Nigeria) – Tenor Sax, Baritone & Congas

The outer card slipcase lends the release a classy feel, but you would have to say that despite photos of the inner gatefolds and the Richard Williams liner notes to "Woyaya" reproduced on the inner page spread – the August 2004 8-page liner notes from ALAN ROBINSON feel a tad slight. The band photos and credits make their way into the booklet, onto the rear inlay beneath the 2CD see-through tray and so on – but why don’t we get the obvious – the two gatefold spreads showing the amazing ROGER DEAN artwork which when I was a teen back in the day was ALL YOU SAW. They are of course on the card sleeve and the opening page of the booklet – but it still feels like a trick was missed here. 

Robinson sets the World Music Scene explosion before Osibisa – The Beatles and Indian instruments on "Revolver" and "Sgt. Peppers" – Santana and its Latin grooves in 1969 and 1970 – and of course Africa and its influence in rhythms and tones - Brian Jones of The Rolling Stones and The Pipes of Pan at Joujouka (which would be released on Rolling Stones Records in 1973). Robinson explains how Jazz boys Teddy Osei, Sol Amarfio and Mac Tontoh joined forces in England to create the high life very dance-orientated African/Caribbean sound of Osibisa. It’s well written but as I say, I would have liked more, and the booklet has never been updated, despite reissues.

But what BGO did get right is the Audio - Remasters by ANDREW THOMPSON from original MCA Recordings tapes. As all the music is Drums and Bass and Brass punching through the relentless rhythms – clarity is of the Funky essence – and that’s what you get on every number. When the Guitar Afro Funk of "Ayiko Bia" kicks in – you feel it. Over on CD2 is the same – the superbly musical "Y Sharp" feeling like a revelation you needed reacquaintance with. To the musical love…

In a nutshell – for me the "Osibisa" debut is good to very good – but the follow-up "Woyaya" shows a maturity and brilliance that has lasted far better than its predecessor. The opening track has Teddy explaining (talking against crickets and morning sounds) that Osibisa soundscapes are "…criss-cross rhythms that explode with happiness…" as the opening number "The Dawn" works its way across your speakers for a leisurely seven minutes. An instrument showcase, "The Dawn" pushes out Bass, Percussion, and strummed guitars at first – but then spacey flute passages soon kick in after which comes killer Brass and Organ that suddenly makes it feel Earth, Wind & Fire had a baby with The Graham Bond Organization. As it fades out, Teddy does that breathy thing Ian Anderson does when he’s playing Flute for Jethro Tull. 

At a relatively short five-minutes-plus and with its Brass-friendly upbeat groove, "Music For Gong Gong" was an obvious album sampler so it got released in Germany as a 45-single from the album in that eye-catching Roger Dean artwork. The first British 45 wouldn’t arrive until January 1972 when MCA put "Music For Gong Gong" on the A-side with "Woyaya" on the flip (MCA Records MKS 5079) – clearly an error as the US 45 gets it right with "Woyaya" on the A-side (Decca 32920). African rhythms and vocals kick in for "Ayiko Bia" as does Wendell Richardson giving it some very Santana-like guitar soloing – sounds great. I remember when we played this at Reckless Records in Soho – its hybrid Jazz meets Africa meets Funk meets Drums and Whistles fest getting punters to the counter demanding to know what 80ts African album this was. 1971 mate! There you go!

Side 2 gets all happy with "Akwaaba" – a sexily commercial brass and pumping Bass dancer – like Greenslade getting down with its inner Todd Rundgren. Keeping on with commercial – the almost piano-poppy "Oranges" feels like it might have dropped in from another recording session. Panning the brass across the speakers dates the instrumental a tad but there is some lovely Herb Alpert-type trumpet fills. Thinking you are better than me obsesses the vocals of "Phallus C" – a play on words. And again – great Afro Funk passages if you isolate them. A mellow almost Donny Hathaway meets Santana moment finishes the debut – Guitarist Wendall Richardson asking us to stop and think about the world and pollution and the system and their combined effect on people - "Think About The People". 

"Woyaya" was a huge leap for the band - a maturity in songs and approach. Bowie's main man Producer TONY VISCONTI once again helmed recordings and as you can hear from the crystal clear opening minute and half of "Beautiful Seven" - where rain, lightning, bass, piano, flute and guitar all melt into one lovely slow sexy groove - Visconti had their vibe down. As the drums and voices float around your speakers - the message of positivity is sounded large. "Y Sharp" sports a lovely melodious opening brass arrangement and tinkers along like that (can't help thinking an edit of its six minutes) might have made an interesting instrumental 45). Soulful and Bluesy organ opens "Spirits Up Above" where it feels like Billy Preston has joined Malo for a chill-out. Gorgeous tune and cool audio too. 

Side 2 opens with banter between the band and producer before they start African cat calls and a pulsating drum beat that feels like someone is going to be roasted over a bonfire in a Ray Harryhausen Lost World movie. But then something brill happens - at almost two minutes in "Survival" suddenly goes into a fantastic Brass and Funk and Voices groove. You can't help thinking that an edit-out of the superfluous beginning would have served the song better - maybe have been a single Pans People could have hot-pants'd to on Top Of The Pops - Sax solo at the close too. "Move On" indulges in an 'Osibisa' chant up to about 45-seconds to once again go into a African meets West funk - lyrics about progressing but getting nowhere. "Rabiatu" opens with clear Bass notes only to be quickly joined by a nice Brass and Drums dancer that feels like Santana living in Ghana. And it all comes to a close with the vocals of "Woyaya" - a song someone thought would make a single because of its happy-upbeat message (heaven knows how we will get there). A sweet end to a highly stylised listen - but revelatory for it too. 

For further investigation of OSIBISA, Beat Goes On (BGO) of the UK also reissued studio album number three - "Heads" – originally released September 1972 in the UK on MCA Records MDKS 8007 (October 1972 in the USA on Decca DL 75368). That Remaster issued 15 November 2005 on Beat Goes On Records BGOCD690 (Barcode 5017261206909) is also still widely available.

African Funk Beat purveyors OSIBISA are a forgotten musical phenomenon in 2024 – their self-titled debut from the spring of 1971 now closing in on 55-years ago. But like Santana, Earth, Wind & Fire, Malo, War and even Blaxploitation Soundtracks – the Funky earthy positive-vibe cocktail stills draws music lovers in like moths to a rhythm flame. 

Resplendent in its card slipcase and sporting Spirits Up Above audio – BGOCD646 is a 2CD twofer you might want to seek out and then buy-in ice-packs for your aching limbs. Enjoy…

"Night Fades Away/Wonderland" by NILS LOFGREN – September 1981 and August 1983 US Albums on Backstreet Records - Featured Guests include Guitarists Jeff Baxter (Steely Dan and The Doobie Brothers) and Elliott Randall (guested on Steely Dan albums), Pianist Nicky Hopkins, Keyboardists Greg Mathieson and Robbie Kondor, Trumpet by Chuck Findley, Drummers Richie Hayward of Little Feat, Jeff Porcaro of Toto and Andy Newmark, Bassists Neil Jason, David Hungate (of Toto) and Kevin McCormick with Singers Del Shannon, Louise Goffin, Edgar Winter and Carly Simon (March 2024 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Night-Fades-Away-Wonderland-Lofgren/dp/B0CQ4R4PJG?crid=1EVCXBQ2IWOOO&dib=eyJ2IjoiMSJ9.1ZLYSW4NUj5m-3rzdht21g.8C7YTSOWLlbxdPEyj4-OXoalOhvmQo3tgKE8LC_PoM8&dib_tag=se&keywords=5017261215123&qid=1713188143&sprefix=5017261215123%2Caps%2C75&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=cdcba5eefcb15d9fdf51c01bf27379e8&language=en_GB&ref_=as_li_ss_tl

RATINGS: *** Material **** Remasters ***** Presentation

"…Feel This Explosion…"

This is the second release for England's Beat Goes On Records (aka BGO) of Nils Lofgren back catalogue that's been in collaboration with the artist. 

25 February 2022 saw his legendary live-double from October 1977 "Night After Night" be given a classy Remaster on the 2CD set Beat Goes On BGOCD1473 (Barcode 5017261214737) and here in March 2024, we get slot number two in what we must presume will be an on-going reissue series.

This time around we stretch into the Eighties after Lofgren and A&M Records parted company post the "Nils" album in June 1979. Backstreet Records (who were part of MCA) had signed Tom Petty & The Heartbreakers so Lofgren and his explosive guitar Rock must have seemed like a good fit. Big things were expected. But – and this is a big but for me with this reissue – when I worked at Reckless Records in Soho both these 80ts albums were strictly pound-fodder and for good reason (they remain so in 2024). "Night Fades Away" is mired in iffy sub-par material and dreadful bombastic Eighties production values into the bargain - while the saving grace for this twofer compilation is "Wonderland" – a criminally overlooked 1983 studio set that saw him return to the live simplicity of his former bandmates (Andy Newmark from the A&M days) so that when NL went into record – his playing was on fire and more important - the songs were far better. 

Long-term fans and Nils-nerds like me will welcome this great sounding and properly presented British 2CD reissue, but I would advise any newcomers to get a listen first. To the details…

UK released Friday, 1 March 2024 (17 March 2024 in the USA) - "Night Fades Away/Wonderland" by NILS LOFGREN on Beats Goes On Records BGOCD1512 (Barcode 5017261215123) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows:

CD1 (37:27 minutes):

1. Night Fades Away [Side 1]

2. I Go To Pieces

3. Empty Heart

4. Don't Touch Me

5. Dirty Money

6. Sailor Boy [Side 2]

7. Anytime At All

8. Ancient History

9. Streets Again

10. In Motion

Tracks 1 to 10 are his fifth solo studio album (sixth overall) "Night Fades Away" – released September 1981 in the USA on Backstreet Records BSR-5251 and in the UK on MCA Records MCF 3121. Produced by JEFFREY BAXTER (and dedicated to Vietnam Veterans) - it peaked at No. 99 on the US Billboard Rock LP charts and at No. 50 in the UK. All songs written by NL except two co-writes with Jeff Baxter on "Streets Again" and "In Motion" and two cover versions - "I Go To Pieces" by Del Shannon and "Anytime At All" by The Beatles.

BAND and GUESTS:

NILS LOFGREN – Guitars, Accordion, Synths and all Lead Vocals

JEFF BAXTER of Steely Dan and The Doobie Brothers on Guitar, Guitar Synth and all Production

ELLIOTT RANDALL on Electric Guitar for "I Go To Pieces", "Sailor Boy" and "Anytime At All"

TREVOR VEITCH on Acoustic Guitar for "I Go To Pieces" and "Anytime At All"

NICKY HOPKINS on Acoustic and Tack Piano for "Streets Again" and Fender Rhodes Electric Piano on "Night Fades Away"

GREG MATHIESON – Fender Rhodes Electric Piano on "I Go To Pieces", "Sailor Boy" and "Anytime At All"

ED GREENE – Drums 

JEFF PORCARO of Toto on Drums for "Sailor Boy" and "Anytime At All" 

RICHARD HAYWARD of Little Feat on Drums for "Empty Heart", "Dirty Money", "Streets Again" and "In Motion"

NEIL JASON on Bass Guitar for all tracks except NEIL STUBENHAUS on "I Go To Pieces" and "Anytime At All" and DAVID HUNGATE (of Toto) on Bass for "Sailor Boy"

DEL SHANNON – Vocals on "I Go To Pieces"

CHUCK FINDLEY – Trumpet on "In Motion"

JERRY PETERSON – Saxophone on "Don't Touch Me"

CD2 (40:37 minutes):

1. Across The Tracks [Side 1] 

2. Into The Night

3. It's All Over Now

4. I Wait For You

5. Daddy Dream

6. Wonderland [Side 2]

7. Room Without Love

8. Confident Girl

9. Lonesome Ranger

10. Everybody Wants

11. Deadline

Tracks 1 to 11 are his sixth studio album (seventh overall) "Wonderland" – released August 1983 in the USA on Backstreet Records BSR-5421 and in the UK on MCA/Backstreet Records MCF 3182. Produced by NILS LOFGREN, KEVIN McCORMICK and ANDY NEWMARK and dedicated to James Honeyman Scott and Pete Fardon of The Pretenders – it didn’t chart in either country. All songs written by NL except "It's All Over Now" which is a Bobby Womack cover version done by The Rolling Stones also in the Sixties

BAND:

NILS LOFGREN - Lead Vocals, Lead Guitar, Keyboards

ROBBIE KONDOR – Synthesisers

KEVIN McCORMICK – Bass Guitar and Background Vocals

ANDY NEWMARK – Drums with JIM MAELEN on Percussion

GUESTS:

LOUISE GOFFIN sings on "Wonderland" and "Everybody Wants"

CARLY SIMON sings on "Lonesome Ranger"

EDGAR WINTER sings on "Across The Tracks"

The outer card slipcase and substantial 20-page booklet with new liner notes from CHARLES WARING via new interviews with Lofgren give this 2CD Reissue a look and feel of class (let alone artist endorsement). The artwork front and rear for both LPs is here as are other photos (the sweaty teeshirt shot taken by Annie Leibovitz – his small band for album number two sat on steps). Instead of dry facts, Lofgren talks of leaving A&M after four studio albums and one hugely popular live double, his new signing to Backstreet Records (a subsidiary of MCA) and the high hopes both albums had that did not translate into public interest. 

Nils give a song-by-song insight – ex Steely Dan and Doobie Brothers stalwart Jeff Baxter is given real praise – a man who had worked with Nazareth and understood Rawk (he and Nils did pre-production work for weeks at 'Skunk' Baxter's place in Laurel Canyon). The "Night Fades Away" title track was flipped with "Ancient History" as a US 45-single which led the charge in October 1981 (Backstreet BSR-51191) - but it did little business. Released in September 1981, the album stalled on the US LP-charts at No. 99 but did much better in the UK at No. 50. The liner notes recall the great axeman's heyday and how he morphed into the Boss's sideman (Lofgren has been a permanent member of Bruce Springsteen's E-Street Band since 1984 – an astonishing 40 years burning down that code of the road whilst maintaining a Solo Career on the side). The new BGO Records Remasters are by ANDREW THOMPSON from Universal-licensed original tapes and both shine as much as original techniques will allow (2024 ears will have to adjust to that bombastic 80ts sheen production values they had back then - especially on the "Night Fades Away" album which of the two fares worse in my books). You can't make a purse out of...but what is here is very clear and well done. To the music...

As upbeat as "Night Fades Away" is an opening salvo, there is a crass feel to "Don't Touch Me" and the dismissive anger in "Dirty Money" feels forced too. "Sailor Boy" is a bopper opening Side 2 that does little to help the feeling that there are no tunes - while an ill-advised cover of The Beatles "Anytime At All" feels like Southside Johnny doing a filler song. The flipside of the album’s only single, "Ancient History" is for me the best dead-aim song on a patchy album – the treated guitars, piano and vocals doing the business. His fifth studio album "Night Fades Away" rolls home using two co-writes with Jeff Baxter – the decidedly un-pc lyrics to "Streets Again" making for a weird and uncomfortable listen – the Side 2 finisher "In Motion" with its striking and daring Chuck Findley Trumpet solo being so much better. In his fabulous Great Rock Discography books, music chronicler Martin Strong awards the "Night Fades Away" album a stingy 4-stars out of ten (worst in his catalogue) but I have to say, I unfortunately agree with him. Strong then gives "Wonderland" (next up) 6-stars and again – right about that too.

In the liner notes, Lofgren explains that his band had been jamming and rehearsing and gelling for months prior to the recording of "Wonderland" in 1983 – a back to basics approach - and man does it show. After the almost sedate playing displayed on "Night Fades Away" - it is like Lofgren went mad with his solos on "Wonderland" because they are incendiary. He was clearly excited about the material (10 originals and one cover that suited), his tight unit of a band – the no-nonsense production achieved by all three principal players in his group. Almost Rolling Stones in its down-to-business sound and wild playing - "Across The Tracks" opens proceedings with a kicker – a song about a boy and a girl from different sides of the social divide – Daddy with his shotgun by the railings should young lips touch. "Into The Night" is a typically excellent Lofgren song, simple yet touching, melodic yet softly rocking in its own way.

Things return to Rawk with the only cover on the LP – a hard-hitting very Chuck Berry chugging go at the Bobby Womack song "It's All Over Now" – Nils building the menacing guitar chords to a great solo (breakfast in bed, ease my aching head). The next offers huge guitar pings as an opening where "I Wait For You" later goes into echoed guitar soloing. There's a cool chord chug to "Daddy Dream" that might have made a good double with "Wonderland" as a US 45 (Louise Goffin, daughter of Jerry Goffin, sings on both "Wonderland" and "Everybody Wants"). "Room Without Love" feels like a Ry Cooder ballad – a room without hope where our Nils has been pining for a lady gone to greener pastures. No less than Bob Dylan told Nils in a corridor quick-chat that he loved "Confident Girl" – sound and changes – not bad. The island-beach-sand shuffle of "Lonesome Stranger" features a subtle backing vocal on the chorus from Carly Simon – sweet support that works. The LP romps home with the slight reggae-feel of "Everyday Wants" while his trademark guitar-led rocking bricks "Deadline". 

"Night Fades Away" did OK but despite his high hopes, "Wonderland" the LP didn't chart and was largely ignored. Why - truth be told – neither album is a blinder and it's easy to hear why less than a dollar or a pound will secure either vinyl LP a full forty-years after the events. 

But Nils Lofgren fans will also know that outside of expensive and now deleted Box Sets these hard-to-find platters are new to standalone CD and accompanied as they are with quality Remasters and great presentation – you have to say that England's BGO Records have done it again - and how. Wallet ahoy daddy-o, Nils won't go, but you may have too...

"Atlantic Rhythm And Blues 1947-1974: Volume 5 - 1961-1965" by VARIOUS ARTISTS featuring The Coasters, Ben E. King, The Mar-Keys, The Ikettes, William Bell, The Falcons, Solomon Burke, Booker T. & The M.G.s, The Drifters, LaVern Baker, Otis Redding, Barbara Lewis, Doris Troy, Nat Kendrick &B The Swans, Chris Kenner, Rufus Thomas, Esther Phillips, Don Covay, Joe Tex (October 1991 USA Atlantic 8CD LP-Sized Box Set – March 2006 UK Singular CD Reissue with Same Tracks and 1991 Remasters but with Different Artwork) - A Review by Mark Barry...

  

Above - The April 1987 UK Seven x Double-Album VINYL BOX SET

(Originally Issued December 1985 in the USA)

Both Original Vinyl Box Sets (1985 and 1987) Had 186 Tracks

The Seven CDs in both countries however were Truncated Versions 

- Down to 163 Tracks 

The UK CDs Volumes 1 to 7 also originally issued April 1987 

(reissued October 1990)

Below - The October 1991 USA-ONLY 8CD 203-Track Upgraded Box Set (CD only)

Volume 8 was NEW over the 1985 Vinyl Box Set and 1987 Truncated 7 x CDs

 

Below: US October 1991 Volume 5 

Newly Configured from the 1987 dates of 1962-1966 to 1961-1965

Was Not Issued Individually in the USA in 1991 or in the UK

Reissued However in UK/Europe in March 2006 in Different Artwork 

- see Next Set of Photos

                                     

Below: UK/EU March 2006 Reissue on Rhino/Warner Platinum

Each Volume (1 to 8) Was Released Individually only in UK/EU

There Was Also a Card Wrap Version that gathered up all Eight Volumes

All were Budget-Priced (usually £3.99) and used the 1991 Remasters

https://www.amazon.co.uk/Atlantic-Rhythm-1947-74-International-Release/dp/B000EIEJIW?crid=3QE5DMCAG831J&dib=eyJ2IjoiMSJ9.cB_EeRe4fcIoNeU4PcyFwg.qRvOMdbZhSeARNbixtleb46z65fj6-NuHjN2TEIt7kE&dib_tag=se&keywords=081227758127&qid=1712838219&sprefix=081227758127%2Caps%2C81&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=514a2a682defacf19f667ffbe688a2cd&language=en_GB&ref_=as_li_ss_tl

"…Green Onions…"

Here in the spring of 2024 - this unassuming and admittedly rather naff-looking Soul CD compilation from Rhino and Warner Platinum has been in the UK and EUROPEAN budget-priced marketplace for almost the guts of 20-years. Issued back in March 2006 as Volume 5 of 8 – it was/is a bit-part showcase for the mighty Atlantic Records and their staggering Black Music Legacy. But don't let the cover fool you - what lies within is solid ***** material despite the no-star presentation.

In fact - none of the eight cheap-and-cheerful "Atlantic Rhythm And Blues 1947-1974" reissue volumes look like much – garish big-lettered front cover art with a piddly gatefold-inlay inside that barely lists titles and artists and not much else. But (as I say) man oh man the music is fabulous. However, to understand what you have in hand and the journey as to how it got here requires some serious investigative history that is worth explaining (including the photos provided above). So, here goes…

The Seven x Double-Albums VINYL BOX SET for "Atlantic Rhythm And Blues 1947-1974" was first issued in the USA in December 1985 on Atlantic 7-81620-1 and belatedly in the UK in April 1987 on Atlantic 781 620-1. Housed in distinctive black and red packaging (like their Fifties labels) - the individual 2LP sets inside each had unique artwork, extensive liner notes and were also issued as stand-alone 2LP sets. Sometimes sold outside of the box in the UK and Europe - the individual 2LP sets were Atlantic 781 293-1 (Volume 1), 781 294-1 (Volume 2), 781 295-1 (Volume 3), 781 296-1 (Volume 4), 781 297-1 (Volume 5), 781 298-1 (Volume 6) and 781 299-1 (Volume 7). 

There were also 7 individual CDs issued in the UK in April 1987 (reissued Oct 1990) each with the above catalogue numbers but the code -2 instead of 1 for CD (781 293-2 etc). And despite some catalogue books stating that Atlantic 781 292-2 was issued in April 1987 as a CD BOX - there was NO Original 12" x 12" box set for the CDs at that time - and worse - 6 of the 7 individual CD volumes had their track lists truncated - reducing 186 on the vinyl doubles by 17 to 163 in total on CD.

It then transpired that unspecified tracks across the whole seven-volume kaboodle had the wrong takes used. Atlantic USA decided to rectify both the shortfall of tracks on the seven CDs and the wrong masters issue and reissued the entire box set again - but with more tracks and only on CD. So, in October 1991 "Atlantic Rhythm And Blues 1947-1974" was relaunched on Atlantic 7 82305-2 in the USA (Barcode 075678230523) - this time as an 8CD 12" x 12" box set with 203 tracks (17 extra). The individual booklets that came with the original 7CDs were taken out (replaced with a simple gatefold track list inlays that used the old artwork) and expanded into a full-sized 36-page booklet inside the box (pictured above). The reissue also used the distinctive black and red packaging of the 1985 vinyl box on the front, and the artwork style remained the same for each CD on the inside (collage photos). It also admitted that mistaken masters had been used on the original set but were now all correct. It was ONLY issued as an 8CD Box Set and ONLY in America.

In March 2006 in the UK and Europe however, these 8 Volumes were finally reissued as stand-alone CDs for the first time (no vinyl), but with different artwork (also pictured above). They were also released without the booklets that accompanied the 1987 issues or the bigger booklet from the 1991 reissue box - just basic gatefold inlays.

Completists should also note - to add further salt to a reissue wound - there was a 255-Track JAPAN-ONLY issue of "Atlantic Rhythm And Blues 1947-1974" on Warners/Atlantic WPCR-14441 released 25 May 2012 - again with different artwork - which added on 52 new tracks on 2 NEW BONUS DISCS. Chosen by noted Japanese expert Keishi Suzuki - the two extra CDs contained very rare Fifties Blues and R'n'B on Disc 9 and lesser-seen Soul Sides on Disc 10 - much of it unavailable elsewhere. Those two extra volumes are NOT available anywhere else and are exclusive to that Japanese anthology.

Back to the CD in hand. So, what you have here is an American-Based Box Set CD from 1991 subsequently issued 2006 in Europe as a stand-alone. For this review we concentrate on Volume 5 of 8 which deals with 1961 to 1965. Here are the track-by-track details…

UK released 20 March 2006 - "Atlantic Rhythm And Blues 1947-1974: Volume 5 - 1961-1965" by VARIOUS ARTISTS on Rhino/Warner Platinum 8122-77580-2 (Barcode 081227758028) breaks down as follows (74:09 minutes, no Bonus Tracks):

1. Little Egypt (Ying-Yang) – THE COASTERS (April 1961, US 45-Single on Atco 45-6192, A-side)

2. Amor – BEN E. KING (July 1961, US 45-Single on Atco 45-6203), A-side) *

3. Last Night – MAR-KEYS (October 1961, US 45-Single on Stax S-107, A-side)

4. I'm Blue (The Gong-Gong Song) – THE IKETTES (November 1961, US 45-Single on Atco 45-6212, A-side)

5. You Don't Miss Your Water – WILLIAM BELL (November 1961, US 45-Single on Stax S-116, A-side)

6. I Found A Love – THE FALCONS and Band (Ohio Untouchables) (January 1962, US 45-Single on Lu-Pine L-1003, A-side)

7. Cry To Me – SOLOMON BURKE (December 1961, US 45-single on Atlantic 45-2131, A-side)

8. Don't Play That Song (You Lied) – BEN E. KING (April 1962, US 45-single on Atco 45-6222, A-side)

9. Green Onions – BOOKER T. & THE M.G.s (July 1962, US 45-single on Stax S-127, A-side – originally a B-side on Volt 102 in May 1962)

10. Up On The Roof – THE DRIFTERS (September 1962, US 45-single on Atlantic 45-2162, A-side)

11. See See Rider – LaVERN BAKER (October 1962, US 45-single on Atlantic 45-2167, A-side)

12. I (Who Have Nothing) – BEN E. KING (June 1963, US 45-single on Atco 45-6267, A-side)

13. If You Need Me – SOLOMON BURKE (March 1963, US 45-single on Atlantic 45-2185, A-side)

14. These Arms Of Mine – OTIS REDDING (November 1962, US 45-single on Volt 45-103, A-side)

15. Hello Stranger – BARBARA LEWIS (March 1963, US 45-single on Atlantic 45-2184, A-side)

16. On Broadway – THE DRIFTERS (March 1963, US 45-single on Atlantic 45-2182, A-side)

17. Just One Look – DORIS TROY (April 1963, US 45-single on Atlantic 45-2182, A-side)

18. (Do The) Mashed Potatoes (Part 1) – NAT KENDRICK And THE SWANS (March 1963, US 45-single on Dade 45-5004, A-side)

19. Land Of 1000 Dances – CHRIS KENNER (October 1962, US 45-single on Instant 3252, A-side)

20. Walking The Dog – JOE TEX (September 1963, US 45-single on Stax S-140, A-side)

21. Release Me – ESTHER PHILLIPS (October 1962, US 45-single on Lenox NX-5555, A-side)

22. Mercy, Mercy – DON COVAY (July 1964, US 45-single on Rosemart 45-801, A-side)

23. Under The Boardwalk – THE DRIFTERS (June 1964, US 45-single on Atlantic 45-2281, A-side)

24. And I Love Him – ESTHER PHILLIPS (March 1965, US 45-single on Atlantic 45-216, A-side, Beatles cover version)

25. Hold What You've Got – JOE TEX (November 1964, US 45-single on Dial 45-4001, A-side)

26. Mr. Pitiful – OTIS REDDING (January 1965, US 45-single on Volt 45-124, A-side)

27. Baby I'm Yours – BARBARA LEWIS (August 1967, US 45-single on Stax S-231, A-side)

Some had complained about the sound quality on the original 1987 CDs - as well as wrong versions of songs being used (personally I found the audio quality of the VINYL doubles to be superlative). So Atlantic made efforts with the 1991 CD reissue which of course has been used for these 2006 British reissues. The liner notes tell us that all tracks were "digitally remastered from mono and true stereo originals" and that "in this edition, the proper tracks have been used in all cases". 

BOBBY WARNER and JIMMY DOUGLAS carried out the Digital Transfers while ZAL SCHREIBER and STEVE INNOCENZI did the mastering. The quality on these CDs is shockingly good - full of life and clarity. It's a joy to listen to. Sure, in the decades since there have been reissues (by Bear Family especially) that knock spots off the 1991 sound offered here (try their "Joe Turner Rocks" or their "Sweet Soul Music" volumes 1961 to 1975). But what you do get is fantastic all the way to the finish. To the tunes for Volume 5…

The first of three volumes from the 8CD Box Set dealing with the transition from Fifties Rhythm and Blues to Sixties Soul and Funk – Volume 5 (1961 to 1965) sees trailblazers like William Bell, Solomon Burke, Ben E. King, The Drifters and of course Otis Redding sit alongside a strong contingent of ladies busting down the genre doors – The Ikettes, Doris Troy, Esther Phillips, and Barbara Lewis to name but a few. With 27-cuts, Volume 5 is also heavy on content even if it doesn't contain a single Bonus Track (all the other volumes do). 

It opens with a witty novelty, the triple-somersaulting 1949 tattoo'd on her rear "Little Egypt" – a temptress who lures our hapless hero from The Coasters into seven kids crawling around the floor while she's out shopping in the Mall. The Salsa shaker-shuffle of "Amor" slinks across your speakers as Ben E. King comes on like Nat King Cole whose had a few too many oysters. We then the first genuine masterpiece – the truly fantastic mostly-instrumental "Last Night" – the kind of brass-punching organ-grinding tune you have heard in so many hipster hip-shaking movies and TV programmes (and in speaker-kicking audio too). By contrast, the dooby-doo and gong-gong chants by The Ikettes pining over a suitor who's been gone too long in "I'm Blue" is merely good. Slow 1961 Soul comes a high-hatting out of your speakers with "You Don't Miss Your Water" – William Bell the Playboy years bitten by something stronger, and I don't mean a miffed Tarantula (love done got our man).

What a great groove – pained lyrics – gorgeous audio – Solomon Burke demonstrating why so many rated him as the best with "Cry To Me" (now that I rehear it, I catch John Fogerty growling for Creedence – similar fabulous voice). Darling is lying to a distraught Ben E. King in "Don't Play That Song (You Lied)" – the 17-year-old with her eyes on something tastier over by the Coke dispenser. Serious contender for the greatest song ever made (well certainly most influential instrumental) comes a boogieing out of your stack next – the Memphis Sound monster that was and still is "Green Onions" – Hammond organist Booker T. Jones with his Fender Telecaster guitarist Steve Cropper creating an unrepeatable legend. It was initially issued on Volt as a B-side to "Behave Yourself", but quickly flipped by DJs and Fans so that Stax reissued it as an A-side in July 1962. Astonishingly and despite a release on a September 1962 London Records 45-single in the UK as an A-side (HLK 9545), the normally savvy to what's good British ignored it (they liked the 1964 LP of the same name and charted that). It was not until The Who used "Green Onions" in 1979’s movie for "Quadrophenia" did the Sixties Mod instrumental chart - Atlantic K 10109 issued late Nov 1979 with "Boot Leg" on the flipside finally making the UK singles chart (it rose to No. 7). 

Perhaps overplayed in 2024 by oldies stations, "Up On The Roof" by The Drifters is still the loveliest of 60ts Soul and it is presented here in warm and summer-tenderness audio. LaVern Baker escapes her domination of Fifties R&B by capturing the prevailing shuffling Soul winds with her catchy "See See Rider" (what I say) – a great inclusion. Ben E. King goes for castanet melodrama once again with "I (Who Have Nothing)" but in all honesty, time has not been kind to this kind of weeper. A pair of yearning-burning pleaders from Solomon Burke and Otis Redding class up the listen with "If You Need Me" and "These Arms Of Mine" before being replaced by the sweet shuffle of "Hello Stranger" – Barbara Lewis caressing a strange mix of organ Salsa and old-school shoo-bop backing vocalists – the song become her signature tune.

Classics don’t get much better than "On Broadway" – The Drifters singing of magic in the air – the something-else girls – the glitter – but an inability to enjoy it all because all you have in your pocket is one thin dime. The mention of guitar-playing as the singer’s way of poverty must have appealed to George Benson who famously covered "On Broadway" in the Seventies to huge success on Warner Brothers. 

While The Bar-Kays get their instrumental vs. shouts moment with "Soul Finger" – the naff and fey lyrics in the Joe Tex tune "Skinny Legs And All" have not worn at all well over the decades – embarrassing really. Thankfully that momentary glitch is firmly kicked into touch with the gorgeous Wilson Pickett take on the Bobby Womack song "I'm In Love" – a genuine masterpiece and Soul discovery for those buying first time. Poignant and touching as the Otis Redding song might have been especially after his untimely and horrible passing - "(Sittin' On) The Dock Of The Bay" has always felt weedy to me and not representative of his power (the Remaster is so clean and lovely though). Archie Bell gets his Drells guitar player to fall in during the infectious "Tighten Up" – a funky talker and words that became synonymous with late Sixties Soul. Better for me is the sweet Soul slink of "Slip Away" followed by the mid-tempo shuffler "Too Weak To Fight" – Clarence Carter being a huge fave of mine – two counts of top tunes – rasp and rolling vocals – the brass and groove so sexy.

Linda Ronstadt would have a go at "Just One Look" on her 1978 "Living In The U.S.A." album – the big Doris Troy moment fifteen years earlier in 1963 – while Wilson Pickett would take a true monster of a Sixties Frat Party set list "Land Of 1000 Dances" – presented here in its original form by Chris Kenner. All versions float my boat. The remainder of the CD veers more to Mellow Soft Sixties Soul with the likes of The Drifters sauntering "Under The Boardwalk", Joe Tex testifying good advice for lovers in "Hold What You've Got" while a classy Barbara Lewis has a gorgeous ballad in "Baby I'm Yours" – a sweet spot that has drawn many to cover it in subsequent decades.

To sum up – while maybe not as immediate on the ears as say Volumes 6 and 7 that deal with 1965 to 1969 – Volume 5 is still a winner. And in 2024 and despite being technically deleted, you can get Volume 5 of 8 of Atlantic Rhythm & Blues 1947-1974 (or any of the others) individually on popular auction sites often for less than four quid. 

But (if you got the readies) I would argue that such is the riches on offer across all eight volumes that you consider the big daddy - splashing out on that 1991 US LP-Sized 8CD Box Set with its full booklet and genuine sense of visual purpose. Set you back maybe £60 – but what a wow it is!

If the Big Bad 8-Disc Red and Black Box isn't in your budget purview and you want primo Sixties Soul, Rhythm and Blues, Funk and Rare Groove – then go for this individually released Volume 5 Thunderbuck Ram of a CD compilation (and get Volume 7 too while you are at it).

But I warn you – the need for the other seven and booklet explanations will quickly manifest itself thereafter…