"Neu!" by NEU! [featuring MICHAEL ROTHER and KLAUS DINGER ex Kraftwerk] (2001 Gronland CD Remaster) - A Review by Mark Barry...

"...Ich Mein Berliner...Em Sorry...Dusseldorfer..."

Back in the M&S Cream Cakes calorie haze blizzard of 2010 (a pre heart attack fat-git in-joke for the boys at Reckless) - I was duly blown away by a VARIOUS ARTISTS compilation called "Deutsche Elektronische Musik: Experimental German Rock and Electronic Musik 1972-1983" put out by the mighty Soul Jazz Records of Soho's Broadwick Street (links Berwick Street and Wardour Street in the West End of London).

Soul Jazz had done probably hundreds of 2LP compilations covering a multitude of genres – Reggae (Studio 1 specialists), Soul, Latin, Salsa, Dance, New Age, Avant Garde and even the Funky side of Country Rock. But they were impressively the first to nail a decent representative 2CD and 2 x Vinyl Doubles for that most sought-after of genres 'KRAUT ROCK'.

Having worked in Reckless Records (round the corner from them on Berwick Street) for near on 20 years - in the last ten of those two decades we'd become inundated on a weekly basis with Dance and Funk 'young uns' interested in a decent 'Kraut Rock' compilation - with most being amazed that prior to 2010 there really wasn't anything we could point a finger at. And with German and British Spoon, Brain and United Artists label LPs increasingly impossible to find in any condition - "Deutsche Elektronische Musik: Experimental German Rock and Electronic Musik 1972-1983" turned up just in the nick of time (they even did a second volume of it to just as much acclaim). In my endearing and yet magnificent benevolence – I promptly awarded this genius and beautifully presented compilation with a ‘Reissue Of The Year’ 2010 award (the Queen called me shortly afterwards to congratulate me on my kindness and Irish good taste).

Pride of place on Disc 1 of that iconic Volume 1 was "Hallogallo" by NEU in all its droning ten-minute glory – a band formed after MICHAEL ROTHER and KLAUS DINGER left Florian Schneider and KRAFTWERK to their own devices in 1971. And that's where this frightfully cool 2001 CD reissue comes in. Once more my musical travellers unto the 'sonderangebot' (if you know what I'm saying)...

UK released May 2001 - "Neu!" by NEU! on Gronland CDGRON 1 (Barcode 5024545344929) is a straightforward CD Remaster of the 1972 album and plays out as follows (45:44 minutes):

1. Hallogallo (10:07 minutes)

2. Sonderangebot (4:50 minutes)

3. Weissensee (6:42 minutes)

Side 2 is called "Jahresuberblick"

4. Im Gluck (6:52 minutes)

5. Negativland (9:46 minutes)

6. Lieber Honig (7:15 minutes)

Tracks 1 to 6 are their debut LP "Neu!" - released summer of 1972 in Germany on Brain/Metronome Records BRAIN 1004 and October 1972 in the UK on United Artists UAS 29396. All songs written by and all instruments played by MICHAEL ROTHER and KLAUS DINGER.

The 16-square foldout inlay is a dreadfully disappointing affair - reproducing the hand-written inner gatefold of the original LP and the pink 'Neu!" logo - and nothing else. In fact you can't even read the hand-written details because they're done in a semi-faded fashion. We're told the CD is Remastered in London in 2001 - but not by whom or where. The audio is very good overall but on tracks like "Lieber Honig" – it has to be pointed out that the hiss levels are unfortunately very prevalent. I suppose in keeping with the ‘mystery’ surrounding this most influential of German bands – we get no details - but I can't help feel that this is a lazy reissue when it would have been so much better to have Rother and Dinger cough up some juicy Dusseldorf freudenberger facts about themselves and their musical processes thereby enlightening us all after ‘our’ four decades of subliminal hero worship...

"Neu!" opens its Kraut Rock account with a winner in "Hallogallo" (apparently no one seems to know what it means). You get ten minutes of droning brilliance that builds and builds into a sort of trance-like groove – the kind of hooky foot-tapping chug that sends Trance and Dance Kids into ecstasy. The band acknowledged the importance of the track when they reformed in 2010 to do gigs under the name 'Hallogallo 2010'. The go-to Remaster Wizard and Ace Audio Engineer for all things Prog (Yes, ELP, King Crimson, Tull) – Porcupine Tree's Steve Wilson recorded a short but sweet cover version of "Hallogallo" during PT's 1996 sessions for their "Signify" LP which eventually saw the light of day the following year on the B-sides/Demos compilation "Insignificance". But after the prolonged high point of the opener - the near five-minute sound effects noodle that is "Sonderangebot" comes as a disappointing piece of filler - swirling drum symbols and warbling synth notes that emulate winds in the Sahara - but just not as refreshing.

Things are immediately brought back into superstar focus with the drums and guitar treatment brilliance of "Weissensee" - seven minutes of what feels like German Blues with a Kraftwerk tinge. "Weissensee" is the album's other masterpiece - a sort of slow head-nodding drone that's incredibly musical - guitars floating in and out in - distorted but controlled fuzz tones - the kind of thing that would turn up on a mix tape and have punters asking after it.

Like Side 1 - Side 2 offers us a mixture of the great and the dated. "Im Gluck" (which I think means 'I'm happy') opens with sloshing water like some Tangerine Dream album on Virgin Records. Voices then mumble and giggle as if on some punt on the river when the droning guitar starts to creep in and take over. It's hissy for sure throughout - but once those guitar notes that to become musical as the song moves forward - it feels weirdly magical. "Negativland" is probably the most challenging track on the LP - mad guitar sounds wailing and panning across your speakers - it's also the best-sounding track on the CD (Californian band Negativland took their name from this track). "Lieber Honig" is hiss-laden and features rather silly and forced vocals that sound like the man needs a good cry and be done with it.

So there you have - half genius - half waffle - but man the good stuff is so damn cool. And you can feel the album's seminal influence on everyone from U2 to Radiohead a full 44-years after the event - which is truly impressive. They went on to release only two other albums in the UK (both in gatefolds) - "Neu! 2" in September 1973 on United Artists UAG 29500 and "Neu '75" in May 1975 on United Artists UAG 29782 - but like The Stooges first two LPs (1969's "Stooges" and 1970's "Fun House" on original Elektra 'EKS' labels) - I've seen British-pressed copies of these records maybe two or three times in 45 years of collecting. Hell - United Artists UK even tried "Super" b/w "Neuschnee" from "Neu 2" as a UK 7" single in a 'Picture Sleeve' - but I've 'never' seen a copy of it and its £25+ Record Collector Price Guide rating is well underrated in my book...

In 2016 - Germany's NEU! retain their allure and mystery and engender ever-growing amounts of 'Godlike' analogies.

I don't know if the good Lord herself would agree with all of those assessments - but this overlooked and at times utterly brilliant album should be the place where you start your journey to the 'gluck' side of the force...

"Fun House" by THE STOOGES [featuring IGGY POP] (2005 Elektra/Rhino 'Deluxe Edition' 2CD Remasters) - A Review by Mark Barry...

"...Instant Mayhem..."

Rock has produced its fair share of talented loony bins - wild men born to upset and excite - Jerry Lee Lewis, Little Richard, Screamin' Jay Hawkins, Jim Morrison and Michigan's most famous front man - James Jewel Osterberg - IGGY POP to us mere mortals.

Even now in July 2016 as I write this - I look at the release date of 'December 1970' for "Fun House" by THE STOOGES and my jaw drops to the floor. I mean The Velvets were out there for sure as far back as 1967 - but not like this. Listening to the sheer sonic assault of "L.A. Blues" where the guitars threaten to bleed all over the Laura Ashley bed linen (its only five minutes of feedback but hard to take even now) or the fantastic hammer-down riffage of "Down On The Street" – The Stooges were so friggin’ PUNK before anyone even knew the meaning of the word – a band more likely to wear barbed wire in their hair than a flower.

In fact - if this early Punk jewel had arrived December 1977 in the UK – I’d argue it would have made Top 10 if not Top 5 - hailed as a genre masterpiece - and not suffered the ignominious fate of not even making the Top 200 in the USA on original release. I worked for Reckless Records in London for near 20 years as a Rarities Buyer and Mail Order head honcho – and I can count on one hand the number of times I've seen an actual British-pressed 'EKS' red label Elektra original. It sold nothing and never got promoted. An odd thing considering that you can literally feel the template for four decades of Punk, Grunge, Hardcore and Alternative screaming out of these 1970 grooves – a staggering legacy for such an overlooked album. Let's get to the in-house details and allow some Detroit mayhem into our nice orderly Feng Shui living rooms...

UK and USA released August 2005 - "Fun House" by THE STOOGES on Elektra/Rhino 8122-73175-2 (Barcode 081227317522) is a 2CD 'Deluxe Edition' with a new remaster on CD1 of the album and outakes/singles first issued on the 1999 Rhino Box Set "The Complete Fun House Sessions". It plays out as follows...

Disc 1 (36:40 minutes):

1. Down On The Street

2. Loose

3. T.V. Eye

4. Dirt

5. 1970 [Side 2]

6. Fun House

7. L.A. Blues

Tracks 1 to 7 are their 2nd studio album "Fun House" - released December 1970 in the USA and UK on Elektra Records EKS 74071. Produced by DON GALLUCCI - it didn't chart in either country.

Disc 2 (73:28 minutes):

1. T.V. Eye (Takes 7 & 8)

2. Loose (Demo)

3. Loose (Take 2)

4. Loose (Take 22)

5. Lost In The Future (Take 1)

6. Down On The Street (Take 1)

7. Down On The Street (Take 8)

8. Dirt (Take 4)

9. Slide (Slidin' The Blues) (Take 1)

10. 1970 (Take 3)

11. Fun House (Take 2)

12. Fun House (Take 3)

Bonus Single Mixes:

13. Down On The Street

14. 1970

Tracks 13 and 14 were released December 1970 as the A&B-sides of a USA 7" single on Elektra EKM 45695

THE STOOGES was:

IGGY POP - Lead Vocals

RON ASHETON - Guitar

STEPHAN MACKAY - Tenor Saxophone

DAVE ALEXANDER - Bass

SCOTT ASHETON - Drums

The 20-page booklet is a pleasing affair - an introductory note by Jack White of The White Strips where he famously describes "Fun House" as 'the definitive rock album of America' - a quote they use on the jewel case sticker. PAUL TRYNKA supplies a truncated version of his "Fun House" liner notes from the 1999 six-disc blockbuster that included every take. It's accompanied by trade adverts, a facsimile of the Lester Bangs review in Creem Magazine and fantastic colour photos of Iggy and the band from the period (as well as the usual reissue credits).

DAN HERSCH and BILL INGLOT - long-time Audio Engineers whose history with Rhino and the vast WEA catalogue stretches back decades – have newly remastered the album onto Disc 1 (different to the 1999 issue) – and what a job they’ve done. The passion and sheer attitude captured by original Producer Don Gallucci (he let Iggy sing live into the mike to capture the energy) is amplified into something akin to The Ramones in your living room. This sucker ROCKS and the 1999 Remasters of the outtakes on Disc 2 perfectly distil the huge Box Set into one usable alternative chunk – giving the listener a cool yin-yang listen. Both CDs have the Elektra Butterfly label logo and beneath the see-through CD tray there’s even a garish colour picture of the band sitting obediently on a carpet as they look like altar boys out at the camera. Apparently Producer Gallucci removed the carpets and mufflers from the Elektra Studios for the song-a-day sessions to properly capture the sheer shock 'n' awe of the band...

"Fun House" storms into your man cave with "Down On The Street" - Iggy grunting, growling and yelping behind a riff that intends to hurt your granny. Things continue on their 'destroy all in our path' mission with the fantastic "Loose" - a properly huge guitar sound blasting away in the slightly echoed distance - a garage band telling you how they 'stick it deep inside' (oh dear tell me we're not talking about those naughty drugs boys). Iggy screams "LORD!" at the beginning of "T.V. Eyes" - another fab riff that The Sex Pistols would have nobbled a close family member to attain. Side 1 of this organised mayhem ends with "Dirt" - seven minutes of slow Doors-like Blues meets a menacing Stooges Rock groove – Ron Asheton's guitar playing a total revelation.

Side 2 offers the genius of the 'I feel alright' riffage of "1970" where Steven Mackay’s wild Saxophone playing finally makes itself known – followed by everyone's crave – the title track "Fun House". The near eight-minutes of "Fun House" was chosen as the LP's representative track on the gorgeous 5CD Elektra Records "Forever Changing" retrospective in 2006 (see my full in-depth review of that amazing set) and it's easy to hear why. More angry guitars and screaming Saxophone take no prisoners as the band wig out like their lives depend on it. But in truth I find the final screaming feedback and general slaughtering of your eardrums of "L.A. Blues" just too much to take (forgive me punk overlords) - but it doesn't stop me from being blown away by the album overall...

As someone who couldn't afford the lavish 1999 Rhino Set "The Complete Fun House Sessions" - Disc 2 offers up a mouth-watering prospect - an edited variant I can actually use - a sort of alternate "Fun House". I immediately went to "Slide" which is essentially a run-through for "Dirt" but with Saxophone thrown into the mix. I'm totally loving the slow groove of "Lost In The Future" even if Iggy's vocals show that he's still grappling with the words. And my God but the 'demo' of "Loose" could easily have been a single there and then - release it - leave it alone mother (love that feeding back guitar). Take 2 of "Fun House" runs to 9:31 minutes while Take 3 goes even longer to 11:30 - both are amazingly good and the Audio Remaster full of punch for all the right reasons.

As the album "Fun House" was released in late 1970 and few wanted to know let alone buy it - Heroin reared its ugly head and everything went to pieces for The Stooges (Bowie would rescue Iggy and some say vice versa). But remember them this way - snotty, raw and doing it for the little guy. Genius and then some...

"Grave New World" by STRAWBS (1998 A&M Remaster Pieces 'Expanded Edition' CD) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

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"...Heavy Disguises..."

After clocking up four albums between May 1969's debut "Strawbs" and July 1971's "Witchwood" (two with Yes Keyboardist Rick Wakeman on board) - the STRAWBS (shortened from Strawberry Hill Boys) finally rewarded the patience of A&M Records A&R men with a big fat hit album - the fondly remembered "Grave New World" from February 1972.

Even without a single to plug it - but armed with a tri-gatefold sleeve and natty booklet within original copies - "Grave New World" climbed up to No. 11 in the UK LP charts and lay the ground for their 'Rock' record breakthrough - "Bursting At The Seams" in February 1973 which went all the way to No. 2.

"Grave New World" is seen as their last overtly 'Folk Rock' LP and features what many feel was the classic Strawbs line-up. Here are the grim (slightly new) details...

UK released July 1998 - "Grave New World" by STRAWBS on A&M Records 540 934-2 (Barcode 731454093422) is an 'Expanded Edition' CD Remaster with Two Bonus Tracks and plays out as follows (42:39 minutes):

1. Benedictus

2. Hey, Little Man...Thursday's Child

3. Queen Of Dreams

4. Heavy Disguise

5. New World

6. Hey Little Man...Wednesday's Child

7. The Flower And The Young Man [Side 2]

8. Tomorrow

9. On Growing Older

10. Ah Me, Ah My

11. Is It Today, Lord?

12. The Journey's End

Tracks 1 to 12 are their 5th album "Grave New World" - released February 1972 in the UK on A&M Records AMLH 68078 and in the USA on A&M Records SP-4344. Produced by The Strawbs - all songs written by Dave Cousins except "Heavy Disguise" by John Ford. "Ah Me, Ah my" by Tony Hopper and "Is It Today Lord" by Richard Hudson.

BONUS TRACKS:

13. Here It Comes - non-album track released as a UK-only 7" single April 1972 on A&M Records AMS 7002 with the album cut "Tomorrow" as its B-side

14. I'm Going Home - a Strawbs track issued in the UK as a DAVE COUSINS solo 7" single in September 1972 on A&M Records AMS 7032 with "Ways And Means" on the B-side. Both songs turned up on the September 1972 first solo LP by Cousins called "Two Weeks Last Summer" on A&M Records AMLS 68118. Neither the single nor the album received US release.

STRAWBS was:

DAVE COUSINS – Lead Vocals, Acoustic and 12-String Guitar, Electric Guitar, Electric-Acoustic Dulcimer, Recorders

TONY HOPPER – Lead Vocals, Acoustic Guitar and Auto Harp

BLUE WEAVER – Organ, Piano, Harmonium, Mellotron and Clavioline

JOHN FORD – Vocals and Bass

RICHARD HUDSON – Vocals, Drums, Percussion, Tablas and Sitar on "Is It Today, Lord?"

GUESTS:

Trevor Lucas and Anne Collins sing backing vocals on "Benedictus"

Robert Kirby Silver Band on "Heavy Disguise"

Tony Visconti Arranged and Provided 'Chorus' Vocals for "Ah Me, Ah My"

The 12-page booklet has typically in-depth liner notes from a great chronicler of music - JOHN TOBLER (with thanks to Dave Cousins) and the centre pages are the 'Paper Tiger' painting that graced the inner tri-gatefold (William Blake's painting is on the front cover and his verse on the last page). Recorded at Morgan Studios in November 1971 with some further work at Island Studios - the tapes are clearly in great shape because the PETER WAKE Remaster (done at Bourbery-Wake Studios) is gorgeous to listen too - all that great original production shining through. But notable and sloppy omissions include "Queen Of Dreams" (track 3) and "On Growing Older" (track 9) - both are missing entirely from the track-by-track session notes on Page 10 (who played what on what) and it appears the booklet has never been corrected.

Supposedly the story of one man's life from cradle to the grave - the album opens with Cousins getting all hymn-like on "Benedictus" - three of the band's vocals joined by Fairport's Trevor Lucas and British Contralto singer Anne Collin. With a heavy-on-the-organ intro and strummed dulcimer strings rattling around the speakers – the songs feels very English Folk-Rock (in a good way). In direct contrast we then get Cousins on his own with his Acoustic Guitar for the one-minute of "Hey Little Man...Thursday's Child" - the kind of pretty ditty that enthrals even after all these years (beautifully produced too).

Things take a decidedly trippy turn with the backwards guitars, dulcimers and Mellotron of "Queen Of Dreams" - while John Ford gets his first look in on the excellent "Heavy Disguise" - a track many fans would have easily issued as a winning 45 (he would of course form Hudson-Ford after they both left the Strawbs in the mid 70ts). But the Mellotron melodrama of "New World" feels leaden and tired – like bad Procol Harum. Thankfully Side 1 ends on the second short but very pretty Cousins melody - "Hey Little Man...Wednesday's Child" – as sweet as first part.

Side 2 opens with echoed Acapella vocals before "The Flower And The Young Man" settles into a sort of Incredible String Band power ballad - Ford's Bass incredibly clear in the mix. "Tomorrow" is another Prog plodder I'm afraid that irritates instead of lifts - far better is the superb "On Growing Older" - a beautifully melodic piece and one of the album's highlights. The 'cor blimey mate' days gone by of "Ah Me, Ah My" (sung by Tony Hopper and originally produced by Gus Dudgeon) is the kind of song they obviously thought was funny and it isn't. But things return to Strawbs form with the finisher "Is It Today, Lord?" - Richard Hudson doing a blinder on the Sitar and tables acting like he's just discovered ISB's "Wee Tam And The Big Huge"...

The two UK 7" single Bonus Tracks turn out to just that - actual bonuses - in fact I'd argue that "Here It Comes" is better than some of the lesser tunes on the GNW LP.

So not all genius - but so much worthy of your hard earned post-Brexit pound. And "Bursting At The Seams" from 1973 was even better in my book...

PS: see also my review for the hugely underrated "Dragonfly" from 1970 by STRAWBS

"The Band" by THE BAND (2000 Capitol 'Expanded Edition' CD Remaster of their 2nd album from 1969) - A Review by Mark Barry...

"...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...

"The Garden Of Jane Delawney" by TREES (2008 Sony/BMG 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"...The Great Silkie..."

Music historians have postulated that CBS had seen the huge commercial and critical success that Island Records was having with Sandy Denny at the vocal helm of FAIRPORT CONVENTION (turning English Folk on its head and making Folk-Rock) and wanted the same on their label.

Although her high voice was more in line with Apple's Mary Hopkins than Sandy Denny - Celia Humphris looked damn good (in a sexy Sonja Christina kind of way) and the four hirsute men of TREES played complicated Folk in a new Rock fashion - slightly Psych – bit Acid – but all very British and eccentric. CBS's Prog-Folk needs sorted! 

Original Acoustic Guitar player with the band DAVID COSTA has written the affectionate, illuminating and brutally honest liner notes to this elegant Sony/BMG CD reissue - enlightening us on the mysteries of their two highly revered Psych-Folk albums - April 1970's "The Garden Of Jane Delawney" and "On The Shore" which followed only 10-months later in February 1971. Both CBS LPs have been darlings of the Prog-Folk collecting scene for years (sold little at the time, deleted quickly) and listed at £300 and £350 respectively - but can sell for twice that and more in genuine Mint condition (they had flimsy sleeves and are notoriously difficult to find in good condition). Here is the garden of delights...

UK released September 2008 - "The Garden Of Jane Delawney" by TREES on Sony/BMG 88697356712 (Barcode 886973567128) is an 'Expanded Edition' CD Remaster with Four Bonus Tracks and plays out as follows (62:39 minutes):

1. Nothing Special

2. The Great Silkie

3. The Garden Of Jane Delawney

4. Lady Margaret

5. Glasgerion [Side 2]

6. She Moved Thro' The Fair

7. Road

8. Epitaph

9. Snail's Lament

Tracks 1 to 9 are their debut album "The Garden Of Jane Delawney" - released 24 April 1970 in the UK on CBS Records S 63837 (no USA release). Produced by DAVID HOWELLS and TONY COX - Track 1 by Trees - Tracks 3, 7, 8 and 9 written by Bias Boshell - all others are covers of Traditional English, Irish and Scottish airs. 

BONUS TRACKS:

10. She Moved Thro' The Fair (Demo Version) - recorded August/September 1969 with additional pipe organ - PREVIOUSLY UNRELEASED

11. Pretty Polly (Demo Version) - recorded August/September 1969 with banjo - PREVIOUSLY UNRELEASED

12. Black Widow (Recorded July 2008) - song from the album period newly recorded for the reissue with drummer Mark Roberts

13. Little Black Cloud Suite - a BBC version can be found on the CD reissue of "On The Shore" - this old Bias Boshell song is newly recorded June 2008 as a short Instrumental for this reissue

TREES was:

CELIA HUMPHRIS – Lead Vocals

BARRY CLARKE – Lead and Acoustic Guitars

DAVID COSTA – Acoustic and 12-String Guitar

TOBIAS 'BIAS' BOSHELL - Bass, Acoustic Guitar and Vocals

(STEPHEN) UNWIN BROWN – Drums

The 16-page booklet is beautifully put together (real effort) and is filled with great period photos of the band larking about in a park – live at Plimpton Festival in May 1970 – most photos featuring the clearly gorgeous Celia Humphris making the Prog boys look good. A team of three have handled the Remaster – NICK ROBBINS at Sound Mastering created the 24-Bit/96 Hz digital copy from original master tapes and that was further mastered by BIAS BOSHELL (original band member) and ADRIAN HARDY at Unit 2 in London (July 2008). Amidst the bonus tracks is "Black Widow" - a song written at the time of 'Delawney' but never properly recorded. The band reconvened in July 2008 and using drummer Mark Roberts to take the place of the sadly passed Unwin Brown (to whom the reissue is dedicated) - they recreated a new version of it. The audio is excellent especially on the longer more Prog pieces like the brilliant "Lady Margaret" and the very Fairports cover of the beautiful traditional "She Moved Through The Fair" - but the guitars on the diddly-idle dance-round-the-maypole "Glasgerion" are a bit grungy sounding in places. 

Costa’s liner notes come from the trenches and aren’t the least bit bossy or overreaching but funny and touching – Celia sat in a truck with throat lozenges because they’d been pushing her too much vocally (“Glasgerion”) while they contemplate buying a bigger PA to go even louder – CBS’s printed sticker campaign called “Trees March” that couldn’t be used because the album arrived on the market in late April and didn’t get reviewed in most cases until May or even June. Not even putting the impossibly pretty title track “The Garden Of Jane Delawney” on Side 3 of the popular CBS Records label-sampler “Fill Your Head With Rock” 2LP set seemed to shift more copies. As Costa admits – the album received ‘...mild reviews and even milder sales’. Which is a damn shame because there’s so much to love here.

It opens on the lovely guitar jangle of "Nothing Special" and the following electric leads immediately remind of the musicality Genesis got on "Nursery Cryme" tracks like "The Music Box" and "Harlequin". Mythical creatures abound in the Traditional cover of "The Great Silkie" that starts out all strummed English Folk but then goes seriously Prog half way through - guitarist Barry Clarke reaching for his inner Robert Fripp. The lovely harpsichord title track is probably the best-known song from the LP because of its exposure on compilations of the time and subsequently (it turned up on the superb "Dust On The Nettles" 3CD Box Set put out by Grapefruit in 2015 - see my review). It's a bit hissy for sure but that's on the tapes and it doesn't take away from the delicacy of Celia's vocals and the gorgeous playing. I suspect "Lady Margaret" is precisely the kind of track that gives this LP such value - a superb mixture of Acoustic Lead Guitar backed by Electric Lead that's pushed into the background like a tamed Richard Thompson. It's 7:11 minutes are brilliant - Celia giving the 'fair maid' story a wonderful wistful feel.  

Side 2 opens with the dodgy cod English "Glasgerion" which is followed by "She Moves Thro' The Fair" - a track some have derided as an obvious reach for Fairport Convention's fusion of Folk and Rock. But I've always loved its slow eight-minutes and seven seconds of melody – building Acoustic Guitar flourishes and that melody at it's drum-rumbling heart always slays me. We then get three-in-a-row from Guitarist Bias Boshell - the first called "Road" he handles as a duet vocal with Celia - and it works. Musically it's so interesting and still sounds fresh to me - even echoing the largely acoustic feel to Led Zeppelin III in places. "Epitaph" is only 3:23 minutes long and features a warm Celia vocal (little hissy in places) while one of the best is left to last - "Snail's Lament" - a sort of Byrds jangle that crosses swords with Fairport Convention (Bias and Celia sharing doubled vocals). Superb stuff...

I had thought the Bonus Tracks would be throwaway (as they can be on these reissues) – but they’re not. The two Previously Unreleased demos are hissy for sure – but musically they’re very good – especially the new “Pretty Polly” with a stunning vocal from Celia and Banjo playing adding a strange cowboy feel to a Folk song. The two new songs are excellent and show Celia's voice is still in fine fettle on "Black Widow" while the short but gorgeous instrumental "Little Black Cloud" is beautifully orchestrated with strings (more please Mister Boshell, much more).

Sure TREES were of their time and all that hippy-dippy ambling can grate – but I think it’s a beautiful 'overlooked' album and worth the dosh.

"...It will not be long now until my wedding day..." - Celia sings on the melodious "She Moved Thro' The Fair". 

You don't have to marry to get this 1970's British magic in your life or even commune with a great Silkie - "The Garden Of Jane Delawney" is online for less than a fiver in most places and worth every Folk Roots penny of it. Dig in and enjoy...