"Open Your Heart: The Island Recordings 1972-1976" by JIM CAPALDI [of Traffic] – Features Three Albums "Oh How We Danced" (February 1972 Solo Debut after Traffic), "Whale Meat Again" (June 1974) and "Short Cut Draw Blood" (June 1975) Plus Five Bonus Non-LP 45-single Sides and a DVD with Concert Footage from November 1975 and March 1976 – Features Paul Kossoff of Free, Guitarists Pete Carr and Chris Spedding, Steve Winwood of Traffic and Blind Faith, Dave Mason, Chris Wood and Rebop of Traffic, Barry Beckett, Jimmy Johnson, David Hood and Roger 'The Hawk' Hawkins of The Muscle Shoals Rhythm Section, Backing Singers Sue & Sunny and many more (March 2020 UK Esoteric Recordings 3CD+1DVD Clamshell Box Set with Mini LP Repro Artwork Card Sleeves and Remasters from Original Island Records Master Tapes by Paschal Byrne) - A Review by Mark Barry...

https://www.amazon.co.uk/Open-Heart-Island-Recordings-1972-1976/dp/B083XVYPL4?crid=38YSH4MW2IW5I&dib=eyJ2IjoiMSJ9.FU8ZhyaSUMQbz9bulpBudA.rTGuEsvNRY-O3zlEXz8peAtxqPrkaI59SaCdNTXpd_Q&dib_tag=se&keywords=5013929481282&nsdOptOutParam=true&qid=1730749172&sprefix=5013929481282%2Caps%2C77&sr=8-1&ufe=INHOUSE_INSTALLMENTS%3AUK_IHI_3M_AUTOMATED&linkCode=ll1&tag=mabasreofcdbl-21&linkId=da1f87bc06dc6c891128d1ccaf86dfc1&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material *** to ****

Presentation ****

Audio *****

"…Short Cut Draw Blood…"

In hindsight, so many reviewers in the 00s, 10s and 20s have been kind and generous in their praise to the music of Jim Capaldi. I mention this in late 2024 because when I was growing up and buying these sorts of albums between 1972 and 1975 – the general viewpoint was different. 

Some of his Island records album had good moments – but most were ordinary and even poor despite the stellar line-ups of guest musicians I have outlined below. And he has never had the best of voices either. Most of his Traffic compatriots were on the LPs alongside luminaries like Paul Kossoff of Free, Jess Roden of Bronco, ace axeman Chris Spedding, the Muscles Shoals House Band and even occasional inspiration from Viv Stanshall of The Bonzo Dog Doo Dah Band. But one look at auction sites and you will see hundreds of these albums on sale for under a pound and unfortunately even less. 

But – and this is the big but here – since the release of the June 2011 Universal 4CD Book Set "Dear Mr. Fantasy: The Jim Capaldi Story" (covering his music from 1964 to 2004) and now this - "Open Your Heart: The Island Recordings 1972-1976" – both sets beautifully 24-bit Digitally remastered by PASCHAL BYRNE from original tapes – it is time for me to bury my growing-up prejudice and re-listen. 
There is much to like here – rediscover too. None are masterpieces by any stretch of the imagination – but with that visual element too which I had not seen before – time to buckle up, grab the Bic Razor and draw chin-blood again. Oh How We Danced indeed – here are the heartfelt details…

UK released 27 March 2020 - "Open Your Heart: The Island Recordings 1972-1976" by JIM CAPALDI on Esoteric Recordings ECLEC 42712 (Barcode 5013929481282) is a 3CD+1DVD Clamshell Box Set (Three Albums Plus Five Bonus Tracks and Concert Footage from 1975 and 1976 on the DVD) that plays out as follows:

CD1 "Oh How We Danced" (40:57 minutes):
1. Eve [Side 1]
2. Big Thirst
3. Love Is All You Can Try
4. Last Day Of Dawn
5. Don't Be A Hero [Side 2]
6. Open Your Heart
7. How Much Can A Man Really Take
8. Oh How We Danced
Tracks 1 to 8 are his debut solo album (after Traffic) "Oh How We Danced" – released February 1972 in the UK on Island Records ILPS 9187. Produced by JIM CAPALDI and CHRIS BLACKWELL – the Band included Steve Winwood of Traffic and Blind Faith on Organ and Guitar, Jimmy Johnson (Guitar), David Hood (Bass) and Roger Hawkins (Drums) of The Muscle Shoals House Band, Dave Mason, Chris Wood and Rebop Kwaku Baah of Traffic, Paul Kossoff of Free on Guitar, Barry Beckett on Keyboards, Rick Grech of Traffic, Blind Faith, Ginger Baker's Airforce and Family, Trevor Burton and Jim Gordon and more

BONUS TRACK:
9. Going Down Slow All The Way (March 1972 UK 7" 45-single on Island Records WIP 6127, Non-LP B-side to "Eve")

CD2 "Whale Meat Again" (47:13 minutes):
1. It's Alright [Side 1]
2. Whale Meat Again
3. Yellow Sun
4. I've Got So Much Lovin'
5. Low Rider [Side 2]
6. My Brother
7. Summer Is Fading
8. We'll Meet Again
Tracks 1 to 8 are his second studio album "Whale Meat Again" – released June 1974 in the UK on Island Records ILPS 9254. Produced by JIM CAPALDI – the band included Pete Carr, Jimmie Johnson and Bubs White on Guitars, Barry Beckett and John "Rabbit" Bundrick on Keyboards, Chris Stainton of The Grease Band, Steve Winwood and Rebop Kwaku Baah of Traffic with the Muscles Shoals House Band

BONUS TRACK:
9. Tricky Dicky Rides Again (June 1973 UK 7" 45-single on Island Records WIP 6165, A-side (Non-LP). The B-side in the UK was the album track "Whale Meat Again", however, in the USA it was issued and credited (March 1973) as "Tricky Dickie Rides Again" on Island Records USA IS 1216 with "Love Is All You Can Try" from the debut album as its flipside

CD3 "Short Cut Draw Blood" (56:21 minutes):
1 Goodbye Love[Side 1]
2. It's All Up To You
3. Love Hurts
4. Johnny Too Bad
5. Short Cut, Draw Blood
6. Living On A Marble [Side 2]
7. Boy With A Problem
8. Keep On Trying
9. Seagull
Tracks 1 to 9 are his third solo album "Short Cut Draw Blood" – released June 1975 in the UK on Island Records ILPS 9336. Produced by JIM CAPALDI, CHRIS BLACKWELL and STEVE SMITH – the band featured Jess Roden of Bronco, Chris Spedding, Pete Carr, Paul Kossoff of Free, Pete Yarrow of Peter, Paul & Mary and Jimmy Johnson on Guitars, Barry Beckett on Keyboards, Ray Allen on Saxophone, Chris Stainton of The Grease Band, Steve Winwood, Gerry Conway of Fotheringay, Chris Wood and Rebop Kwaku Baah of Traffic, the Muscles Shoals House Band and more

BONUS TRACKS:
10. Sugar Honey (October 1975 UK 7" 45-single on Island Records WIP 6246, Non-LP B-side to "Love Hurts")
1

1. Talkin' About My Baby 
12. Still Talkin'
Tracks 11 and 12 are the Non-LP A&B-sides on an April 1976 UK 7" 45-single on Island Records WIP 6299 (no US issue)

DVD (NTSC, All Regions)
Jim Capaldi Band 
18 November 1975 - BBC TV – The Old Grey Whistle Test

Intro by Bob Harris
1. Short Cut, Draw Blood
2. Goodbye Love

Band featured:
Jim Capaldi on Guitar and Lead Vocals, Steve Winwood on Piano, Pete Bonas on Lead Guitar, Kiki Gyan on Organ, Ray Allen on Saxophone, Rosko Gee on Bass, Remi Kabaka on Drums and Percussion with Phil Capaldi on Percussion and Backing Vocals

Jim Capaldi and the Space Cadets
10 March 1976 – Live at the BBC Television Theatre in London
For the BBC TV programme – The Old Grey Whistle Test

Intro by Bob Harris
1. Low Rider
2. Love Hurts
3. Goodbye Love
4. Elixir Of Love
5. Boy With A Problem
6. Short Ends
7. Talkin' About My Baby
8. Keep On Trying
Band featured:
Jim Capaldi on Guitar and Lead Vocals, Pete Bonas on Lead Guitar, Kiki Gyan on Organ, Ray Allen on Saxophone, Rosko Gee on Bass, Remi Kabaka on Drums and Percussion, Phil Capaldi on Percussion and Backing Vocals with Ralph Richardson on Steel Drums

The small Clamshell Box Set contains four Mini LP Repro Artwork Card Sleeves with Picture CDs inside – three albums and a DVD. The card sleeves are named after the Box set and therefore don’t really reflect the original artwork as it was (as per the photos provided), and their rears have other photos than the original releases (none are gatefolds and any inners plus info is now in the booklet). The 28-page booklet helmed by PAUL MINKKINEN is a pleasingly in-depth affair – colour photos – repros of those lovely cartoons on the inner sleeve of "Whale Meat Again" that reflected each song title – the band-photos of "Oh How We Danced" (Paul Kossoff either asleep or stoned) - album-by-album credits in the closing pages alongside reissue credits (no lyrics though). Capaldi would go on to eleven more albums, but as Minkkinen points out, most fans gravitate towards these Seventies Funk-Rock and Soft-Rock moments accompanied by many buddies from Traffic, The Grease Band and even Fotheringay. A lovely inclusion too is the Bonus 45-single sides. 

But for me – re-hearing records I never really rated – the best news is the amazing Audio clarity on offer here. PASCHAL BYRNE has had his Engineer name on wads of Cherry Red UK reissues especially for their Esoteric Recordings label offshoot. I made immediately not for the obvious hit "Love Hurts" but for a Funk Rock gem I have loved for nearly fifty years - "Low Rider" – and wowser is the response. These were well-crafted and well-recorded albums and the sheer Funkiness of The Muscle Shoals House Band that he used - Jimmy Johnson on Guitar, David Hood on Bass with Roger "The Hawk" Hawkins on Drums and Barry Beckett on Keyboards – made the rhythm section feel like they were in the pocket - on Average White band tablets. The strings are admittedly overdone in places, but overall – the Audio is first class – clear and alive like you would want it. To the music…

His February 1972 debut album (after Traffic) "Oh How We Danced" opens on the slightly-weedy "Eve" – a mid-tempo woman-child tune. Far better is the slow ballad blues of "Big Thirst" – a co-write with Dave Mason - everyone hoping for a miracle to drive away the pain. Barry Beckett provides Soulful Organ, Sue and Sunny lady backing vocals, Dave Mason a Harmonica solo while Paul Kossoff of Free makes a first appearance on Guitar. Things turn to Piano Bop (Barry Beckett) with "Love Is All We Can Try" where both vocally and musically Capaldi sounds another Island Records fave – Bryn Haworth (Steve Winwood picks electric guitar in your left speaker). Side 1 ends with the acoustic-frantic "Last Day of Dawn" – Kossoff getting guitar funky while Rebop of Traffic and Roger Hawkins with David hood of The Muscle Shoals House Band give the backbeat a Funk.

The six-minute "Don't Be A Hero" opens Side 2 – again a mellow Capaldi telling us not to be sad – and while the musicians do him proud (both Kossoff and Mason on Guitar with Mason soloing) – his weak vocals kind of sink its epic build up and sway (sounds so good though). The song that entitles the Box Set "Open Your Heart" reunited Steve Winwood (Organ and Vocals) with fellow Traffic pal Chris Wood on Electric Sax which Rick Grech hits those soft Bass notes. Wood plays Flute on "How Much Can A Man Take" while sessionman legend Trevor Burton plays Bass and again Kossoff staying in the Rhythm Section background throughout. A good tune but again his voice kind of does for any impact. The LP finishes with a fast one – the Piano and Bass pulsating beat of "Oh How We Danced" where (finally) Kossoff gets to let rip on a guitar solo while The Muscle Shoals Horns get brassy in the mix. A good album then, rather than great. The piano-ballad Non-LP B-side "Going Down Slow All The Way" is excellent and you wonder why it did not get on the LP instead of the weaker "Eve".

Album number two - the wittily entitled "Whale Meat Again" arrived June 1974 – a full two-years after the debut – but the band remained roughly the same. I rate it much more than the starter album. Side 1 opens with a sort of happy-go-lucky Caribbean Island vibe in "It's Alright" that nicks some of its Acoustic moments from a famous George Harrison song on Abbey Road. Both Pete Carr (on Lead) and Jimmy Johnson have loads of guitar moments on the Blues Rock swagger of the album title track "Whale Meat Again" – a destruction of the environment angry song anchored by Ian "Rabbit" Bundrick on Keyboards while The Muscle Shoals Horns get classy halfway through. "Yellow Sun" is the big seven-minute ballad for Side 1 that sees Pete Carr switch to Dobro Slide while Jimmy Johnson handles the Guitars and Chris Stainton of The Grease Band plays mellow Organ. Barry Beckett on piano (comes in about the three-minute mark) rounds off a classy line-up on the undoubted LP highlight. The band gets Funky with the backbeat for "I've Got So Much Lovin'" – a downtown LA bopper that is abided by Lady Singers echoing most lines. Could have been a good single too but Island UK chose "It's All Up To You" b/w "Whale Meat Again" for the July 1974 45-single (which did not chart). 

Side 2 of "Whale Meat Again" opens with the brilliant Rock-Funk of "Low Rider" – a shadow man with lightning in his satchel designed to meet your needs. Harry Robinson arranged the cool strings as the Muscle Shoals Rhythm Section get deep into the groove – Pete Carr making the Lead Guitar Solo count for every second. "Low Rider" runs to 5:40 minutes - but you can’t help think that Island missed a trick here with an Edited Down 45-single that might have caught the AWB-crowd neck-jerking to "Pick Up The Pieces" over on Atlantic Records. "My Brother" comes sailing out of your speakers with fab clarity but his echoed strangulated vocals are more irritating than effective – shame because the band achieves a sexy groove (Barry Beckett puts in a rare Synth solo). The second album ends with a two-parter – 8:30 minutes of "Summer Is Fading" that segue into a one and half-minute orchestrated strings cover of the old WWII Vera Lynn classic "We'll Meet Again". Starting out slow like a Traffic groove – Bub White takes Lead Guitar on "Summer Is Fading" that soon gets soloing frantic to only return to slow. The Vera Lynn thing has gorgeous string arrangements but is ruined by silly shouting.

Coming before the 1974 "Whale Meat Again" album hit the shops, the 45-single "Tricky Dicky Rides Again" from June 1973 on Island WIP 6165 whetted appetites. Fans want it because it features PAUL KOSSOFF of FREE on Guitar (it later appeared as "Dirty Business" – a remake on JC’s "Contender" album in February 1978 on Polydor Records) – but you might have difficulty actually hearing him through the rowdy proceedings until the end (great solo). Speaking of ace axeman Kossoff, unfortunately, the track "You And Me" which was also recorded with Capaldi and The Muscle Shoals Rhythm Section in the 1975 sessions for "Short Cut Draw Blood" is not here. "You And Me" first appeared on the "Koss" double-album anthology in 1977 on Island Records, but its digital appearance is exclusive to the June 2011 4CD Book Set "Dear Mr. Fantasy: The Jim Capaldi Story" (probably not here for licensing reasons).

Nicking a Carole King Tapestry piano intro - "Goodbye Love" comes Funky-shimmying into your living room and production values are higher than ever. Steve Winwood contributes to the slinky backbeat with Organ, Guitar, Bass and Piano whilst Ray Allen pops in those Saxophone jabs. Commerciality comes screaming through the lovely catchy-chorus of "It's All Up To You" (a minor hit single) – Clavinet and Keyboards by John "Rabbit" Bundrick with Jess Roden on Guitar (ex-Bronco, on a solo career in 1975). I doubt either Keyboardists Steve Winwood or Jean Roussel thought that a cover version of an Everly Brothers hit "Love Hurts" would go Top 5 for Capaldi was conspicuously absent from either single or LP charts. Legendary session Drummer Jerry Conway (of Fotheringay) and licks-for-hire turning-solo-artist the following year Chris Spedding plays guitar. Jamaican Reggae act The Slicker would see his 1971 UK 45-single on Punch Records PH 59 "Johnny (Too) Bad" be taken by both Jim Capaldi and John Martyn into superb cover versions. While the Muscle Shoals Rhythm Section and Horns keep the shuffling Reggae-Rock beat tight in the pocket – listen (real) close and you will just about catch Pete Yarrow of 60ts Folkies Peter, Paul & Mary playing Acoustic Guitar. Side 1 of "Short Cut Draw Blood" ends with the title song – a good guitar-chugging builder that features both Pete Carr and Chris Spedding on Guitars (Rebop of Traffic is in their too doing his Percussion thing).

Side 2 of "Short Cut Draw Blood" opens with the decentralization-needed angry "Love On A Marble" – both Jimmy Johnson and Chris Spedding contributing electric guitars, Chris on Lead (Pete Carr on Acoustic) while Steve Winwood quietly plucks a Bass. An impressive Rock-Romp, Capaldi sparts rapping politico statements towards the frantic ending. "Boy With A Problem" boasts another impressive line-up – Kossoff gets Lead Guitar while Jimmy Johnson does Rhythm with Steve Winwood on Synth. The slink and strings are strong with this one – a tune where a mother worries about her son who is too often away with the clouds. This excellent number is once again anchored by superlative Soulful piano fills from Barry Beckett giving the song an edgy Rock-Funkiness. Trombonist Ray Rodriguez joins in the falsely joyful giggling and voices of "Keep On Trying" – an attempt at Rock-Calypso that involves Steve Winwood, Rebop and Saxophonist Ray Allen that feels forced today. A good album ends of the quietly pretty "Seagull" – Capaldi singing with only three people – Steve Winwood on all Keyboards, fellow Traffic pal Chris Wood on Flute with Drummer Remi Kabaka of Third World keeping a rhythm going to the sea-and-surf sounds. And of the three single-sides, the very Simon & Garfunkel guitar-funky "Sugar Honey" is excellent but the overly poppy "Talkin’ About My Baby" is weak and its useless B-side not a whole lot better.

For true JP aficionados the All-Regions DVD is going to be a real treat. After an Esoteric Recordings logo, you get a two-concert menu – both Old Grey Whistle Test shows introduced by Bob Harris. The first in 1975 is in their studio and the big band are not just tight and sounding great – but seriously well-rehearsed. Both shows are in TV Box Format so there is no getting away from that and the footage has that faded look – but the audio is shockingly good. With Capaldi on Acoustic and in fine voice, "Short Cut Draw Blood" draws to a suitably frantic finish – guitarist Pete Bonas impressing. But things really start to light up when you see Steve Winwood on Piano introduce "Goodbye Love" as a sort of Low Spark of The High-Heeled Boys Part 2 (in other words it feels like Traffic circa 1972). Its Carole King piano intro leads to a sexy funky sinewy groove – very cool. 

The TV Theatre show is much longer and again the footage Boxed and flitting between worn and clear depending on how close the cameraman gets. The audio does the same – one minute ok – the next fantastic – usually as the sound people get the measure of the show as the amps warm. It is essentially the same band, Ghana percussionists and drummer, Rosko Gee with his top hat and cool Bass Guitar looking like that villain from Jamaica in the Bond film "Live And Let Die". When Capaldi sits at the piano alone for "Short Ends", his voice lets him down somewhat. In short, it is a mellow-ish gig – good but low on any real excitement for me. But to have 40-minutes of Capaldi and his band in their prime is a plus. A very nice find. 

Jim Capaldi was not Steve Winwood – did not have his voice or writing chops – but I now realize after a re-listen that when JC hit that mark and his band was cooking – reappraisal is very much in order… 

"Woman, Woman/The New Gary Puckett And Union Gap Album/The Gary Puckett Album + Bonus Tracks" by GARY PUCKETT & THE UNION GAP and GARY PUCKETT- January 1968 US Third Album and December 1969 US Fourth Album (February 1970 in the UK) plus October 1971 First Solo Album on Columbia Records – All in Stereo (April 2019 UK Beat Goes On Compilation – 3LPs onto 2CDs with 8 Bonus Non-LP 45-Single Sides from 1969 to 1972 – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Woman-Gary-Puckett-Union-Album/dp/B07NRFRVKD?crid=1BN471JGNTOPQ&dib=eyJ2IjoiMSJ9.QOJtJ7hEFwJCd_DGYhhfhw.mXtwWdoQ6TNTbby9jS3xKgTkTnYWu2-_XrxY4Re3hhE&dib_tag=se&keywords=5017261213747&nsdOptOutParam=true&qid=1730650027&sprefix=5017261213747%2Caps%2C85&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=66452ff95f3be7c275fa669a39de8915&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material ***

Presentation and Audio *****

"…Don't Run To His Arms…" 

What you get here is three on two – San Diego's Gary Puckett & The Union Gap for their third and fourth studio albums dating from January 1968 and December 1969  - and then his first solo LP from October 1971 as Gary Puckett (all three originally on Columbia Records in the USA - February 1970 in the UK on CBS Records for the second LP only). There are also straggler Non-LP 45-single sides (eight of them across both discs) that stretch from 1969 to 1972. It's a typically generous twofer from our reissue champs at BGO (Beat Goes On Records of the UK). But top Presentation and Remastered Audio is where the good new ends.

It won't take a genius to see that certain auction sites have at times over 300 of these three LPs separately selling at less than a dollar or even 50c. Don't get me wrong – they were beautifully produced and orchestrated – but they are also loaded down with some seriously wearing sub-Walker Brothers pap-Pop. 

Audio bells 'n' whistles or not – these albums have not dated well. You just wish that all this superb reissue effort had been in aid of a better cause. To the details…

UK released Friday, 19 April 2019 - "Woman, Woman/The New Gary Puckett And Union Gap Album/The Gary Puckett Album + Bonus Tracks" by GARY PUCKETT & THE UNION GAP (First Two Albums) and GARY PUCKETT (Third Album) on Beat Goes On BGOCD1374 (Barcode 5017261213747) is a Compilation that Remasters Three Albums from 1968, 1969 and 1970 onto Two CDs and adds on Eight 45-Single Sides as Bonuses across both discs. It plays out as follows:

CD1 (70:09 minutes):
1. Woman, Woman [Side 1]
2. M'lady
3. By The Time I Get To Phoenix
4. Paindrops
5. Believe Me
6. I Want A New Day
7. You Better Sit Down Kids [Side 2]
8. Kentucky Woman
9. My Son
10. To Love Somebody
11. Don't Make Promises
Tracks 1 to 11 are their thirst studio album "Woman, Woman" by THE UNION GAP featuring GARY PUCKETT – released January 1968 in the USA on Columbia CL 2812 (Mono) and Columbia CS 9612 (Stereo) – the STEREO Mix is used (no UK variant). Produced by JERRY FULLER – it peaked at No. 22 on the US Billboard LP charts

12. Home [Side 1]
13. Stay Out of My World 
14. Lullaby
15. Hard Tomorrow
16. This Girl Is A Woman Now
17. My Son [Side 2]
18. Simple Man
19. Out in The Cold Again
20. Don't Give In To Him
21. His Other Woman
Tracks 12 to 21 are their fourth album "The New Gary Puckett And The Union Gap Album" – released December 1969 in the USA on Columbia CS 9935 and February 1970 in the UK on CBS Records S 63794 in Stereo only. Produced by DICK GLASSER – it peaked at No.50 on the US Billboard album charts (did not chart UK)

BONUS TRACKS
22. Could I (February 1969 US 45-single on Columbia 4-44788, Non-LP B-side of "Don't Give In To Him")

23. Let's Give Adam And Eve Another Chance
24. The Beggar (Tracks 23 and 24 are the Non-LP A&B-side of a February 1970 US 45-single on Columbia 4-45097)

CD2 (48:51 minutes):
1. Gentle Woman [Side 1]
2. Shimmering Eyes
3. Feeling Bad
4. Delta Lady
5. Angelica
6. Do You Really Have A Heart [Side 2]
7. Hello Morning
8. I Just Don't Know What To Do With Myself
9. All That Matters
10. Keep The Customer Satisfied
11. If We Only Have Love
Tracks 1 to 11 are his debut Solo album "The Gary Puckett Album" – released October 1971 in the USA on Columbia C 30862 in Stereo (no UK issue). Produced by RICHARD PERRY and STEPHEN GOLDMAN – it peaked at No.196 on the Billboard Album charts

BONUS TRACKS: 
12. No One Really Knows (January 1971 US 45-single on Columbia 4-45303, Non-LP B-side to "Keep The Customer Satisfied")

13. Life Has Its Little Ups And Downs (April 1971 US 45-single on Columbia 4-45358, Non-LP A-side, B-side was "Shimmering Eyes" from "The Gary Puckett Album" LP)

14. I Can't Hold On (November 1971 US 45-single on Columbia 4-45509, Non-LP A-side, B-side was "Hello Morning" from "The Gary Puckett Album" LP)

15. Leavin' In The Morning
16. Bless This Child (Tracks 15 and 16 are the Non-LP A&B-sides of an August 1972 US 45-single on Columbia 4-45678)

The now ubiquitous card slipcase lends these BGO compilations a classy look and long-time liner-notes associate to Beat Goes On Records (of England) JOHN O'REGAN does a gamely job in the 16-page booklet that reproduces front and cover artwork that the band Union Gap are fab and groovy (named after a small town in Washington State). Puckett and his Crew had hits galore in the States and these three albums charted albeit in lesser numbers each time. But they were/and/are best remembered for their monster hit 'Young Girl' – the band's second 45 issued February 1968. Credited as The Union Gap featuring Gary Puckett – Columbia 4-44450 was a Pop Sensation (very Phil Spector in ways) and rocketed to No.2 in their native USA. 'Young Girl' ploughed to No.1 in the UK and several other countries around the world too. 

I mention this because their first two albums are captured on another Beat Goes On compilation (BGOCD827 from 2008) – it is 827 that features 'Young Girl'. The group then seemed (like so many acts of the time) to forever-after chase the same type of hit – same wording – same aching over-the-top melodrama. This compilation covers the post-mortem and musically it is hard work. What cannot be denied however is the stunning AUDIO on offer here – licensed from Sony – ANDREW THOMPSON once again doing the absolute business by his Remasters. Fans are going to love this (all Stereo). To the tunes…

The "Woman, Woman" LP is awash with then-contemporary cover versions – Jimmy Webb and Glen Campbell for "By The Time I Get To Phoenix", Jerry Fuller and The Fullers with their "Paindrops", Sono Bono and his "You Better Sit Down Kids", Neil Diamond and his "Kentucky Woman", The Bee Gees on "To Love Somebody" while Tim Hardin closes out Side 2 with "Don't Make Promises". The problem is Puckett did not have the writing chops of say Neil Diamond whose sound is the nearest comparison in 1968. And then there is the mawkish delivery and at times cringeworthy lyrics. When he sings "…bring your sunshine smile to drive my paindrops away…" – oh God! Or how about "…yes I lied and then you cried…" – purr-lease. The red-was-his-hair and green-was-his-eyes of "My Son" is just awful and at times laughable. Much of the second LP is the same. 

"The Gary Puckett Album" opens with two awful saccharine ballads worst of which is the sincere-insincerity of "Shimmering Eyes" where our Gary does all these crying women a favour by letting them down. At least Puckett uses the following two tracks to decent effect – the hallelujah upbeat of "Feeling Bad" (a Gary Wright song from his days with Spooky Tooth) complimented by a good cover of the Leon Russell/Joe Cocker shimmy-shaker "Delta Lady". Melodrama soon returns in his half Gene Pitney half Scott Walker take on the Barry Mann and Cynthis Weil song "Angelica" (the cold winds came, then I spoke her name – lyrics like that). Schlock rears its ugly head with Puckett’s take on a Paul Williams "Do You Really Have A Heart" – sunny-day bop and brass comes in the shape of "Hello Morning". 

And on it goes with stuff like the Bacharach/David standard "I Just Don't Know What To Do With Myself" (movies and parties making our lad sad) and onward to a half-decent bopping stab at a Simon & Garfunkel winner - "Keep The Customer Satisfied" from their 1970 magnum-opus "Bridge Over Troubled Water". Best amongst the five Bonus 45-sides are the what's going down bop of "I Can't Hold On" and the quiet Acoustic Kris Kristofferson vibe in "Leavin' In The Morning" (Gary has gotta be on his way again – see ya) but too often his songs sound like poor-man's Tom Jones.

If you are a Gary Puckett & The Union Gap fan then the fantastic audio and presentation will make BGOCD1374 an essential purchase – but for everyone else, I strongly urge a listen first…

"Rock 'N' Roll Animal" by LOU REED – February 1974 US and UK Fourth Album (First Live) on RCA Victor Records – Featuring Guitarists Steve Hunter and Dick Wagner, Keyboardist Ray Colcord, Bassist Prakash John with Drummer Pentti Glan (May 2000 UK-EU (March 2000 USA) RCA/BMG/Legacy CD Reissue and Remaster with Two Bonus Tracks – Audio Restoration by Bill Lacey) - A Review by Mark Barry...

https://www.amazon.co.uk/Rock-N-Roll-Animal-Live/dp/B00004RD54?crid=33H0T0TKS3NIT&dib=eyJ2IjoiMSJ9.1FJkx3Gqm1PdhweHjeOnFG2qw9u2XXNa6jY5Obfz2Eo.OIOTB_Gfi2P8bAfcoFSzG3tYoZ45Dx4BL46uu0dOtyM&dib_tag=se&keywords=078636794822&nsdOptOutParam=true&qid=1730419930&sprefix=078636794822%2Caps%2C70&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=e82c48a0781c780d35bc50ebef3ed6cb&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material *****

Presentation ****

Audio Restoration *****

"…Hey Protest Kids!"

With the worldwide smash of "Walk On The Wild Side" in the solo-career bag (from his cool 1972 second studio LP "Transformer" – the song and album - all Lou Reed meets Mott The Hoople meets David Bowie meets Mick Ronson brilliant) – it seemed that the ex-Velvets main-man was finally on the deserved up-and-up. 

That is until October of 1973 and the release of his third studio album "Berlin". A seriously bleak almost quiveringly quite music/poetry opus about drug addiction, prostitution, abuse and family break up (a mother has her children taken away to the sound of screams and suicidal despair) - both critics and the public hated it – a hugely down-and-grimy Rock Opera that few could take in one sitting (although for me the gorgeous orchestrated "Sad Song" is surely one of his greatest achievements). Time to get your big-boy leather-pants on again and Rawk.

His first live set – the uncompromisingly sinewy "Rock 'N' Roll Animal" did much to return favour amongst the party faithful. Right from the off, 'Animal' is an aural and attitude assault - a tight-brilliantly-in-synch twin-guitar-and-keyboards attacking band unleashed on four Velvet Underground songs and one solo cut from the infamous "Berlin" LP. 

To this day - is there any Live Set anywhere that opens with something as good as "Sweet Jane" – Mitch Ryder and The Detroit Wheels axemen Steve Hunter and Dick Wagner absolutely slaying it before Lou hits the microphone in that undefinable cool of his. It was enough to elicit hero-worship from me for a lifetime. Which brings us to this beautifully restored CD Reissue & Remaster. To the details Protest Kids…

UK and US released March 2000 - "Rock N Roll Animal" by LOU REED on RCA/BMG/Legacy 07863 67948 2 (Barcode 078636794822) is an Expanded Edition CD Reissue with Restored/Remastered Audio and Two Previously Unreleased Songs from the same concert. It plays out as follows (48:12):

1. Intro/Sweet Jane (7:46 minutes) [Side 1]
2. Heroin (13:13 minutes)
3. How Do You Think It Feels (3:41 minutes) *
4. Caroline Says I (4:07 minutes) *
5. White Light/White Heat (5:11 minutes) [Side 2]
6. Lady Day (4:00 minutes)
7. Rock 'N' Roll (10:08 minutes)
Tracks 1 to 2 [Side 1] and Tracks 5 to 7 [Side 2] are his fourth album "Rock 'N' Roll Animal" (first Live set – see Notes) - released February 1974 in the USA on RCA Victor APL1-0472 (same date and catalogue number in the UK). Produced by LOU REED and STEVE KATZ – it peaked at No.45 on the US Billboard LP charts and No. 26 in the UK.

NOTES: Tracks 3 and 4 (*) are Previously Unreleased – recorded on the same night the live album was taped, 21 December 1973 at Howard Stein's Academy of Music in New York. Neither song appear on "Lou Reed Live" (released March 1975) that also featured music entirely from the same show. The studio versions of each song originally appeared on his infamous October 1973 LP "Berlin". Four of the five songs on "Rock 'N' Roll Animal" are from his days with The Velvet Underground with only "Lady Day" from "Berlin" being from his then three-album-strong solo career. His biggest hit "Walk On The Wild Side" from 1972's "Transformer" is notable by its absence – but Reed wanted the live album to be Classic Rock and Rock and Roll. After Reed released his fourth studio album "Sally Can't Dance" - four of his band members – Guitarists Steve Hunter and Dick Wagner along with Bassist Prakash John and Drummer Pentti Glan would form the basis of the Alice Cooper Band as featured on his February 1975 album "Welcome To My Nightmare". 

Nice to see the CD get a picture disc (his face from the front gatefold cover) and the 8-page inlay with new liner notes from JONATHAN HILL goes into the genesis of the album - it's release - and post-album follow ups - including "Sally Can't Dance" in the same year (1974) and the "Lou Reed Live" set from 1975 that returned entirely to unused material from that night at the Academy of Music in NYC, 21 Dec 1973. There is the inner gatefold shot and the 'Heroin' lyrics that appeared up in the left corner but sadly no shots from the gig. Hill is honest about Lou's spiky responses to criticism - his belligerence almost - and smartly that Reed believed in the redemptive nature of 'Rock 'n' Roll'. It's good enough for an RCA-BMG-Legacy issue, let's put it that way.

But the big news is two unused Bonus Tracks from the same gig - live variants of two 'Berlin' cuts - "How Do You Think It Feels" and "Caroline Says 1" - and fab new Audio Restoration from BILL LACEY and MICHAEL (Mike) HARTRY which pumps up huge power without amping everything to a hissy mess. When the 13-plus minute "Heroin" goes into those almost silent slow bits and then both guitarists lose it thrashing solos towards the end - both are remarkable for their clarity and 'live' power. It's a truly wicked job done on an album that holds a special place in any LR fan's heart.

Side 1 opens without any real indication that you're live and dangerous - "Sweet Jane" from the Velvet Underground's fifth and final studio album "Loaded" in 1970 comes at you almost like a mission statement. The twin guitars of Steve Hunter and Dick Wagner are thrilling and so tight that it isn't until Reed turns up at the microphone do you realize that's its a 'gig'. The power of the riffage is as good as The Who and then to follow that with the stop-start magnificence of "Heroin" - originally on the groundbreaking 1967 debut album "The Velvet Underground And Nico". 

I had to play the two new inclusions - "How Do You Think It Feels" and "Caroline Says 1" - a couple of times to like them and I can so hear why they would have interrupted the flow of an album called "Rock 'N' Roll" and were left off. But for real fans - anything new from the difficult "Berlin" period is manna from the Gods. Their third LP "White Light/White Heat" gets a muscle-car rendition from the band and Lord help us all - even Lou seems to be enjoying himself. Reed then romps home with "Lady Day" from "Berlin" and another from 1970's "Loaded" LP - the title of the album - "Rock 'n' Roll" - a great tune.

Reed would go on of course to the ludicrous f-you of "Metal Machine Music" - a notorious double-live of feedback and unlistenable shit that RCA deleted within three months of release due to the outrage and returns of irate punters. It also hammered any kind of commercial clout Reed might have had with the hick Country Music label - but you suspect our hero New Yorker probably wanted it that way. 

But there are no such thoughts when it comes to 1974's "Rock 'N' Roll Animal" now sounding most ballsy and snot-nosed than ever. Naught sad about this...buy...

"The R & B Box: 30 Years Of Rhythm & Blues" by VARIOUS ARTISTS – 108 R and B Tracks Covering 1943 to 1972 and Including labels Decca, Aladdin, King, End, Modern, Chess, Checker, Atlantic, Motown, Stax, Polydor, Minit etc (November 1994 US Rhino 6CD Long Box Set (in Leatherette Effect) - Bill Inglot, Dan Hersch, Chris Clarke, Ken Perry and Bob Fisher Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/R-B-Box-30-Years-Rhythm/dp/B0000033EL?crid=30LS57S8IH5EO&dib=eyJ2IjoiMSJ9.KsZDhsc_zGys2dg_rrmIr_H5hwBDWpnv8rYxuMAkG5jK1xkgX9jxZb04C3XeOe0ogZEmsCy-7R1Z-Q4aRdZT4dMYMhlB-VzS9NnOy3hxIhUhNc9kRkL-LSGYV0rrTPOw.h8wPAnMuY15y30Mgz3rEHweqNDFKqqGHaD7ILUgs2lI&dib_tag=se&keywords=r%26B+Box+Rhino&nsdOptOutParam=true&qid=1730317340&sprefix=r%26b+box+rhino%2Caps%2C84&sr=8-7&ufe=app_do%3Aamzn1.fos.d7e5a2de-8759-4da3-993c-d11b6e3d217f&linkCode=ll1&tag=mabasreofcdbl-21&linkId=57007186636a53956e5d15e1ec3732ec&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Music **** to *****

Audio ****

Presentation ***

"...Tell It How It Is... "

There was a time in the Nineties and into the Naughties when I considered Rhino of the USA to be the greatest reissue label of them all. Big shoes when you consider Ace Records of the UK and Bear Family of Germany with their 40 to 50-year-plus catalogues of absolute reissue excellence - and more recently the stunning work Esoteric Recordings, Grapefruit and Doctor Bird have been doing via Cherry Red's large array of specialist reissue imprints. 

But there was just something brilliant about Rhino, a hip US company populated by history-preserving loons who just happened to have access to the cream of the recorded crop in terms of licensing primo oldies material. 

Which is why the US-only set "The R & B Box: 30 Years Of Rhythm & Blues" by VARIOUS ARTISTS of 15 November 1994 on Rhino R2 71806 (Barcode 08277180621) was such a huge disappointment. But before we get into its disastrous ugly-bug self-destructive presentation and lack of decent playing times on each CD - let's sing the praises of what is good. 

There are 108-tracks across six themed discs in a long-box presentation with a 60-page full-featured booklet:

CD1 "Jumpin' The Blues (1943-1950)" - 53:52 minutes, 18 Tracks
CD2 "Teenagers Are Diggin' It (1951-1954)" - 50:55 minutes, 18 Tracks
CD3 "Rockin' 'n' Rollin' (1955-1956)" - 48:50 minutes, 18 Tracks
CD4 "Goin' Nationwide (1956-1961)" - 47:07 minutes, 18 Tracks 
CD5 "Soul Brothers & Soul Sisters (1961-1965)" - 48:12 minutes, 18 Tracks 
CD6 "The End Of The Golden Age (1966-1972)" - 55:31 minutes, 18 Tracks 

Rhino not surprisingly start with the great grandfather of all Rhythm 'n' Blues genius Louis Jordan & His Tympany Five in 1943 doing "Five Guys Named Moe" on his famously catchy Decca classics, and ends on Disc 6 with The Spinners on Atlantic Records in 1972 telling us "I’ll Be Around" should we need their soothing advice in the matter of broken hearts. Between those two huge compass points comes revered genre labels like King, Aladdin, End, Specialty, Brunswick, Chess, Checker, Atlantic, Motown, Stax, Minit, Polydor, Volt and a huge array of other associated independent pioneers. 

The problem is that each CD play feels short - three above fifty minutes and three below. The first three CDs in particular pass rather quickly with overly familiar titles only to slip into early Soul by Disc 4. There's only 1 James Brown cut when he dominated R&B for entire decades, there's no Sam Cooke and Marvin Gaye is represented by the underwhelming "Pride And Joy". I suppose you could argue what should and shouldn't have been included/excluded ad nauseam, but I can't help thinking they bit off more than they could chew with a one stop box, Rhino really should have made this Volume 1 of an R&B Series so they could dedicate more to it like they did with their lovely Doo Wop boxes across 3 volumes. 

But the worst part is the actual way "The R&B Box..." is made. It has a stippled-leatherette look (don't know why) with Atlantic Records and early Soul star Solomon Burke at the microphone on the front sleeve. You can't read the lettering on the rear for the track lists even with a squint. But then you open it and find that Rhino put each CD into an individual jewel case - three piled on three - two piles inside the bay (too weighty). The problem is that there's no wiggle room getting any of them out, so as you try to pull up CD1, it pushes against the flimsy deep corner walls and rips them instantly. I've seen loads of these sets across the years I served penal in Reckless Records in London's Soho and so many were afflicted with this implosion of the holding walls. 

The booklet has another ugly black-as-night cover (with nothing on it) but (it must be said) more than makes up for its boring visage with an array of classy black and white publicity photos throughout the thoroughly enthusiastic text from BILLY VERA. It's cool to see lesser-highlighted names like Little Esther, Mabel Joy, Percy Mayfield, Jackie Brenston and Buddy Johnson get their photo moment in the sun. Each inner cover flap has a collage of those beautiful R&B posters where names like The Five Keys, Jackie Wilson, Clyde McPhatter, The Spaniels, The Clovers, Fats Domino, Lloyd Price, The Coasters, Chuck Willis and Booker T. & The MG's pounded the stage boards to capitalise on hot 45s breaking and making waves on the US Billboard R&B charts. I would have used these as the booklet and box artwork and in colour. Each song entry has writer credits, discography info and catalogue numbers, release dates and chart placing etc. 

The Audio comes from a team of five experience engineers – BLL INGLOT and DAN HERSCH (long-time workaholics for Rhino) with CHRIS CLARKE, KEN PERRY and BOB FISHER – names any oldies fan will know well. Beginning in bombastic but clean Mono, the songs slowly slink into Stereo as the Discs progress and apart from some early tunes that betray their had-no-money but had-the-feel independent origins – it all sounds tickety-boo and at times thrilling. Overall I'd award Presentation 3, content 4 with Audio 4 (at times a 5). 

There is huge debate as to what actually is 'R&B' especially in US circles - what do call the mighty "Green Onions" by Booker T & The MG's - early Soul, 60ts Funk, Stax R&B, the greatest instrumental Funk ever laid down by the coolest cats ever - well all of it really. "Speedoo" by The Cadillacs, "In The Still Of The Nite" by The Five Satins and "Duke Of Earl" by Earl Chandler have been (rightly) plopped onto Doo Wop and Vocal group compilations for decades, B.B. King's "The Thrill Is Gone" and Bobby Bland's "I Pity The Fool" are fabulous Sixties Blues, Little Richard's "The Girl Can't Help It" is a hair's breath away from out-and-out Rock and Roll mayhem while Billy Stewart's cover of Gershwin's "Summertime" is a mixture of Jazz, Swing and sophisticated nightclub smooch all rolled into one. Ike & Tina Turner's "Proud Mary" gives a nod towards Creedence Clearwater Revival's Swamp Rock while Brook Benton counts the warm raindrops in Tony Joe White's "Rainy Night in Georgia" - as gorgeous a groove as Clarence Carter's pleading in "Slip Away". 

There's a lot to love here, there really is, but you should also know there's a lot that should have been done in another way, especially that rather austere packaging for a genre of music that has always been associated with so much joy. 

Still, sat in my man cave in Nov 2024 with a post Covid-19 future looming tastily over the Margate sunset - I put on Dan Penn and Chips Moman's classic "Do Right Woman - Do Right Man" as interpreted by the powerhouse lungs of Aretha Franklin, and as Chris Kenner was fond of saying, "I Like It Like That"...(at least part of me does)...

"Road Fever: The Complete Bearsville Recordings 1972-1975" by FOGHAT – Five Albums "Foghat"(July 1972), "Foghat [aka Rock And Roll]" (March 1973), "Energized" (January 1974), "Rock And Roll Outlaws" (October 1974), "Fool For The City" (September 1975) and an Exclusive Compilation "Single Versions 1972-1975" – Featuring Guitarists Lonesome Dave Peverett and Rod Price, Bassist Tony Stevens, Drummer Roger Earl and Bassist, Keyboardist and Producer Nick Jameson (March 2023 UK Cherry Red/HNE Recordings 6CD Clamshell Box Set Compilation – Tim Debney Masters Using 1990s WEA/Rhino Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/ROAD-FEVER-BEARSVILLE-RECORDINGS-1972-1975/dp/B0BS1LVBST?crid=1CQH54EYXL26K&dib=eyJ2IjoiMSJ9.8rnWJk6KHL2U86fOUecS4g._h9XhGLWuU9gDYAv6bQA-ZwAlUPotEatq24rRCQjwU8&dib_tag=se&keywords=5013929928428&nsdOptOutParam=true&qid=1730118495&sprefix=5013929928428%2Caps%2C80&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=3e7b7275ab5c482f547a7dd718fd43d5&language=en_GB&ref_=as_li_ss_tl

RATINGS: 

Material *** to ****

Presentation *****

Audio **** to *****

"…Slow Ride…"

Boogie, Boogie and more Boogie. You could not in a month of Sundays accuse England's FOGHAT of slacking on the let's-rock-until-we-puke front.

As you wade through these good-to-sometimes-great five albums at the start of their huge Blues Rock/Classic Rock career followed by a neatly compiled Single Versions 1972-1975 Bonus CD Companion with Rare Single and Promo-Only Edits – you are left both exhausted and exhilarated – much like one of their live shows I would imagine. 

This is Gee-Tar Rock in the same vein as Ten Years After or Savoy Brown or Status Quo - but with a very (somehow) American tint to it (Foghat were always much bigger in the States than at home in their native Blighty where buyers all but ignored them for decades).

I didn't (in honesty) pick up on Foghat until I heard the brill, catchy and radio friendly Slide Boogie of "Fool For The City" and bought the album of the same name in the Autumn of 1975. I went back and picked up their Bearsville catalogue on the cheap where their LPs were a staple in secondhand record emporiums. Which leads us to this rather cute and cuddly six-disc Clamshell Box Set with dinky Mini LP Repro Artwork Card Sleeves, a decent 20-page booklet and Tim Debney Masters that I swear are simply the Rhino Remasters of old (the 1990s) re-licensed. 

Time to ride people – and I don't mean Red Rum in the Epson Derby – more Fagash Lil in the Cheltenham Paddocks (the seedier end of the stalls, if you get my sack of hayseed)…to the details…

UK released 31 March 2023 - "Road Fever: The Complete Bearsville Recordings 1972-1975" by FOGHAT on Cherry Red/HNE Recordings QHNEBOX184 (Barcode 5013929928428) is a 6CD Clamshell Box Set (Five Albums and One Exclusive Single Versions Compilation) that plays out:

CD1 "Foghat" (38:09 minutes):
1. I Just Want To Make Love To You [Side 1]
2. Trouble, Trouble
3. Leavin' Again (Again!)
4. Fool's Hall Of Fame 
5. Sarah Lee
6. Highway (Killing Me) [Side 2]
7. Maybelline 
8. A Hole To Hide In
9. Gotta Get To Know You 
Tracks 1 to 9 are their debut album "Foghat" - released July 1972 in the USA on Bearsville BR 2077 and belatedly released June 1974 in the UK on Bearsville K 45503. Produced by DAVE EDMUNDS – peaked at No.127 on the US Billboard LP charts (didn't chart UK)

CD2 "Foghat" - aka "Rock And Roll" due to cover art - (38:37 minutes):
1. Ride, Ride, Ride [Side 1]
2. Feel So Bad 
3. Long Way To Go 
4. It's Too Late 
5. What A Shame [Side 2]
6. Helping Hand 
7. Road Fever 
8. She's Gone
9. Couldn't Make Her Stay
Tracks 10 to 18 are their 2nd album "Foghat (aka Rock And Roll)" released March 1973 in the USA on Bearsville BR 2136 and belated released July 1974 in the UK on Warner Brothers K 45514 . Produced by TIM DAWES – peaked at No.67 on the US Billboard LP charts (didn't chart UK)

CD3 "Energized" (40:02 minutes):
1. Honey Hush [Side 1]
2. Step Outside
3. Golden Arrow
4. Home In My Hand
5. Wild Cherry[Side 2]
6. That'll Be The Day
7. Fly By Night
8. Nothin' I Won't Do
Tracks 1 to 8 are their third studio album "Energized" - released January 1974 in the USA on Bearsville BR 6950 and belatedly released July 1974 in the UK on Bearsville K 55500. Produced by TOM DAWES - peaked at No.34 on the US Billboard LP charts (didn't chart UK)

CD4 "Rock And Roll Outlaws" (38:58 minutes):
1. Eight Days On The Road [Side 1]
2. Hate To See You Go
3. Dreamer
4. Trouble In My Way
5. Rock & Roll Outlaw [Side 2]
6. Shirley Jean
7. Blue Spruce Woman
8. Chateau LaFitte '59 Boogie
Tracks 1 to 8 are their fourth studio album "Rock And Roll Outlaws" - released October 1974 in the USA on Bearsville BR 6956 and October 1974 in the UK on Bearsville K 55502. Produced and Engineered by NICK JAMESON - peaked at No. 40 on the US Billboard LP charts (didn't chart UK)

CD5 "Fool For The City" (35:36 minutes):
1. Fool For The City [Side 1]
2. My Babe
3. Slow Ride
4. Terraplane Blues [Side 2]
5. Save Your Loving (For Me)
6. Drive Me Home
7. Take It Or Leave It
Tracks 1 to 7 are their fifth album "Fool For The City" released October 1975 in the USA on Bearsville BR 6959 and February 1976 in the UK on Bearsville K 55507. Produced and Engineered by NICK JAMESON – peaked at No.23 on the US Billboard LP charts (didn't chart UK)

CD6 "Single Versions 1972-1975" (46:17 minutes):
1. I Just Want To Make Love You (Mono Edit, 3:14 minutes)
2. I Just Want To Make Love You (Stereo Edit, 3:14 minutes)
3. What A Shame (Single Edit, 2:50 minutes)
4. A Hole To Hide In (Single Edit, 3:50 minutes)
5. What A Shame (Mono Edit, 3:24 minutes)
6. What A Shame (Stereo Edit, 3:24 minutes)
7. Ride, Ride, Ride (Stereo Edit, 2:59 minutes)
8. Long Way To Go (Stereo Edit, 4:06 minutes)
9. That'll Be The Day (Mono Edit, 2:52 minutes)
10. Step Outside (Stereo Edit, 3:12 minutes)
11. Slow Ride (Stereo Edit, 3:45 minutes)
12. Slow Ride (Stereo Edit, 5:55 minutes)
13. Fool For The City (Stereo Edit, 3:10 minutes)

Foghat fans have been here before when in March 2012 Edsel Records of England issued six twofer-CDs covering their catalogue from July 1972 to July 1983 – but they and the Complete Albums Box set that followed have long since been deleted and garnishing hefty price tags on auction sites. HNE Recordings (part of Cherry Red) have decided to close the gap with this March 2023 sixer – a good idea. The Mini LP Repro Artwork Card Sleeves appeal to all collectors – front and rear covers – all CDs with generic HNE Recordings logo and not the Bearsville labels of old. 

The 20-page booklet has all the album credits and Box Set details at the rear preceded by an in-depth article on the band by XAVIER RUSSELL that includes new and old interviews with Peverett, Price and Nick Jameson. Peppered between are rare Picture Sleeves of Euro 45s. Although it doesn't say so – TIM DEBNEY of Fluid Mastering has I suspect used the Rhino Remasters done in the 1990s (this set is licensed from WEA). But whatever way you look it – every album boogies – solid – punchy – and without doubt four and five having the input of Producer Nick Jameson – sound the most ballsy. 

"Lonesome" Dave Peverett (Guitar & Lead Vocals), Tony Stevens (Bass) and Roger Earl (Drums) came out of the ashes of British Rock-Blues band SAVOY BROWN while second slide-guitar specialist Rod Price was in BLACK CAT BONES who managed one highly collectable album on Decca-Nova in 1970 (featured members of Leafhound and Free guitarist Paul Kossoff). Working on his debut solo LP "Rockpile" at the time – DAVE EDMUNDS recorded Foghat's debut at Rockfield Studios in Wales also. Their aural brief was no-nonsense boogie – Rock and Roll – with maybe some blues and soulful rock in between the cracks. And as a British band they were famously huge in the USA (charted 13 albums there) but less so in their native land. 

Highlights on the debut include the lead-off single that got them noticed – a great boogie version of the Willie Dixon penned/Muddy Waters classic "I Just Want To Make Love To You". There's a fast-as-we-can–go cover of Chuck Berry's "Maybelline" – but there's also the opposite – a very soulful near eight-minute take on Bobby "Blue" Bland's "Gotta Get To Know You" which finishes the album in great style. But the other 6 originals mainly written by Peverett and Price are just as impressive – especially "Leavin' Again (Again!)" where Edmunds treats the vocals and guitars to phasing which gives it such a "Rockpile" sound. "Sarah Lee" is excellent too while the rocking 'money-worries' song "A Hole To Hide In" was a B-side of their debut 7" single in the USA. "Highway (Killing Me)" is gritty too – boogie about life on the road.

Things heat up considerably on the 2nd LP as it opens with "Ride, Ride, Ride" which along with their 2nd US 45 "What A Shame” set down the template for their trademark rocking sound for years to come. But best of all for me is the legendary drummer Bernard Purdie and the Brass section on the blistering "Road Fever" (lyrics above) – they combine with Peverett and the band to incredible effect - rocking like mad men and then Peverett losing it with vocal enthusiasm as the tracks rushes to a manic finish.

By the time Foghat hit studio album number three "Energized" released on the US market in January 1974 – they were on a very definite Rock and Roll upward trajectory (in America at least). The album became their first to finally break the top 50 settling at a peak of No.34 on a very healthy 30-week run. And when you hear the bashing drums and twin-guitar attack of stuff like "Wild Cherry" which Bearsville put on the flipside of their cover of the Buddy Holly 50ts classic "That'll Be The Day" - it is hardly surprising. They also bolstered up that 2:52-minute cover with (uncredited) girly backing singers and brass arrangements to give it more muscle – and it worked. 

Speaking of cool cover choices, Foghat opened the "Energized" album with a rapido Rawk version of the old Joe Turner tune "Honey Hush" – their manic guitar assault resembling the way Fleetwood Mac of the 1970 "Kiln House" line-up did up – just amped up ten-fold. It is also easy to hear why Bearsville chose the catchy sung-chorus of "Step Outside" as the second 45 from their third album platter hooking it up with the Chuck Berry cover "Maybelline" from their debut as its flipside. For me (at least) far better is the fast train song "Golden Arrow" – the distorted vocals of Peverett sounding like a choo-choo a-chuggin' down the line just before a blistering guitar solo. 

The 8-track no-nonsense Brassed-Up Boogie Rock of "Energized" with tracks like (paying my debt with my) "Home In My Hand" song structure worked – so album number four "Rock And Roll Outlaws" followed suit and again broke the Top 50 although this time slipping down a few notches to No.40 and staying only 10-weeks on the US Billboard chart. Opening accounts on Side 1 is another pinging ZZ Top-type boogie cover version that hammers down for 6:08 minutes – this time from a 60ts Howard Tate R&B number on Verve Forecast Records. Their version of "Eight Days On The Road" does the absolute business - Nick Jameson now more involved and arranging guitar parts too – dig that fantastic solo. That is followed by another great slice of riffage "Hate To See You Go" that could easily have been a single too. I also like the acoustic and slide of "Trouble In My Way" – a ballad for Foghat that ended Side 1. 

Another outsider with a six-string gun shows up for the LP title track "Rock & Roll Outlaw" – back to Boogie – itself followed by the very R&R shuffling "Shirley Jean" purring like a wasted movie queen – their trick of singing with the guitar lines making the basic Chuck Berry backbeat feel new. Another impressive gal shows up (this time out of the woods) in the shape of "Blue Spruce Woman" – the lecherous pre-Black Crowes guitars soon joined by Drums and Tambourine. They end their fab fourth with an all-out slide attack – the real-good-time Boogie of "Chateau LaFitte '59 Boogie" – the boys rolling all night long with not-so-cheap booze. For my money – it ends an overlooked album in their cannon. For sure "Fool For The City" is always going to be the LP they will be cited for – but "Rock And Roll Outlaws" is far better than its naff band-and-jet artwork would suggest. Going in my I Saw The Light e-book of over 500 Overlooked Albums between 1955 and 1979. 

Produced to perfection by Nick Jameson - "Fool For The City" opens with a title-track killer. It was edited down from its album length of 4:33 minutes to 3:28 minutes and put out as a 45 in March 1976 in the USA (Bearsville BSS 0307) with “Take It Or Leave It” as its flip. What a killer tune – to this day it elicits a grin and is an oldies playlist regular. But it was the Side 1 monster "Slow Ride" that blew everyone away. Its stunning eight-minutes of slide Blues Boogie was also edited down a more manageable 3:59 minutes and in January 1976 it broke into the US singles chart peaking at a respectable 20 on Bearsville BSS 0306 (the UK variant is on K 15522). CD6 also provides us with a 5:55 minute Stereo Edit of "Slow Ride".

Their take on The Righteous Brothers hit "My Babe" gets a truly fantastic kick-ass makeover as does the Robert Johnson Side 2 opener "Terraplane Blues". The girls and cars "Drive Me Home" goes all barroom Honky Tonk with its sloppy piano backing supporting rocking guitars. It ends on the rather sappy "Take It Or Leave It" – a stab at MOR keyboard schlock – but by that time the rest of the album has boogied its way into your heart.

To sum up – none of these FOGHAT albums are masterpieces of the genre by any stretch of the imagination despite what 5-star reviews may say (and sadly both Peverett and Price passed on in 2000 and 2005). 

But Foghat are remembered with affection for a reason and there are truly great moments of Rock meets the Blues meets Rock 'n' Roll on each one of these Mini LP CD reissues. And now it won't cost the Terraplane or Jet Stream to get them either. Nicely done…

US 7" 45-Singles Covering 1972-1975 Albums:
"I Just Want To Make Love To You" (Single Edit) b/w "Hole To Hide In" (Single Edit)
July 1972, Bearsville BSV 008 (Track 2 on CD6 and 8 on CD1)
July 1972, Bearsville BSV 008 (Promo Only Version of the A-side only - 3:15 Single Edit Version MONO on the A and same timings STEREO on the B – Tracks 1 & 2 on CD6

"What A Shame" (Single Edit, 3:24 minutes) b/w "Helping Hand" (Single Edit)
April 1973, Bearsville BSV 0014 (Tracks 6 on CD6 and 6 on CD2)
April 1973, Bearsville BSV 0014 (Promo Only Version of the A-side only – 3:24 minute edit in MONO on the A and same times STEREO on the B – Tracks 5 & 6 on CD6

"Ride, Ride, Ride" (Single Edit) b/w "It's Too Late" (5:38 minutes)
June 1973, Bearsville BSV 0016 (Track 7 on CD6 and 4 on CD2)
"That'll Be The Day" (2:52 minutes) b/w "Wild Cherry" (5:27 minutes)
January 1974, Bearsville BSV 0019 (Tracks 6& 5 on CD3)
January 1974, Bearsville BSV 0019 (Promo-Only of the A-side – MONO and STEREO Version on the A&B-sides – MONO Mix at 2:52 minutes was exclusive to this release (Track 9 on CD6)

"Step Outside" (Single Edit, 3:12 minutes) b/w "Maybelline"
April 1974, Bearsville BSV 0021 (Track 10 on CD6 and 7 on CD1)
April 1974, Bearsville BSV 0021 (Promo-Only of the A-side – MONO and STEREO Version on the A&B-sides – MONO Mix was exclusive but is not on this set

"Slow Ride" (Single Edit, 3:45 minutes) b/w "Save Your Loving (For Me)"
November 1975, Bearsville BSV 0306 (Track 11 on CD6 and 5 on CD5) 
November 1975 Promo-Only Version of the A-side also had an edit at 5:55 minutes of the seven-minute song – Track 12 on CD6

"Fool For The City" (Single Edit, 3:10 minutes) b/w "Take It Or Leave It"
May 1976, Bearsville BSV 0307 (Track 13 on CD6 and 7 on CD5) 

UK 7" 45-Singles Covering 1972-1975 Albums:
"What A Shame" (Single Edit) b/w "Hole To Hide In" (Single Edit)
June 1972, Bearsville K 15501 (Tracks 3 & 4 on CD6)

"Long Way To Go" (Single Edit) b/w "Ride, Ride, Ride" (Single Edit) 
February 1974, Bearsville K 15511 (Tracks 8 & 7 on CD6)

"Step Outside" (Single Edit) b/w "Maybelline" 
July 1974, Bearsville K 15517 (Track 10 on CD6 and 7 on CD1)

"Slow Ride" (Single Edit, 3:45) b/w "Save Your Loving (For Me)"
January 1976, Bearsville K 15522 (Track 11 on CD6 and 5 on CD5)