"There's No Me Without You/That's How Much I Love You/The Manhattans/It Feels So Good" by THE MANHATTANS – July 1973, October 1974, May 1976 and February 1977 US LPs on Columbia Records (November 2025 UK Beat Goes On (BGO) Compilation – 4LPs Digitally Remastered onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

RATINGS

Overall: *** to ****

Presentation: *****

Audio: ******

"…Kiss And Say Goodbye…"

When I worked the secondhand counters at Reckless Records in Islington and Soho for over twenty years – Manhattans albums were largely a sales no-no.

It isn't that they weren't successful across the pond. Originally issued Stateside on Columbia Records in July 1973, October 1974, May 1976 and February 1977 – 

the Jersey Soft Soul crooners produced by genre pioneer Bobby Martin charted all four of these albums - No.19, No.59, No.6 and No.12 – which on the US R&B Billboard album charts of those years was mightily impressive.

But The Manhattans (unlike say The Drifters or The O'Jays or Harold Melvin & The Blue Notes or Lou Rawls) meant so little in the UK that the first two albums were Euro Pressings only on original CBS Records Vinyl (usually Dutch copies). Even when "The Manhattans" LP containing an R&B and Pop US No.1 smash in the tune "Kiss And Say Goodbye" – the UK pressing on CBS Records barely shifted and the pressing of February 1977's "It Feels So Good" LP was not a whole lot better.

The Manhattans occupied that Blue Magic, Stylistics, Gladys Knight & The Pips, Natalie Cole, Manhattan Transfer, Spinners hinterland of Soul and Disco albums that were OK but never anything better as far as UK Soul aficionados were concerned. Funk and Jazz Funk had kicked most of these out of the water – especially as the decade progressed. Mostly – none of this mid-Seventies Soft Soul LPs sold for us and sat around in racks for years being marked down to a pound or maybe two – unloved and unwanted.

But time is a healer and a changer – and here with a 50-plus-years distance in 2025 and 2026 - and a more forgiving ear – their quiet smooching class is coming through again. This generous twofer from England's Beat Goes On Records is part of their BGO 'Four Albums On Two Discs' Series (see list below). And let's make no audio bones about it – BGOCD1557 sounds awesome and offers a lot of bang for your run-around buck. So, once more my skylarks and robins of perpetual heart-pattering to the brothers and sisters falling apart at the seams in the wonderful world of lurve (there is no me without you, baby)…

UK released Friday, 21 November 2025 (28 November 2026 in the USA) - "There's No Me Without You/That's How Much I Love You/The Manhattans/It Feels So Good" by THE MANHATTANS on Beat Goes On BGOCD1557 (Barcode 5017261215574) is a 40-Track Compilation that offers Four Seventies Albums Remastered across 2CDs and plays out as follows:

CD1 (70:32 minutes, 20 Tracks):

1. There's No Me Without You [Side 1]

2. We Made It

3. Wish That You Were Mine

4. I'm Not A Run Around

5. Soul Train

6. You'd Better Believe It [Side 2]

7. It's So Hard Loving You

8. The Day The Robin Sang To Me

9. Falling Apart At The Seams

10. The Other Side Of Me

Tracks 1 to 10 are their fifth album "There's No Me Without You" – released July 1973 in the USA on Columbia KC 32444 and 1973 in Holland on CBS Records S 65849. Produced by BOBBY MARTIN – it peaked at No.19 on the US Billboard R&B LP charts (no UK issue nor chart). Guitars by Norman Harris, Bobby Eli and Roland Chambers (of The Chambers Brothers), Organ by Lenny Pecula, Vibes by Vince Montana with Bass and Drums by Ronnie Baker and Earl Young respectively.

11. Summertime In The City [Side 1]

12. Don't Take Your Love

13. Save Our Goodbyes

14. I Don't Want To Pay The Price Of Losing You

15. That's How Much I Love You

16. Blackbird [Side 2]

17. A Change Is Gonna Come

18. Strange Old World

19. Fever

20. Nursery Rhymes

Tracks 11 to 20 are their sixth studio album "That's How Much I Love You" – released October 1974 in the USA on Columbia KC 33064 (no UK release) and in Holland on CBS Records CBS 80444. Produced by BOBBY MARTIN – it peaked at No.59 on the US Billboard R&B LP charts (No UK issue).

CD2 (78:17 minutes, 20 Tracks):

1. Searching For Love [Side 1]

2. We'll Have Forever To Love

3. Take It Or Leave It

4. Reasons

5. How Can Anything So Good Be So Bad For You?

6. Hurt [Side 2]

7. Wonderful World Of Love

8. If You're Ever Gonna Love Me

9. La-La-La Wish Upon A Star

10. Kiss And Say Goodbye

Tracks 1 to 10 are their seventh studio album "The Manhattans" – released May 1976 in the USA on Columbia PC 33820 and July 1976 in the UK on CBS Records S 81513. Produced by BOBBY MARTIN and BERT DeCOTEAUX – it peaked at No.6 in the US Billboard R&B LP charts (no chart UK). 

11. I Kinda Miss You [Side 1]

12. Up On The Street (Where I Live)

13. Let's Start It All Over Again

14. It's You

15. I'll See You Tomorrow

16. It Feels So Good To Be Loved So Bad [Side 2]

17. It Just Can't Stay This Way

18. We Never Danced To A Love Song

19. Mind Your Business

20. Too Much For Me To Bear

Tracks 11 to 20 are their eight studio-album "It Feels So Good" –released February 1977 in the USA on Columbia PC 34450 and February 1977 in the UK on CBS Records S CBS 81828. Produced by BOBBY MARTIN – it peaked at No.12 in the US Billboard R&B LP charts (didn't chart UK).

In 1973, NYC Harmony-Soul Group The Manhattans had already been nine years working the Chitlin Circuit and issued four albums prior – starting in 1966 and 1968 on Carnival Records and then on to DeLuxe Records for 1970 and 1972. Their signing to the major label Columbia in 1973 was a huge step forward and meant they would spend much of the Seventies clocking up respectable chart positions – which is where this four-parter comes canoodling in. 

Complete with nicknames, the original five singers for their Columbia Records debut were – Richard "Ricky" Taylor, Kenneth "Wally" Kelly, Gerald "Smut" Alston, Edward "Sunny Dip" Bivins and Winfred "Blue" Lovett. Ex-US Army conscripts since their European duties in the late Fifties, The Manhattans began harmonizing and suddenly found sympatico in 1962. Tenor Edward Bivins and Bass Vocalist Winfred Lovett provided a lot of the songs (additions in the later years would come from famous song-suppliers like Teddy Randazzo). Sessionmen Ronnie Baker and Earl Young (Bass and Drums) who played on the Columbia Records debut would slay the world in 1977 and 1978 being in The Trammps. 

Soft Soul Ballads and smoocher romance was Manhattans stock-in-trade and given that these albums were recorded at Columbia Studios in New York under the supervision of their musical guide Bobby Martin (Manhattans Productions Inc.,) – the audio you get is TOP NOTCH – Remasters by long-time Sound Engineer for BGO – ANDREW THOMPSON. The 20-page booklet inside the card slipcase features all original artwork and a new info-jam-packed history/appraisal of the choreographed dapper-gents by admired Jazz & Soul writer CHARLES WARING. The smiling five were reduced to four by the time we reach LP number four on this set in early 1977. To the music…

Columbia wisely issued the album title-track "There's No Me Without You" b/w "I'm Not A Run Around" as an opening Salvo 45-single in April 1973 only to see Columbia 4-45838 almost hit the peak but eventually stall at a respectable No.3. But the excellent Ballad A/Funky B follow-up of "You'd Better Believe It" b/w "Soul Train" in August 1973 on Columbia 4-45927 stalled at No.19. I would argue that it is a better pairing than the debut 45 and should have done better. Their old label DeLuxe Records were quick to notice that The Manhattans were back with that No.3 placing and therefore released a flurry of three 45s between May and July 1973 (older material). It worked - the July 1973 US 45-sngle for "Do You Ever" reached No.40 on DeLuxe 45-152. 

The production values are amazing – the talking intro to "There's No Me Without You" is clear as day (written by Bivins) – pinging Vibes from Vince Mantana keeping time with the swooping oohs and aahs. Channelling their inner Barry White, "We Made It" features a long talk-in that will either tickle your love bones or make you laugh out loud. Same with the luxurious shimmer in "Wish That You Were Mine" – another Lovett ballad winner. Songwriter Tony Randazzo had famously penned the Little Anthony & The Imperials 60ts classic "Goin' Out Of My Head" – gifts them "I'm Not A Run Around". Good tune. Bearing an uncomfortably closeness in melody and hooks to "Clean Up Woman" by Betty Wright (her huge 1971 hit on Alston Records) – the funky finger-clicking "It's So Hard Loving You" is nonetheless one of my fave grooves on a good album. The album "There's No Me Without You" shuffles to a classy close with two pleaders – our hero wondering if the band on her finger means anything in "Falling Apart At The Seams" while "The Other Side Of Me" goes straight for the pain-and-agony jugular – our man all let down since she left him staring in the mirror.

The Manhattans started their second Columbia album with serious rather than emo-flippant. They enter the world of social conscience – little bitty babies too exposed to the heat in their Conscious-Funky Temptations soundalike "Summertime In The City" – Blue Lovett putting in a fantastic Marvin Gaye-like vocal. Columbia issued it as the LP’s first 45 in August 1974 with "The Other Side Of Me" from their label debut LP as the flipside. Strange then that while it made No.45 on the US R&B singles chart, the follow-up mid-tempo stepper "Don't Take Your Love From Me" which was not nearly as good was the hit – up to No.7 Maybe it was the long spoken-pleading from Blue Lovett that moved the ladies. Randazzo once again has a hand in the radio-friendly bop of "I Don't Want To Pay The Price Of Loving You" – a tables-turned tale of wanting his lass to stay. Philly man Bunny Sigler is one of the writers on the decidedly Disco-Soul "That's How Much I Love You" – our lads literally promising the sun, moon and stars. Covers come with Isaac Hayes and his "Blackbird" – a very cool Funky Disco song that bristles with angry social commentary. 

I like my Sam Cooke reverential - so as worthy as the cover of his masterpiece "A Change Is Gonna Come" is – The Manhattans version feels like filler. And their wishy-washy cover of the Little Willie John shuffler "Fever" is not a whole lot better. At least the "That's How Much I Love You" album tries to end on a Funky upper – wah-wah guitar giving it party y’all with "Nursery Rhymes". But the ludicrous Jack and Jill/Humpty Dumpty lyrics ruin any chance it has of scoring with your heart. In fact, as you get to the end of the second LP, you feel The Manhattans have lost their way and the momentum the Columbia debut gave them is gone. Perhaps chastened by its chart fall from grace after only two weeks, they made no such mistake with their defiantly self-titled next LP two years later - "The Manhattans". 

Ending Side 2, the monster obligations talker hit that was "Kiss And Say Goodbye" dominated "The Manhattans" LP. It reached No.1 on both R&B and Pop singles charts – a rare thing for a Soul act to hit both jackpots. Hardly surprising then to find that the overload of ballads formula remains in place - "We'll Have Forever To Love" and the lovely smooch of "Take It Or Leave It" going straight for the bedroom set. Craving her body and in the wrong place – our duo vocalists plead mercy in "Reasons" – a Charles Stepney, Bill Bailey and Maurice White Earth, Wind & Fire cover version. Back to Barry White deep-voiced intros for "Hurt"- the kind of you-said-your-love-was-true schlock that gets to you somehow. Pretty is how you would describe "Wonderful World Of Love" – a pleader ballad that echoes both Sam Cooke and Teddy Pendergrass – and in a good way. 

One of the loveliest songs on the LP is "If You're Ever Gonna Love Me" – a typically warm rendition of a ballad – so Manhattans. And then there is the Country-Soul Philly-swaying Lurve-making Bottom of A Bottle Loserville that is "Kiss And Say Goodbye" – and you can so hear why it struck with everyone – they got it right on all fronts (the talking intro does not overstay its cheesy welcome) – especially on that truly Soulful vocal. And the last album is (oddly enough) probably the best of the lot even if the deep-voiced talking start style was wildly out of place in 1977 - naff even - but ballads like "It's You" and "Let's Start It All Over Again" proved once again that their skill at schmoozing their audience had lost none of its potency.

The Manhattans and their Ballad-Soul tunes and style will not be for everyone, but I enjoyed this twofer way more than I had anticipated - and for fans - there is the dense annotation and great audio to look forward to. Another winner amongst nine listed below for England's BGO...

Soul/Funk/Disco/Fusion and Jazz Titles in the 

Beat Goes On (BGO) Records 'Four Albums On Two Discs' Series

UK issued 2CD Compilations in a Card Slipcase with Remasters

1. GLADYS KNIGHT & THE PIPS - "Imagination/I Feel A Song/2nd Anniversary/The One And Only…"

Four US Albums originally issued on Buddah Records in 1973, 1974, 1975 and 1978

UK released 27 February 2026 on Beat Goes On BGOCD1567 (Barcode 5017261215673)

2. RAMSEY LEWIS - "Funky Serenity/Ramsey Lewis’ Newly Recorded, Al-Time, Non-Stop Golden Hits/Solar Wind/Sun Goddess"

Four US Albums originally issued 1973 (two) and 1974 (two) on Columbia Records

UK released 18 May 2018 on Beat Goes On BGOCD1335 (Barcode 5017261213358)

3. RAMSEY LEWIS - "Legacy/Ramsey/Live At The Savoy/Chance Encounter"

Four US Albums originally issued 1978, 1979 and two in 1982 on Columbia Records

UK released 30 March 2018 on Beat Goes On BGOCD1330 (Barcode 5017261213303)

4. THE MANHATTANS - "There's No Me Without You/That's How Much I Love You/The Manhattans/It Feels So Good"

Four US Albums originally issued on Columbia Records in 1973, 1974, 1976 and 1977

UK released 21 November 2025, Beat Goes On BGOCD1557 (Barcode 5017261215574) 

5. BUDDY MILES EXPRESS/BUDDY MILES

"Expressway To Your Skull/Electric Church/Them Changes/We Got To Live Together"

Four US Albums originally issued 1968, 1969 and Two in 1970 on Mercury Records

UK released 7 January 2022 (delayed from November 2021), Beat Goes On BGOCD1468 (Barcode 5017261214683)

6. THE O'JAYS - "Back Stabbers/Ship Ahoy/Survival/Family Reunion"

Four US Albums originally issued on Philadelphia International Records in 1972, 1973 and 1975

UK released 21 November 2025, Beat Goes On BGOCD1563 (Barcode 5017261215635)

7. BILLY PAUL – "Ebony Woman/Going East/360 Degrees Of Billy Paul/War Of The Gods"

Four US Albums originally issued on Neptune and Philadelphia International Records in 1970, 1971, 1972 and 1973

UK released 7 November 2025, Beat Goes On BGOCD1561 (Barcode 5017261215611)

8. LOU RAWLS - "All Things In Time/Unmistakably Lou/When You Hear Lou, You've Heard It All/Let Me Be Good To You"

Four US Albums originally issued on Philadelphia International Records in 1976, Two in 1977 and One in 1979

UK released 3 October 2025, Beat Goes on BGOCD1560 (Barcode 5017261215604)

9. DEXTER WANSEL - "Life On Mars/What The World Is Coming To/Voyager/Time Is Slipping Away"

Four US Albums originally issued on Philadelphia International Records in 1976, 1977, 1978 and 1979

UK released 10 March 2023, BGOCD1490 (Barcode 5017261214904)

"I Heard That!!" by QUINCY JONES – September 1976 US 2LP Set on A&M Records (October 1976 in the UK) with One LP of New Material and the Second LP being an Anthology of Well-Known Soundtrack and Studio Album Tracks from 1969 to 1975 - Guests Include Vocalists The Brothers Johnson, Valerie Ashford, Leon Ware, Minnie Riperton, Al Jarreau, Bill Withers, The Wattsline and Stairsteps with Keyboardists Herbie Hancock, Bob James, Richard Tee, Billy Preston and Guitarists Phil Upchurch, David T. Walker, Dennis Coffey and Wah-Wah Watson, Trumpeters Snooky Young, Cat Anderson, Chuck Findley, Saxophonists Rahsaan Roland Kirk, Hubert Laws and Phil Woods, Harmonica by Toots Thielman and Stevie Wonder, Bassists Stanley Clarke, Chuck Rainey, Ray Brown and Alphonso Johnson, Drummers Bernard Purdie, Grady Tate and Harvey Mason and many more (April 2026 UK Beat Goes On (BGO) Compilation – 2LPs Digitally Remastered onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://amzn.to/4njk1Rs

RATINGS:

Overall: ****

Presentation and Audio *****

"….Midnight Soul Patrol…"

By the time Producer, Arranger and Songwriter Quincy Jones did his "I Heard That!!" seventh album for Herb Alpert's A&M Records in 1976 – Jones was in his mid-40s and had worked since his 1957 debut with huge names in Jazz and Vocals – Ella Fitzgerald, Dinah Washington, Count Basie and of course the Capitol and Reprise Records Guvnor himself Frank Sinatra. But that was just the tip of a genuinely prolific iceberg.

Soundtrack themes and Soul-Funk-Fusion from 1969 to 1974 had kept his name on music-shaker lips too and quite often on the noticeable end of the US R&B charts. Quincy even scored a No.1 US R&B album of his own in 1974 with the Soul gem "Body Heat" – an album that featured the usual dreamboat of players – Guitarists Phil Upchurch, Eric Gale, Dennis Coffey, David T. Walker and Wah-Wah Watson with Keyboardists Herbie Hancock, Bob James, Richard Tee and Billly Preston not to mention such Rhythm Section legends as Chuck Findley, Bobbye Hall, Chuck Rainey, Bernard Purdie and Grady Tate.

I mention all this because as you listen to say CD2 (the Anthology LP in the 1976 double album that offers up eight slices of old Quincy from 1969 to 1974 alongside new stuff on Disc one) – the Production quality, the Bruce Swedien mixing and engineering, the playing, the sheer in-the-pocket feel of every track is stunning regardless of the time frame. This is Steely Dan Aja-good in terms of sheer class. So, it will come as no surprise to any Soul-Funk-Fusion fan that "I Heard That!!" (subtitled The Musical World of Quincy Jones) sounds utterly amazing on this 2026 Remastered Beat Goes On twofer CD package (Andrew Thompson does it again). 

Lot to discuss – to this Killer Joe in velvet pants over by the Soul Patrol…

UK released Friday, 10 April 2026 - "I Heard That!!" by QUINCY JONES on Beat Goes ON BGOCD1564 (Barcode 5017261215642) is a 2CD Reissue and Remaster of his 1976 Double-Album and plays out as follows:

CD1 (35:37 minutes, 8 Tracks):

1. I Heard That!! (2:12 minutes) [Side 1]

2. Things Could Be Worse For Me (4:27 minutes)

3. What Good Is A Song (7:28 minutes)

4. You Have To Do It Yourself (3:14 minutes)

5. There's A Train Leavin' (4:13 minutes) [Side 2]

6. Midnight Soul Patrol (5:11 minutes)

7. Brown Shoe Shuffle (4:44 minutes)

8. Superstition (3:54 minutes – A Stevie Wonder cover featuring Stevie Wonder)

Tracks 1 to 8 are Sides 1 and 2 of his 2LP set "I Heard That!!" – released September 1976 in the USA on A&M Records SP-3705 and October 1976 in the UK on A&M Records AMLM 63705. Produced by Quincy Jones – it peaked at No.16 on the US Billboard R&B Album charts and at No. 43 in the Rock Albums charts (did not chart UK)

CD2 (52:29 minutes, 8 Tracks):

1. Summer In The City (4:20 minutes) [Side 3 – Award Winning Side]

2. Is It Love That We're Missin' (3:53 minutes)

3. Body Heat (4:02 minutes)

4. If I Ever Lose This Heaven (4:45 minutes)

5. Killer Joe (5:09 minutes) [Side 4 – Grammy Winning Side]

6. Gula Matari (Lead Vocalist Valerie Simpson, Full LP Version at 12:57 minutes)

7. Theme From "The Anderson Tapes" (5:04 minutes, full version)

8. Walking In Space (12:04 minutes, Full Album Version)

Tracks 1 to 8 are Sides 3 and 4 of the 2LP set "I Heard That!!" – released September 1976 in the USA on A&M Records SP-3705 and October 1976 in the UK on A&M Records AMLM 63705. Produced by Quincy Jones – it peaked at No.16 on the US Billboard R&B Album charts and at No. 43 in the Rock Albums charts (did not chart UK)

NOTES: I have provided CD playing times because some of the tracks are Extended Versions on this CD as opposed to the original double-LP edits (see notes below) and the packaging does not state this.

The outer card slipcase lends that classy feel to all BGO reissues and the 24-page booklet (given the sheer number of players and references) has its work cut out for it – but Mojo contributor and long-long associate-writer for Beat Goes On CHARLES WARING eats up the details. The original double-vinyl has printed info inner sleeves – they are reproduced here, as are the photos of those famous session names. Waring goes into the tracks – pinpointing who is soloing where and why – a great deal of info put across in his usual enthusiastic and classy fashion. 

And then there is the fabulous Audio – ANDREW THOMPSON Remasters done in 2026 in the UK that lifts proceedings out of great stars beyond into the Audio multiverse. Renowned Engineer Bruce Swedien - who used to master and record all those fabulous Brunswick sides for Tyrone Davis, Barbara Acklin and The Chi-Lites in the late Sixties and early Seventies - is at hand – and with so much experience behind the desk as there was in front of it – it's no surprise then that this double-slice of Jazzy Funky Soulful paradise sounds the bomb. To the tunes…

Vocalists Mortonette Jenkins and Charles May of The Wattsline Vocal Group give it some quality duet booty on the very Disco "Things Could Be Worse For Me" – Keyboardist Dave Grusin joined by a preaching Reverend Charles May as the beat sashays on and on. Time to lurve baby – the sensual snail space ballad "What Good Is A Song" features The Wattsline Vocal Group five singers again working with Dave Grusin on Keys with Tom Scott providing the final flourish with his Saxophone after a Grusin synth solo (song penned by band leader Charles May). The four male and one lady singer in The Wattsline Vocal Group deserve a mention – Mortonette Jenkins, Charles May, David Prigden, Rodney Armstrong and Sherwood Sledge used by Quincy in 1976 and 1977. Charles May (their leader) either wrote or co-wrote much of the album and they hammer it - even if songs like the 3:14 minutes of "You Have To Do It Yourself" feel a bit forced – a song used on a TV show called Rebop. 

After a so-so Side one for me – Side two saves proceedings considerably. Touch of The Staple Singers doing Piano Funk to the vibe of the Side 2 opener "There's A Train Leavin'" – a get-on-board positive message song brought to by the talent of Billy Preston and The Brothers Johnson (Trumpeter Snooky Young who is on this track is pictured on Page 8 of the booklet). The irrepressibly chipper instrumental "Midnight Soul Patrol" is a 1976 template for every Brothers Johnson fun-a-thon to come. With huge names like Drummer Billy Cobham doing battle with Stanley Clarke on Bass and the Guitar of Louis Johnson - the Brass takes it out to 5:14 minutes fade beautifully with clever little runs. Toots Thieleman and his languid Harmonica dominates most of "Brown Soft Shoe" until Dave Grusin and Harvey Mason step up to the keyboard banks (did that so good Ray Brown bass playing anchoring everything allowing the others to shine). But then we get to the monster – a fantastic Soul-Funk cover of Stevie Wonder's "Superstition" which features some truly mind-blowing Vocal names let alone other musicians. The Wattsline Vocal Group soon succumbs to the gorgeous pipes of Bill Withers – Stanley Clarke is in there on the slap Bass – Billy Preston plays Keys – The Brothers Johnson join in – Phil Woods goes and if that is not enough – there is Stevie playing Harmonica alongside the Funk. The "I Heard That!!" version of "Superstition" is not new - it's the track that first showed on Quincy's 1973 LP "You Got It Bad, Girl". Whatever was you look it, "Superstition" gives the first LP a stunner to finish it - turns me to mush just thinking of Bill Withers sailing in like the class act he was. 

The second LP was split into two camps – Side 3 as the Award-Winning Side of four songs - while Side 4 gave us an industry accolades foursome with the Grammy-Winning Side. First up is his cover of The Lovin Spoonful 1966 John Sebastian-penned "Summer In The City" from his "You Got It Bad, Girl" LP of 1973 (same playing time as the original double-album). While the instrumental failed as an A&M 45-single back in the 1973 day – later Producers, Samplers and Hip-Hop dudes like Pharcyde and Massive Attack drew on it for their own interpretations. Future A&M Records Funk-Soul stars The Brothers Johnson now come into play with Track 2 - "Is It Love That We're Missin'". Taken from the QJ album of 1975 "Mellow Madness" – at least this 45 fared better with a peak of No.18 on the US R&B singles chart. This mid-tempo shuffler is the kind of sexy piano and synth song that people will groove to in their hood-down cars should it show up on some enlightened Oldies station. Co-writer George Johnson provides the smooth Lead Vocal while the guitars and back-beat neck jerk to breaking point – so commercial I know – but oh so good. 

Title track to the 1974 fifth A&M album "Body Heat" is up next – a slinky little number that feels more 1978 or 1979 than 1974. Our protagonist cannot control his passion – his love de-sire is on fy-er – if you know what I mean. Co-written with Leon Ware and nominated for Best Pop Vocal Performance – what I dig more is those clever synth notes soaring in the backdrop to the tighter-the-tight groove. Again, another great choice – but then we end Side 1 with a slick 4:45 minutes of "If I Ever Lose This Heaven" where songwriter Leon Ware sings with ex Rotary Connection alumni Minnie Riperton while Al Jarreau is amongst the backing vocalists. Scottish Soul boys Average White Band did a cover of "If I Ever Lose This Heaven" on their second album for Atlantic Records "Cut The Cake" in 1975. They even used it as a 45-single and it featured yet again on their live double "Person To Person" in 1976 where it was extended to a scintillating eight-minutes. The double bass sleaze of "Killer Joe" is presented as a 5:09 full version as opposed to the 4:06 minute edit on the original double-album. Another Creed Taylor production (this time from 1970) – you can just see the pimp entering the nightclub with molls on either arm – gold on his fat little fingers and a cigar that needs a light. Fabulous brass audio against the ladies breathing out the refrain Killer Joe – Don't You Go. What a winner.

The 12:57 minutes of "Gula Matari" is an Afro-Jazz-Fusion cinemascope beast of genre-busting proportions. Helmed by Creed Taylor of CTI Records – it is one of four lengthy workouts off Quincy’s 1970 album of the same name (his second for A&M Records) and is an amazing (if not testing) mix of Big Band, Jazz Cool and Funk all sneaking around a Mati Hari tent. "Gula Matari" is Zulu for "….Breaker Of Rocks…" and features Valerie Simpson of Ashford and Simpson on Lead Vocals with distinctive solos from a trio of super-players – Flautist Hubert Laws, Milk Jackson giving it some sexy Vibes while Soprano Saxophonist Jerome Richardson. Not surprisingly it was Grammy nominated in no less than three categories. Important to note that the "I Heard That!!" version of "Gula Matari" was a 6:54 minute edit on that 1976 2LP set – BGO have used the full LP cut and nearly 13-minutes as noted above. 

But as groundbreakingly good as "Gula Matari" is – it stands no chance against the Bullitt-like cinematic cool of "Theme From "The Anderson Tapes"" – the kind of Piano and Vibes and Harmonica butt-swaying sexpot of an Instrumental that's been driving Funksters wild for decades. Love it – love it- love it! CD2 comes to an end with a 1969 Hair song called "Walking In Space" – a piece written by Canadian Galt McDermott for that groundbreaking counter-culture musical. Here at a full album length 12:04 minutes instead of the 1976 edit of 7:12 minutes - it is once again helmed by Valerie Simpson on Vocals with Quincy faves getting to stretch out in the studio – first-time pairing of Bassist Ray Brown and Drummer Grady Tate creating what Quincy described as the first Jazz Fusion album. 

Despite staggering commercial solo successes and collaborations (especially in the Eighties with Michael Jackson) and being up to the proverbial wazoo with some 80 Grammy Nominations by the time he passed in November 2024 at the grand old age of 91 – Quincy Jones nonetheless never quite had that genre cool that say Donny Hathaway or Gil Scott-Heron pulled. It might go to explain how this broody little double-album gem from 1976 has been forgotten about – up to the point where it was only available on CD for years on an expensive Japanese import from 1993. 

OK – you would not call all the new stuff on Side and 2 the greatest Soul and Fusion masterpiece every made – but the good stuff (on Side 2 in particular) still thrills – and that second LP of prior re-visits is fabulous – especially as three of the tracks are now full-length versions and really hammer home because of it.

Beat Goes On (BGO of the UK) have pulled off a clever reissue here and are to be praised for the gorgeous audio quality and presentation of "I Heard That!!" by Quincy Jones - an unfairly forgotten double that needs your rediscovery – Andrew Thompson and Charles Waring once again delivering the Remastered goodies. Well done to all...

"Rollin' And Tumblin' - American Electric Blues 1965-1971" by VARIOUS ARTISTS – Featuring Howlin' Wolf, Bo Diddley, Slim Harpo, The Butterfield Blues Band (with Mike Bloomfield and Elvin Bishop), Junior Wells, Buddy Guy, Otis Redding, Magic Sam, John Lee Hooker, B.B. King, Muddy Waters, Albert Collins, Johnnie Taylor, Freddie King, Aretha Franklin, Canned Heat, The Lovin' Spoonful (with John Sebastian), Etta James, John Hammond, Kaleidoscope, The Shadows Of Knight, Captain Beefheart, The Electric Flag, Johnny Winter, Quicksilver Messenger Service, Blood, Sweat & Tears, The J. Geils Band, Janis Joplin in the Big Brother Holding Co., J.J. Cale, Ry Cooder, Buddy Miles Express, Tony Joe White, Johnny Jenkins, Dr. John, ZZ Top and more (July 2025 UK Cherry Red/Strawberry 63-Track 3CD Clamshell Box Set with a 40-Page Booklet, Three Compilation Mini LP Card Sleeves and Alec Palao Mastering) - A Review by Mark Barry...

https://amzn.to/4d4IHIJ

RATINGS:

Overall: ****

Presentation: *****

Audio: **** to *****

"...500% More Man..."

June and July 2025 saw Strawberry Records of the UK (one of Cherry Red's label imprints) produce two Themed Clamshell Box Set humdingers. Each came with over 60-tracks, 40-page booklets and Mini LP sleeves. And man are they good...

The first was "Feelin' Alright? Mod Rock, Funky Prog & Heavy Jazz 1967-1972" (reviewed elsewhere) and the second is this little beauty given over to all things American and Bluesy that drove most of us white-boys doolally with internal combustion and even made some English chappies save up and buy cheap guitars (and that's when the motorvatin' trouble really started). So much great stuff here to love - time for a deep dive into Rollin' and Tumblin' - to the mannish details... 

UK released Friday, 18 July 2025 - "Rollin' And Tumblin' - American Electric Blues 1965-1971" by VARIOUS ARTISTS on Cherry Red/Strawberry CR3JAMBX46 (Barcode 5013929434639) is a 63-Track 3-CD Clamshell Box Set Compiled and Annotated by JOHN HARRINGTON covering Black Blues, R&B, Soul, Rock and Psych being discovered by largely white audiences and bands of the period. It comes with a 40-Page Booklet, Three Mini LP Card Sleeves, ALEC PALAO Mastering and plays out as follows:

CD1 (78:27 minutes, 25 Tracks)

John Lee Hooker, Etta James and Paul Butterfield pictured on the cover

1. Killing Floor - HOWLIN' WOLF (March 1965 US 7" 45-single on Chess 1923, A-side - sessions included Hubert Sumlin and Buddy Guy on Guitars with LaFayette Leake on Piano)

2. 500% More Man - BO DIDDLEY (October 1965 US 7" 45-single on Checker 1123, A-side - an update on his "I'm A Man" classic from 1955 on Chess - real name Elias McDaniel)

3. Baby Scratch My Back - SLIM HARPO (December 1965 US 7" 45-single on Excello 45-2273, A-side - real name James Moore)

4. Born In Chicago - THE PAUL BUTTERFIELD BLUES BAND (from the 1965 US Various Artists Elektra Records label sampler LP "Folksong '65" on Elektra S-8 - this earlier version is exclusive to this album and includes Paul Butterfield on Harmonica, Mike Bloomfield and Elvin Bishop on Guitars with Howlin' Wolf band members Jerome Arnold and Sam Lay on Bass and Drums with Organist Mark Naftalin)

5. Snatch It Back And Hold It - JUNIOR WELLS CHICAGO BLUES BAND (from the November 1965 US Debut LP "Hoodoo Man Blues" on Delmark DS-9612 in Stereo - features Buddy Guy on Guitar credited as 'Friendly Chap' - LP recorded live in the studio across two days in September 1965)

6. Rock Me Baby - OTIS REDDING (from the September 1965 US LP "Otis Blue: Otis Redding Sings Soul" on Volt 412 - a B.B. King cover version)

7. Leave My Girl Alone - BUDDY GUY (July 1965 US 7" 45-single on Chess 1936, A-side)

8. Night Owl Blues - THE LOVIN' SPOONFUL (from the November 1965 US LP "Do You Believe In Magic" on Kama Sutra KLPS 8050 in Stereo - band featuring John Sebastian - the instrumental 'Night Owl Blues' is a tribute Blues about a cafe of the same name in Greenwich Village, New York)

9. Spoonful - DION (May 1965 US 7" 45-single on Columbia 4-43293, A-side - a Willie Dixon song done by Howlin' Wolf at Chess Records in 1960)

10. My Babe - THE EVERLY BROTHERS (from the 1965 US LP "Beat & Soul" on Warner Brothers WS 1605 in Stereo - Don and Phil Everly covering a countryfied version of the Willie Dixon penned song made famous by Harmonica legend Little Walter on Chess Records in 1955)

11. Plum-Nellie - BOOKER T. & THE MG's (Originally a June 1963 US 7" 45-single on Stax S-137 in Mono, B-side of "Chinese Checkers" - here as the March 1965 US LP version on "Soul Dressing" in Stereo - band featured Booker T Jones on Organ, Steve Cropper on Guitar and Al Jackson on Drums)

12. One Bourbon, One Scotch, One Beer - JOHN LEE HOOKER (from the October 1966 US LP "The Real Folk Blues" on Chess LPS-1508 in Stereo - an Amos Milburn cover with Eddie Burns on Guitar)

13. Light Bulb Blues - THE SHADOWS OF KNIGHT (from the May 1966 US LP "Gloria" on Dunwich S-666 in Stereo - also B-side of their May 1966 US 2nd 7" 45-single "Oh Yeah" on Dunwich 45-122)

14. Sno Cone (Part II) - ALBERT COLLINS (June 1965 US 7" 45-single on TCF/Fox Family/Hall TCF-104, B-side of "Sno Cone (Part I)" - also on his debut album "The Cool Sound Of Albert Collins" on TCF/Fox Family/Hall Records TCF-8002 in Mono)

15. I Had A Dream - JOHNNIE TAYLOR (February 1966 US 7" 45-single on Stax 45-186, A-side - written by Isaac Hayes and David Porter)

16. 32-20 - THE CHARLATANS (October 1966 US 7"45-single on Kapp K-779, A-side - a Robert Johnson cover - Mike Wilhelm plays Lead Slide Guitar on this cover)

17. I Wish You Would - JOHN HAMMOND (December 1965 US 7" 45-single on Red Bird RB 10047, A-side in Mono - First Stereo Release on the "I Can Tell" LP on Atlantic Records SD 8152 in 1967 - Session included Robbie Robertson pre The Band on Guitar with Rolling Stones Bassist Bill Wyman)

18. Shake Your Hips - SLIM HARPO (June 1966 US 7" 45-single on Excello 45-2278, A-side - Session included Lazy Lester on Percussion, Katie Webster on Organ, Willie 'Tomcat' Parker on Tenor Sax - The Rolling Stones famously covered this dancefloor shuffler song for their 1972 double-album "Exile On Main St.")

19. Sure 'Nuff 'N Yes, I Do - CAPTAIN BEEFHEART & HIS MAGIC BAND (from the August 1967 US Debut LP "Safe As Milk" on Buddah BDM 1001 - band featured Ry Cooder on Slide Guitar)

20. Rollin' And Tumblin' - CANNED HEAT (June 1967 US 7" 45-single on Liberty 55979, A-side - First Stereo release on the July 1967 US Debut LP "Canned Heat" on Liberty LST-7526 - a cover version of the Muddy Waters 1950 Blues classic) 

21. I Can't Keep From Crying Sometimes - THE BLUES PROJECT (from the November 1966 US LP "Projections" on Verve Folkways FTS-3008 in Stereo - band featured Tommy Flanders on Vocals, Danny Kelb on Guitars, future Blood, Sweat & Tears singer/songwriter and solo artist Al Kooper with Guitarist Steve Katz - song is a reinterpretation of a 1920's Blind Willie Johnson song called "Lord I Just Can't Help From Crying")

22. Think It Over - B.B. KING (April 1967 US 7" 45-single on Bluesway 45-61004, A-side - First Stereo release on the 1968 US LP "His Best: The Electric B.B. King" on Bluesway BLS-6022) 

23. I'd Rather Go Blind - ETTA JAMES (October 1967 US 7" 45-single on Cadet 5578, B-side of "Tell Mama" - British Blues Rock legends Chicken Shack (on Blue Horizon Records) famously covered "I'd Rather Go Blind" with Christine Perfect on Lead Vocals. She later of course became Christine McVie of Fleetwood Mac when she married the band's Bassist John McVie. Chicken Shack's cover of the "I'd Rather Go Blind" torch ballad hit No. 14 in 1968 in England and launched a long career for Stan Webb's Blues Boogie band) 

24. You Don't Love Me - KALEIDOSCOPE (from the November 1967 US LP "A Beacon From Mars" on Epic BN 2633 in Stereo - a sort of 60ts Psych version of Willie Cobb's song - Chester Crill (Max Buda) plays Harmonica)

25. Work Song - THE BUTTERFIELD BLUES BAND (from their 1966 US Second LP "East-West" on Elektra Records EKS-7315 in Stereo - A Nat Adderley cover)

CD2 (79:25 minutes, 20 Tracks):

Bob 'The Bear' Hite of Canned Heat, Taj Mahal and Janis Joplin pictured on cover

1. I Feel So Good (I Wanna Boogie) - MAGIC SAM BLUES BAND (from the September 1968 US Debut LP "West Side Soul" on Delmark DS-615 in Stereo - real name Samuel Maghett)

2. Going Up The Country - CANNED HEAT (November 1968 US 7" 45-single on Liberty 56077, A-side - band featured Bob 'The Bear' Hite with Alan 'Blind Owl' Wilson)

3. Statesboro Blues - TAJ MAHAL (from the January 1968 US Debut LP "Taj Mahal" on Columbia CS 9579 in Stereo - is a cover version of a Blind Willie McTell Blues classic and Taj's band featured both Ry Cooder and Jesse Ed Davis on Guitars)

4. Twisted - JOHN KAY & THE SPARROWS (from the 1969 US LP "John Kay & The sparrow" on Columbia CS 9758 in Stereo - pre Steppenwolf band)

5. Piece Of My Heart - BIG BROTHER & THE HOLDING COMPANY (from their August 1968 second US album "Cheap Thrills" on Columbia KCS 9700 in Stereo - this 'LP Version' features JANIS JOPLIN on Lead Vocals and is an Erma Franklin cover)

6. Killing Floor - THE ELECTRIC FLAG (from the March 1968 US LP "A Long Time Comin'" on Columbia CS 9597 in Stereo - a cover of the Howlin' Wolf classic - band featured guitarist Mike Bloomfield ex-Paul Butterfield Blues Band with Nick Gravenites)

7. Tom Cat - MUDDY WATERS (from the October 1968 US LP "Electric Mud" on Cadet Concept LPS 314 in Stereo - features future Miles Davis band member Pete Cosey on Guitar)

8. Mean Town Blues - JOHNNY WINTER (from his March 1969 US Debut LP "The Progressive Blues Experiment" on Imperial LP 12431)

9. Gambler's Blues - OTIS RUSH (from the April 1969 US Debut LP "Mourning In The Morning" on Cotillion SD 9006 in Stereo - Produced by Mick Bloomfield and Nick Gravenites of The Electric Flag - Other Guests included Duane Allman and Jimmy Johnson on Guitars with Ronnie Hawkins on Drums - it is a B.B. King cover version)

10. Born To Be Wild - WILSON PICKETT (from the January 1969 US LP "Hey Jude" on Atlantic SD 8215 in Stereo - Duane Allman on Guitar with The Muscle Shoals Rhythm Section as the backing band - a cover version of the Steppenwolf hit from the 'Easy Rider' movie)

11. Funk 48 - THE JAMES GANG (from their September 1969 US Debut LP "Yer' Album" on Bluesway BLS 6034 in Stereo - band featured songwriter, singer and guitarist Joe Walsh, later went solo and then from 1976 for 50 years with Eagles)

12. Hoochie Coochie Man - STEPPENWOLF (from their January 1968 US Debut LP "Steppenwolf" on Dunhill DS-50029 in Stereo - a Willie Dixon song made famous by Muddy Waters)

13. Stop - MIKE BLOOMFIELD and AL KOOPER (from the August 1968 US LP "Super Session" on Columbia CS 9701 in Stereo - credited to Mike Bloomfield, Al Kooper and Stephen Stills - three already legendary guitarists of The Paul Butterfield Blues Band and The Electric Flag, Al Kooper of Bob Dylan sessions and Blood, Sweat & Tears with Stephen Stills of Buffalo Springfield - "Stop" is a Howard Tate Soul song cover and features only Bloomfield and Kooper of the three)

14. Roberta - LONNIE MACK (from the March 1969 US LP "Glad I'm In The Band" on Elektra EKS-74040 in Stereo - a cover of the Huey 'Piano' Smith New Orleans hit by Guitarist Lonnie McIntosh)

15. Pack Fair And Square - THE J. GEILS BAND (from the 1970 US Debut LP "The J. Geils Band" on Atlantic SD 8275 in Stereo - band featured John J. Geils on Guitar with Richard 'Magic Dick' Salwitz on Harmonica - a Big Walter Price cover version)

16. Speak My Mind - J.B. HUTTO & HIS HAWKS with SUNNYLAND SLIM (from the 1969 US Debut LP "Hawk Squat" on Delmark DS-617 in Stereo - guitarist Lee Jackson also features)

17. Who Do You Love Part 1 - QUICKSILVER MESSENGER SERVICE (Excerpt from the March 1969 US 2nd LP "Happy Trails" on Capitol ST-120 in Stereo - Part 1 is an excerpt from a Side-long 'suite' of over 23 minutes that covers Bo Diddley's famous Chess Records anthem 'Who Do You Love' - band featured John Cipollina and Gary Duncan on Guitars with Dave Freisberg on Bass)

18. I'll Love You More Than You'll Ever Know - BLOOD, SWEAT & TEARS (from the February 1968 US Debut LP "Child Is Father To The Man" on Columbia CS 9619 in Stereo - band featuring Guitarist Steve Katz (ex-Blues Project), Songwriter, Guitarist and Vocalist Al Kooper with Saxophonist Fred Lipsius and Drummer Bobby Colomby - the song is an Al Kooper tribute to Otis Redding who had only recently died)

19. Parchment Blues - BLUE CHEER (from the February 1968 US LP "Vincebus Eruptum" on Philips PHS 600-264 in Stereo - a Moses Allison cover version - band featured Leigh Stephens on Guitar who would later have a solo career)

20. Motor City Is Burning - MC5 (from their February 1969 US debut live album "Kick Out The Jams" on Elektra EKS-74042 in Stereo - band featured Wayne Kramer on Guitar - is a John Lee Hooker cover version)

CD3 (78:09 minutes, 18 Tracks):

B.B. King, Duane Allman of The Allman Brothers and Aretha Franklin are pictured

1. The Hunter - IKE & TINA TURNER (from the October 1969 US LP "The Hunter" on Blue Thumb Records BTS 11 in Stereo - is a cover version of an Albert King song)

2. Whipping Post - THE ALLMAN BROTHERS BAND (from the November 1969 US Debut LP "The Allman Brothers Band" on Atco/Capricorn SD 33-308 in Stereo - band featured Gregg and Duane Allman and Dickey Betts on Guitars)

3. Why I Sing The Blues - ARETHA FRANKLIN (from the August 1970 US LP "Spirit In The Dark" on Atlantic SD 8265 in Stereo - a B.B. King cover version)

4. Yonder Wall - FREDDIE KING (from the January 1970 US LP "My Feeling For The Blues" on Cotillion SD 9016 in Stereo - LP produced by King Curtis - song is an Elmore James cover version)

5. Evil - HOWLIN' WOLF (from the February 1969 US LP "The Howlin' Wolf Album" on Cadet Concept LPS-319 in Stereo - Guitarists included Hubert Sumlin, Phil Upchurch and Pete Cosey - album featured Psychedelic re-workings of his Chess Records Blues catalogue from the Fifties for a new audience and famously came with a disclaimer on the front cover that the Wolf hated the record - which appears to have been true)

6. The Thrill Is Gone - B.B. KING (from his December 1969 US LP "Completely Well" on Bluesway BLS 6037 in Stereo - a Roy Hawkins cover version originally issued 1950 - King's LP was Produced by Bill Szymczyk who would later have huge success with Joe Walsh's Barnstorm and the Eagles. "The Thrill Is Gone" gave B.B. his highest Billboard 45-charting in 1969 and became his signature tune ever after)

7. Call Me The Breeze - J.J. CALE (from his December 1971 US Debut LP "Naturally" on Shelter Records SW-8908 in Stereo - this famous Bluesy shuffle song used an early version of a Drum Machine and was memorably covered by Southern Rock band Lynyrd Skynyrd fro their "Second Helping" album in 1974 - Eric Clapton also covered it and cited the man as a huge 'style' influence on EC and would later couple up with John J. Cale for Studio albums and live dates)

8. Blues And Trouble - MUDDY WATERS (from the May 1969 US LP "After The Rain" on Cadet Concept LPS-320 in Stereo - Guests included Guitarists Phil Upchurch and Pete Cosey with Pianist Otis Spann and Harmonica from Paul Oscher. "After The Rain" was Muddy's 'preferred' follow-up LP to the divisive "Electric Mud" Psych-Blues album on the year before)

9. Elephant Man - BO DIDDLEY (from the June 1970 US LP "The Black Gladiator" on Checker LPS 3013 in Stereo)

10. Boom Boom - TONY JOE WHITE (from his July 1970 third studio LP "Tony Joe" on Monument SLP-18142 in Stereo - a Swamp Rock re-working of the famous John Lee Hooker Blues tune)

11. I Walk On Gilded Splinters - JOHNNY JENKINS (from the July 1970 US LP "Ton-Ton Macoute!" on Atco/Capricorn SD 33-331 in Stereo - a Dr. John cover version - Band featuring three members of The Allman Brothers Band - Duane Allman, Butch Truck and Jaimoe)

12. Alimony - RY COODER (from the October 1970 US Debut LP "Ry Cooder" on Reprise RS 6402 in Stereo - a Tommy Tucker cover version)

13. Train - BUDDY MILES EXPRESS (from the November 1968 US Debut LP "Expressway To Your Skull" on Mercury SR 61196 in Stereo - band featured ex The Electric Flag Drummer an Vocalist Buddy Miles, Guitars by Jim McCarty of Mitch Ryder & The Detroit Wheels with Production by Jimi Hendrix - Miles would later play with Hendrix's backing group Band Of Gypsys before his passing in late 1970)

14. Whole Lotta Love - KING CURTIS & THE KINGPINS (September 1970 US 7" 45-single on Atco 45-6779, A-side - a Funky Saxophone and Brass cover of Led Zeppelin's signature tune from October 1969's "Led Zeppelin II" - itself a hybrid of a Muddy Waters Blues tune called "You Need Love")

15. Chairman Of The Board - CHAIRMEN OF THE BOARD (January 1971 US 7" 45-single on Invictus IS-9086, A-side - Blues-Funk Song Written by Motown's Brian Holland & Lamont Dozier with Lead Vocals by Harrison Kennedy)

16. Where Ya At Mule - DR. JOHN, THE NIGHT TRIPPER (from the September 1971 US LP "The Sun, The Moon & Herbs" on Atco SD 33-362 in Stereo - real name Mac Rebennack - Band featured Singers Bobby Whitlock and Doris Troy, Horns from Bobby Keys (long-time associated with The Rolling Stones), British Saxophonist Chris Mercer with Brass Section provided by The Memphis Horns)

17. (Somebody Else Been) Shaking Your Tree - ZZ TOP (October 1970 US 7" 45-single on London 45-138, A-side - also the opening track on Side 1 of their January 1971 US Debut LP "ZZ Top's First Album" on London PS 584 in Stereo - this famous Texan three-piece band featured Billy Gibbons on Guitar, Dusty Hill on Bass and Frank Beard on Drums and would achieve huge global status during the 1980s and the MTV era - also featured in the third 'Back To The Future' film)

18. Going Down - FREDDIE KING (from the April 1971 US LP "Getting Ready" on Shelter Records SHE 8905 in Stereo - Produced by Leon Russell (of Shelter Records) with Don Nix - the band included Leon Russell on Piano and members of Booker T. & The MG's - song written by Don Nix)

The 40-page booklet can only be described as a 'feast' - knowledgeable and fact-jammed liner notes by compiler and annotator JOHN HARRINGTON that feature a blow-by-blow account of each song/artist and heaps of archive, trade advert, promo photos and concert artwork in-between the text - it's superbly done and must have taken months to sequence. Archivist, Soul & Mod aficionado and true believer ALEC PALAO has done the Mastering and these official licenses sound like 90s and 00s Remasters - all of it sparkling. By the time you get to Disc 2 and 3 - you may have to turn your combo down to simmer - as tune after tune feels audibly chunky (and for all the right clarity reasons). The first CD being older Blues has a few rough spots as you can imagine and some of the material is over familiar - but you get it - in keeping with the theme - these huge influences are here for a reason. But what makes "Rollin' And Tumblin'..." and Strawberry Clamshells like this such a pleasure is the Coolsville discoveries on every CD (re-acquaintances too) - songs maybe you saw on lists or heard in movies. I like the three Mini LP card sleeves too - cleverly picturing three shakers and makers on each front (see lists above for details) - while the Box Set cover and booklet show another important trio - Howlin' Wolf, Mike Bloomfield and Tina Turner. Nice. To the music...

CD1 sets the scene with five original influences on young white tomboys (Howlin' Wolf through to Otis Redding) before we get to The Paul Butterfield Blues Band, The Lovin' Spoonful, The Shadows Of Knight, John Hammond et al - American lads redigesting the Blues. Least not of all amongst these were those naughty boys from England who took all this raw American Blues and R&B and morphed it into Blues Rock, Hard Rock, Soul Rock, Garage and Freakbeat. You can feel the eager-beavers all over this Box Set even if they're not actually here (probably due to licensing) - bands like The Rolling Stones, The Yardbirds, Manfred Mann, The Animals and of course then into heavier incarnations like Cream, Zeppelin, Savoy Brown, Ten Years After, Status Quo and everybody else who followed. 

"Killing Floor" opens proceedings in 1965 - the same year The Stones had The Wolf on the American TV show 'Shindig' - a pivotal crossover moment in the mid-Sixties when such things were still dangerous. Buddy Guy's Chicago Electric Blues Guitar sound is given pride of place on his own "Leave My Girl Alone" but also in subtle session plays for Howlin' Wolf, Junior Wells and as part of the Muddy Waters ensemble over at Chess Records. Most British R&B and Soul fans know the Booker T & The MG's tune "Plum-Nellie" from mod darlings Small Faces - the tune turning on Decca's naughty June 1965 compilation album "From The Beginning" which the band didn't want issued. Here we get Booker's Stereo version from the 1965 LP (and not the 1963 Mono B-side) with Steve Cropper lending blistering guitar while Mr. Jones pushes that Organ sound (very clever choice linking the US influence with a British outcome). 

The genre-moving-forward subtleties continue with the inclusion of B.B. King's "Think It Over" on Bluesway in 1967. Smart enough to catch the zeitgeist - Blues Boy King played alongside coolsters like Moby Grape and The Steve Miller Band at the famous San Francisco Fillmore venue in February of that 'Sgt. Peppers' year - 1967 - thus winning a whole new legion of dude white men fans and converts (B.B. King left the Chitlin' Circuit for good just after). White boys like The Everly Brothers, Captain Beefheart and especially Canned Heat nod towards R&B with cool covers of Chess Classics while The Charlatans and John Hammond show why they are such cult-faves with their great choices too. CD1 jaunts home with brilliance from Etta James, Psych-Blues nutters Kaleidoscope on Epic Records and the monstrously influential Paul Butterfield Blues Band having a go at Bluesing-up a Nat Adderley jazz tune called "Work Song" - Eastern Mysticism meeting Western Blues - such a smart move forward from the strictly interpretative 1965 debut album that honoured Chicago Blues. 

CD2 - while I never could in all honesty stand the weedy "Going Up The Country" of Canned Heat (when they did so much better) - the Taj Mahal and Magic Sam choices are genius - great fusions of Blues and Rock that accept the old but push onwards towards the future. Speaking of unsuspecting brilliance - Steppenwolf's front man and principal songwriter John Kay has always been a go-to for me. His solo LPs "Forgotten Songs And Unsung Heroes" (1972) and "My Sportin' Life" (1973) on Dunhill (USA) and Probe (UK) are reviewed elsewhere on a fab Beat Goes On (BG) CD compilation from 2008. Here we get his first outings Pre-Wolf as the band Sparrow and what a winner his own "Twisted" is - great discovery that Columbia issued after the success of the first two Steppenwolf albums. Ballsy and possessed of a set of pipes many would have killed for - Texan firebrand Janis Joplin fronted the San Francisco Rock-Psych band Big Brother & The Holding Company for two studio LPs before going solo with "Pearl" in 1970. "Her cover of the Erma Franklin soul ballad "Piece Of My Heart" was almost a trauma song by the time Janis was done with. And then sadly 'the greatest white Blues singer' left altogether shortly afterwards. The advert on Page 17 of the booklet shows the amazing Columbia LP cover artwork to "Cheap Thrills" with the words "They're Going To Wipe You Out..." beside it - which she and the band had promptly done at The Monterey International Pop Festival in 1967. 

We return to the Wolf's influence with The Electric Flag's Vietnam War version of his "Killing Floor" preceded by a Radio Voice quoting ominous loss statistics. Ex Paul Butterfield Blues Band guitar wizard Mike Bloomfield headed up the band with Guitarist and Vocalist Nick Gravenites who would provide Janis with "Buried Alive In The Blues" on her second solo LP "Pearl" (1971) - a voiceless instrumental that never got vocals because of her passing. Speaking of stunners and tie-ins - both Bloomfield and Gravenites of The Electric Flag produced the late-coming debut album for Otis Rush - "Mourning In The Morning" - which is represented here with a fab cover of B.B. King's "Gambler's Blues". Both Duane Allman and Tommy Johnson are said to feature as guitarists on this ballsy drivin' rendition. The Wicked Pickett was looking for songs to suit his rasp and manic delivery and few delivered better than Steppenwolf's monster counter-culture motorbikin' hit "Born To Be Wild" - the sessions recorded at Rick Hall's Fame Studios in Alabama with guitar legend Duane Allman jobbing alongside The Muscle Shoals Rhythm Section as Pickett's storming backing band. Ideally, I would have wanted both "Sookie Sookie" (by Don Covay) and Muddy's "Hoochie Coochie Man" from the stunning "Steppenwolf" 1968 debut LP - but here we get only Hoochie. Still - it's a barnstormer and a clever way of showing the fusion taking place in Rock Music in the late Sixties. These American bands didn't just dig the Blues; they were taking it to a new place. I wonder how many of the old stars saw their faded careers revived by long-haired galoots with Gibsons and Fenders and an adoring look in their eye. 

Brilliant and a great compilation inclusion is the trio of guitarists (Mike Bloomfield, Al Kooper and Stephen Stills) doing their cool cover version of Howard Tate's Soul song "Stop". The "Super Session" LP of 1968 on Columbia's '360 Sound' label is the stuff of Audiophile wet dreams - great music and fabulous production values combine with effortless cool and genre forward momentum - nice. And so it is here - an album that reached No. 12 on the US Billboard charts and is remembered with a heap of affection. CD2 races to the finish line with fantastic rip-roaring inclusions - The J. Geils Band doing an obscure Big Walter Price Blues while the brassy boys of Blood, Sweat & Tears lay on a heart-rendered tribute to the fallen Otis Redding with Al Kooper's "I'll Love You More Than You'll Ever Know" (what a tune). And it ends with two heavy sets of Yanks - Blue Cheer and MC5 kicking everything out of the pram never mind cities on fire. 

CD3 moves into 1969 when the Heavy Rock sound changes were everywhere - so a smart starter in Ike & Tina Turner's "The Hunter" - a song that literally feels like a musical prowler. Duane and Gregg Allman, Dickey Betts and Butch Truck stop sessioning for everyone else for a 'minute' to make their own debut album and give us "Whipping Post" - a tune they would turn into a monster on the 1971 Capricorn Records live-double "...At Fillmore East". Two mavericks now show up in the form of Lady Soul herself Aretha Franklin offering a song from her brilliant "Spirit In The Dark" LP of 1970, and Freddie King  gettin' all sliding Elmore James on "Yonder Wall" (King Curtis producing). The remake of "Evil" by Howlin' Wolf is something I skip to be truthful, but not so B.B. King's renaissance song "The Thrill Is Gone" - sounding just fab and amazingly fresh since its appearance in 1969 on Bluesway. 

The new groovers start to beckon - perhaps none more important than Tony Joe White and the wonderful J. J. Cale. The classic shuffler "Call Me The Breeze" features an early version of a Drum machine - while it could be argued that J.J. Cale, Clapton, Dire Straits, John Mayer - all knicked some of Tony Joe White's languid cool Southern swampboy style. Lynyrd Skynyrd would cover the Al Kooper produced "Call Me The Breeze" Cale song (as a finisher) on their 1974 second studio platter "Second Helpings" with Brass and fantastic pizzazz. Tony Joe White had the cool and suave of a hundred Rock Stars as he covered John Lee Hooker's "Boom Boom" by making it into an 8-minute Rock Funk-a-thon. And just as the new kids on the block are about to swamp all that went before, along comes Forties and Fifties originators Muddy Waters and Bo Diddley re-polishing and re-inventing - Muddy getting back to basic Blues (the "After The Rain" LP) while Eugene Daniels tries his luck with the Shaft gold-chains audience for his underrated "The Black Gladiator" album in 1970. 

By the time we reach the second half of CD3 - King Curtis is covering Led Zeppelin who were covering Muddy Waters ("Whole Lotta Love") and even Soul songwriters Holland and Dozier (after exiting Motown) are angling for a catchy Rock-Soul hook with Chairmen Of The Board on their own Invictus Records. And on it goes to The Night Tripper (Dr. John), the bearded boys of ZZ Top shaking other people's trees and back like a returning sixpence to the updated Blues of Freddie King. 

"Rollin' And Tumblin'..." is a very cool release and retailing at about £22 to £25 quid on a helpful site near you - a purchase you should treat yourself too. Top marks to all involved...

"The Reprise Albums (1968-1971)" by JONI MITCHELL – Four Studio Album CD Box Set Including Her 1968 Debut "Song To A Seagull", 1969 second LP "Clouds", 1970 third studio LP "Ladies Of The Canyon" and Fourth Studio Album "Blue" – Guests Include David Crosby, Stephen Stills, James Taylor, Milt Holland and more - All Remastered by Bernie Grundman with "Song To A Seagull" Newly Remixed by Original Producer David Crosby (June 2021 UK Rhino/Reprise 4CD Box Set with Mini LP Gatefold Repro Artwork Sleeves – Part of the Joni Mitchell Archives Series) - A Review by Mark Barry...

https://amzn.to/4ujoTbs

RATINGS:

Overall ***** (Stunning Music)

Presentation **** (Missing Lyrics)

Audio ***** (New Bernie Grundman Masters)

"…Songs To Aging Children Come…"

As a lover of this extraordinary artist and owner of more than a few CD reissues down through the decades - you notice a few things with this lovely Box Set right off the bat (part of the Joni Mitchell Archives Series and the 1st of the studio sets). 
Each Mini LP Card Repro Sleeve apes the original American artwork from 1968, 1969, 1970 and 1971 on Reprise Records – so you get the four gorgeous gatefold sleeves (the first two were only single sleeves in the UK with lyric inserts) and in the case of "Ladies Of The Canyon" – the non-titled painting/clear white artwork, and for the mighty "Blue" – the Blue inner bag.

The playing times for 2021's "The Reprise Albums (1968-1971)" as opposed to the 10CD Rhino Box Set of October 2012 ("The Studio Albums 1968-1979") are all different too – they were 38:07, 37:41, 44:59 and 36:13 minutes – these new Bernie Grundman Masters are 37:55, 37:48, 45:01 and 36:15 minutes – some shorter, some ever so slightly longer. But (and this is the big butt) – they are better Audio-wise – the HDCDs and Mini LPs of old – all good – but these Archive releases have had care put into them. And I think it has been a smart idea too to separate out the peripherals, outtakes, live stuff, exclusive sets etc into stand-alone releases. Much to do, so let's have at the details on Door Number One…

Released 25 June 2021 in UK/EUROPE - "The Reprise Albums (1968-1971)" by JONI MITCHELL on Rhino/Reprise R2 653984 – 603497844548 (Barcode 0603497844548) is a Box Set and part of the Joni Mitchell Archive Series (first for Studio Albums). Four CDs contain her first four studio albums (no extras) housed in Mini LP Repro Card Sleeve Artwork (each a gatefold as per the American releases with the lyrics in tiny print) with the debut "Song To A Seagull" remixed by original producer David Crosby. All are Remastered by Bernie Grundman from original tapes. Each CD has a paper/card inner sleeve for protective purposes and the CD labels reflect original US vinyl colouring and design (Riverboat Reprise Records Logo etc). There is also a fold-out set of liner notes from American singer-songwriter BRANDI CARLISLE who has covered Mitchell songs extensively and a advert sheet for the first JMA releases. It plays out as follows…

CD1 "Song To A Seagull" (37:55 minutes):
1. I Had A King [Side 1 – I Came To The City]
2. Michael from The Mountains
3. Night In The City 
4. Marcie
5. Nathan La Franeer 
6. Sisotowbell Lane [Side 2 – Out Of The City And Down To The Seaside]
7. The Dawntreader
8. The Pirate Of Penance
9. Song To A Seagull 
10. Cactus Tree
Tracks 1 to 10 are her Debut LP "Song To A Seagull" [aka "Joni Mitchell"] – released March 1968 in the USA (June 1968 in the UK) on Reprise RSLP 6293. Produced by DAVID CROSBY – Musicians include Joni Mitchell on Guitar, Piano and Vocals with Stephen Stills (then with Buffalo Springfield) on Guitar and Bass

CD2 "Clouds" (37:48 minutes):
1. Tin Angel [Side 1]
2. Chelsea Morning
3. I Don't Know Where I Stand
4. That Song About The Midway
5. Roses Blue
6. The Gallery [Side 2]
7. I Think I Understand 
8. Songs To Aging Children Come
9. The Fiddle And The Drum
10. Both Sides, Now
Tracks 1 to 10 are her second studio LP "Clouds" – released May 1969 LP in the USA (October 1969 in the UK) on Reprise RSLP 6341. Produced by PAUL ROTHCHILD - Musicians include Joni Mitchell on Guitar, Piano and Vocals with Stephen Stills (then with Crosby, Stills & Nash) on Bass

CD3 "Ladies Of The Canyon" (45:01 minutes):
1. Morning Morgantown [Side 1]
2. For Free
3. Conversation
4. Ladies Of The Canyon
5. Willy
6. The Arrangement 
7. Rainy Night House [Side 2]
8. The Priest 
9. Blue Boy
10. Big Yellow Taxi
11. Woodstock
12. The Circle Game
Tracks 1 to 12 are her third studio LP "Ladies Of The Canyon" – released April 1970 in the USA (May 1970 in the UK) on Reprise RSLP 6376. Produced by JONI MITCHELL – Musicians include Joni Mitchell on Piano, Guitar, Lead Vocals, Saskatune Backing Vocals (multi-tracked Joni), Arrangements and Production, Jim Horn on Baritone Saxophone, Paul Horn on Clarinet and Flute, Teressa Adams on Cello with Milt Holland on Percussion

CD4 "Blue" (36:15 minutes):

1. All I Want [Side 1]
2. My Old Man
3. Little Green
4. Carey
5. Blue
6. California [Side 2]
7. This Flight Tonight
8. River 
9. A Case Of You
10. The Last Time I Saw Richard
Tracks 1 to 10 are the LP "Blue" – released June 1971 in the USA on Reprise MS 2038 and July 1971 in the UK on Reprise K 44128. Produced by JM – Musicians included James Taylor playing Guitar on Tracks "All I Want", "California" and "A Case Of You", Stephen Stills (of Crosby, Stills, Nash & Young) plays Guitar and Bass on "Carey", Sneaky Pete Kleinow plays Pedal Steel Guitar on "California" and "This Flight Tonight", Russ Kunkel plays Drums on "Carey", "California" and "A Case Of You"

CD1: You have to say that the card Mini LP repro sleeve for "Song To A Seagull" is beautifully rendered – hell you can almost read the lyrics. Personally, I would have had all the lyrics in a separate booklet – as her words are so important to the experience – something Rhino have not done for any of her boxes. For those of us who have grown up with these precious LPs, the clarity of the guitar and the power of her slightly echoed vocal shocks as you first encounter "Song To A Seagull". This is as lovely as it going to get – and her keys not fitting the door words now ring loud and true. Beautiful is what I would call "Michael From Mountains" – and again the clarity is unnerving. The ultra-quiet opening to "Night In The City" clear – then the Bass and Piano lift things up and her doubled-vocals there but not intrusive. The vocal on "Marcie" – the way it was recorded – still feels slightly off. No such problem with "Nathan La Franeer" – gangs and girly shows – aging cripples selling Superman balloons – her Banshee vocals suitably eerie and yet musical. Improvement on those guitar pings too for "The Dawntreader" – but again the vocals are detached somehow. We romp home on this Folky Acoustic debut album with "Song To A Seagull" and "Cactus Tree" – more words that stun and in the case of "Cactus Song"  - a melody that gets to you (busy being free). Often called "Joni Mitchell" – her debut album is an acquired hippie taste for sure – but her second blew everyone out of the water…

CD2: the sense of singer-songwriter progress between "Song To A Seagull" from March 1968 and "Clouds" - her second studio album from May 1969 (only a little over a year later) – is astonishing. You could accuse the debut of meandering and not actually having tunes you could get your teeth into – not so with "Clouds" – which feels like her real beginning. And then there is the Paul A. Rothchild production values – now squeaky clean at the hands of magician Bernie Grundman. "Tin Angel" is beautifully handled – the vocals and only a guitar – so delicate. "Chelsea Morning" smacks of joy – a soul being free to just enjoy the day – toast and milk and honey – it feels renewed (jewel light). Her first real emotional masterpiece hits you like a soft mallet "I Don't Know Where I Stand" – her tremulous I-miss-you emotions echoing every girl in the same boat (is it any wonder her work engenders such devotion). Compared to my old battered British LP – the audio here is hair-raising. Standing out like a ruby – like a devil wearing wings - "That Song About The Midway" talks of a cheater-man wondering whether the emotional gamble is worth the price. Beautiful clarity on "Roses Blue" – a tale of a lady gone too deep into Zodiac and Zen, Tarot Cards and Potions – friends must schedule meets (if the stars align). Side 2 opens with another gorgeous melodic and lyrical winner "The Gallery" – and don't you just love how JM sings that word cruel and how Josephine is now the girl who cannot do without him. Deep LP cut comes in the shape "I Think I Understand" – a searching song that wants to avoid the wilderland and sinking sands of fear. Songs to aging children come – crows and ravens whistling – and then the lone voice of "The Fiddle And The Drum" – clear and unnerving. And then "Clouds" nails her legend to every musical mast – makes every musician want to pick up an acoustic guitar and cover "Both Sides Now". Coming as it does after the solemnity of "The Fiddle And The Drum" – the strummed magic of moons and dunes and Ferris Wheels - "Both Sides Now" is a stunning song achievement – leave them laughing – then you go – life’s illusions – we recall - wow!

CD3: by 1970 Joni and her songwriting genius was hitting it dollar down - "Ladies Of The Canyon" opening with the brilliant "Morning Morgantown" – a buy your dreams song of the new decade. She also expanded the pallet of musicians too. Audio-wise both "Morning Morgantown" and the noisy-corner of "For Free" sound just beautiful – her piano playing sailing out your speakers. The trappings of fame are already hitting home – limousines and bouncers accompanying her to gigs where she plays for big bucks - while the humble non-famous clarinet player on the street plays "For Free". But I am solid gone with "Conversation" – a fantastic JM song where she talks of Mister Chinwag – a man she wants to save who does not want to be saved – a man who will speak endlessly to another woman of why he cannot leave his woman (the Sax and Flute work so well). Wampum beads and filigree waft around the swirling guitars of the title track – fat ones and skinny ones baking brownies as the "Ladies Of The Canyon" eye themselves in nearby mirrors. While you could read the lyrics on the "Clouds" album inner sleeve, because they were hand drawn on the original "Ladies Of The Canyon" cover – they are too tiny to read - which is a crime when you catch the power of the sad words of the piano-led "Willy" and "The Arrangement". 

Continuing a masterclass in classiness, Side 2 of "Ladies Of The Canyon" opens with "Rainy Night House" – another song about girls who make other girls nervous – too pretty – too talented – therefore too dangerous. Time to acoustic again, "The Priest" sitting in the airport bar with his father's tie on – his look of contradictions – asking for truth during his sermons. "Blue Boy" is another sad piano song – statues in gardens staying the same as the girl stares out the window pane in the empty-bed morning light – the promises of the her last-night man faded away again. Things jump up a notch to the fantastic paving Paradise song "Big Yellow Taxi" – farmers urged to leave their DTD spray off their apples and states urged not to put trees in museums and charge punters a buck-and-a-half to see them. The album ends with a lethal double-whammy – her song about the July 1969 3-day festival and Love, Peace and Music that she could not attend - "Woodstock" (Matthews Southern Comfort with Ian Matthews would take their cover version of Joni's song to Number 1 in the UK singles charts that same year of 1970). The bombers may not have turned into butterflies just yet – but her final offering on a hugely accomplished 1970 album is the deeply affecting "The Circle Game". Along with "A Case Of You" from 1971’s "Blue" – Joni Mitchell will be remembered for "The Circle Game" – the carousel of time never forgetting this gorgeous song. When Joni Mitchell gets it right - you get the culmination of great melody and words that burn their intellectual way into the consciousness of entire generations – you get "The Circle Game" (and here is fabulous clarity).

CD4: to the point, blunt force trauma, barefoot and soft-machine broken - all of this and matching artwork too. 1971's "Blue" had entered Joni Mitchell legend - to the point where its 50th Anniversary in 2025 was celebrated by being singled out as a stand-alone release - the only LP from her 60ts and 70ts catalogue to receive that. The audio before was good - here it sparkles - tracks like the opener "All I Want" - James Taylor's guitar contributions to both "California" and "A Case Of You" and Stephen Stills to the witty but acidic "Carey" rise just enough about subtle. I never did dig "This Flight Tonight" (Nazareth would cover it and chart too) but the majesty of the last three on Side 2 - "River", "A Case Of You" and "The Last Time I Saw Richard" is mind-blowing. I mean what with Carole's "Tapestry", The Who's "Who's Next", Marvin's "What's Going On", Don McLean's "American Pie", Faces "A Nod's As Good As A Wink...", Rod Stewart's "Every Picture Tells A Story", Yes' "Yes Album" and "Fragile", "Zep 4", Santana's "III", Cat Stevens' "Teaser And The Firecat" to name but a few - 1971 was a ludicrously good year chock with Rock Classics and future singer-songwriter touchstones. And there nestled towards the apex - is Joni's "Blue" - shimmering like a great open wound - relationship breakdown on show for all the world to see - damn the torpedoes - this is what heartache and pain feels like. It brings an extraordinary first chapter to a close with the gentle slap of an artistic glove.

If I am to be churlish - I would dock a star for the lack of a lyrics booklet for an artist who so defined the greatness of words - especially for women - but outside of that - "The Reprise Years (1968-1971)" by Joni Mitchell is gobsmacking. The following two studio set Box Sets up to 1979 (see reviews) are even better - and that really says it all. "I wish I had a river I could drift away on..." Well now we do and sounding better than ever...