Tuesday, 29 July 2008

"The Singer" on DVD. A Review Of The French Film Now ON DVD.


Unfortunately, the fundamental problem with this film is kind of self-evident on the DVD sleeve pictured above. To the left of shot is the gamine, slinky, sexy, drop-dead gorgeous babe that is Cecile de France. Then to her left is the fat-as-a-fool, false and past-his-sell-by-date Gerard Depardieu playing an aging Charles Aznavour-type crooner called Alain Moreau reduced to doing nightclubs to make a living. We’re supposed to believe that these two polar opposites would be attracted – she especially to him – she would not! And therein lies the problem. The idea that a woman as attractive as this would fall for such an unattractive slob as him is preposterous.

The idea has potential and would have made a great movie if it had been handled well – an older man has a relationship with a much younger woman, which over time blossoms into a tender and loving understanding (that’s what the trailer suckers you into believing), but they don’t. Unfortunately, you take one look at her and you know that in the real world she would never give this obvious loser the time of day. And of course, it’s in this that the whole movie falls apart.

Then there’s the small matter of the title – The Singer – only the French would cast a man who ‘can’t’ sing in the lead role! Depardieu’s efforts are passable at best, and at other times so obviously mundane and awful that it beggars belief. As if this isn’t stupidity enough to be getting on with, then there’s the subtitled lyrics whose abysmal nature can only be fully appreciated by quoting some of them here; check these out – and remember he and his cheesy band are ‘crooning’ these to an audience of bingo-hall, come-dancing elderly dancers…and her at the table swooning at such elegance!

“….You know the photos of Asia
That I shot on ASA 200
Now that you have gone away
Their bright colours have turned pale -
I thought I heard the blades
Of a seaplane but alas
It’s the fan blades as they pass
In the Police station sky…”

Sweet Jesus! Then she buckles at the table under the giddy romance of it all – oh please!

But the biggest problem is the star himself. Time has not been kind to Depardieu – it’s painfully clear that he’s been way too friendly with one-to-many rich dinners and expensive bottles of wine over the last few decades. On the evidence presented to us here, he’s at a point where his huge frame is dangerously close to being a truly horrible pastiche of the character he’s playing. The man is a heart attack waiting to happen and all that wonderful French charm and romanticism he so effortlessly conjured up in “Green Card” all those years ago has deserted him completely. He looks grotesque at times - and worse – simply disinterested in what he’s doing or whether anyone cares.

But it’s the unbelievable story that grates so much. There’s a scene where it’s the morning after; she’s waking up on the sheets with Depardieu’s character in the bathroom whistling, happy he got his end away the night previous with a young babe – pulling power still intact. We see him in a robe – but only in glimpses – why – because his actual naked massive frame would be so repulsive to any viewer as to give the game away. The idea that any woman would find this lardy lovebucket attractive is just ludicrous and the makers of the film don’t want you to see that, let alone think it. But the problem is that you do think it. We’re just not that easily fooled anymore. You could suspend belief in this tiny anomaly if the movie actually went somewhere, but of course, being a French film, it meanders and ponders and pouts and goes nowhere. And even if there were real insights into Beauty and The Beast or even Age versus Youth, they’re not played out in this screenplay. They spend most of their time in empty houses waffling – homes he’s never going to buy, chances he’s never going to take…

The other problem is the lead actress. De France is stunningly beautiful in a way that only young French starlets can be, but she doesn’t really have the acting chops of say Audrey Tautou. So her good looks also go against her – and undermine what you’re being asked to believe. No woman of her age, beauty and attractiveness to young men would be seen dead in that god-awful divorcees night club, let alone fancy the satin-shirted lothario on stage and then bed him because he plies her with a bottle of champagne!

Which brings me to another point about French films. They’re always about women – no actually they’re not – they’re about ‘beautiful women’ and there’s a huge difference. French cinema seems obsessed with ‘young’ female beauty. The camera lingers on her swan-like neck, the dresses caressing her lithe body, the obligatory tasteful cleavage shots, the pouty lips and porcelain expression focused on again and again and again… It’s almost as if French men don’t like women per se, they want to own them, possess them, and then trade in the old ones for new ones when they get the chance, rather than love them for what they are or even treat them as equals. Then the male characters are either weeds or rakes, when it’s very difficult to abide either.

Don’t get me wrong, I don’t ‘hate’ French movies, I don’t! I just find them infuriatingly pretentious at times, distant and for the most part wildly unrealistic. But worse - they don’t move me. When I think of the tenderness and genuine magic in “Once” made on a shoestring of a budget in Dublin, but with real heart and genuinely affecting music, and then I look at “The Singer” and I hear nor see either. It's easy to impress, but it’s a whole different ball game to move someone. And for a country and people so closely associated with romanticism and love, French Cinema seems extraordinarily incapable of evoking either at the moment. Time and time again, their films have this almost sick voyeurism about them, they observe the feelings, but never get immersed in them nor offer insights.

In other posted reviews, viewers feelings towards this film varied between 1 and 5 stars – some loathed it/others loved it. Personally, it bored me rigid and then made me angry. I’ve seen some stunning French movies of late, “La Vie En Rose”. “Moliere”, “36” and “8 Women” jump to find, but they’re countered with so many turkeys like this and “Dans Paris” and ”Venus Beauty” – ponderous pretentious crap most of it.

I’m not writing this review so much as a slag off of the movie, but more as a heartfelt plea. French Cinema needs to regain its artistic and emotional soul and stop producing navel-gazing pap like “The Singer”.

"Tumbleweed Connection" by ELTON JOHN (2008 Universal 'DELUXE EDITION' 2CD Remasters) - A Review by Mark Barry...




"…Ballad Of A Well-Known Gun…" 

Reginald Dwight's 3rd album proper was released in late 1970 and firmly established Elton John as one of the great singer-songwriters of the Seventies. This June 2008 DELUXE EDITION on Universal/Mercury/Rocket 53052556 (Barcode 0600753052556) is a fully upgraded 2CD version of that breakthrough vinyl album (much better than the 1995 single disc version) - and in my books is one of the jewels in Universal’s very hit and miss ‘DE’ Series. Here are the English cowboys and American pistols:

1. Ballad Of A Well-Known Gun
2. Come Down In Time
3. Country Comfort
4. Son Of Your Father
5. My Father’s Gun
6. Where To Now St. Peter?
7. Love Song
8. Talking Old Soldiers
9. Burn Down The Mission
Disc 1 is the 10-track album “Tumbleweed Connection” originally released in the UK in October 1970 on DJM Records DJLPS 410 and in the USA on Uni Records 73096 (47:04 minutes)

1. There Goes A Well-Known Gun
2. Come Down In Time (Piano Demo)
3. Country Comfort (Piano Demo)
4. Son Of Your Father
5. Talking Old Soldiers (Piano Demo)
6. Into The Old Man’s Shoes (Piano Demo)
7. Sisters Of The Cross (Piano Demo)
8. Madman Across The Water (Original Version)
9. Into The Old Man’s Shoes
10. My Father’s Gun (BBC Session)
11. Ballad Of A Well-Known Gun (BBC Session)
12. Burn Down The Mission (BBC Session)
13. Amoreena (BBC Session)
Disc 2 is the BONUS. 10 of the 13 tracks are PREVIOUSLY UNRELEASED (1 to 7 and 11 to 13) while the other 3 are rarities with upgraded sound from their previous release in 1988 (1 track) and 1995 (2 tracks) (61:07 minutes)

PACKAGING:
The LP originally sported a textured gatefold sleeve with an attached 12-page booklet that has been faithfully reproduced in the excellent 28-page booklet that accompanies this set. Along with photos from the time of both Elton and Bernie, there's a very informative new essay by noted writer JOHN TOBLER, press adverts and billboard posters from 1970, session details and the fold-out flaps of the digipak even reflect the pictures on the left and right of the inner gatefold of the original album - all very nice touches indeed. However, if I was to nitpick, the outer plastic wrap lists no information of any kind, which means the casual buyer picking it up off a shelf can't tell what's inside this DELUXE EDITION? But that's a minor niggle that can be fixed on repressing because the really big news is the SOUND....

SOUND:
Sourcing the first generation original masters tapes from the Universal Archives, GIOVANNI SCATOLA and TONY COUSINS at Metropolis Mastering in London have carried out the re-mastering - and surely some kind of Audio Award awaits each of them. As the owner of way too many re-issue CDs - this is simply one of the best remasters of an old album that I've ever heard. Twenty seconds into the opener and I was already writing a review and picking my jaw up off the table as I went…

So what's changed? When GUS DUDGEON replaced the useless 1980s CDs with the excellent 1995 remasters, he got the best sound out of the tapes that he could at the time (he sadly passed away a few years ago). But 13 years on to 2008 and that's a lifetime in remastering techniques. These 2008 versions breathe - you can hear everything - and clearly too. A good example is the quietly delicate duet with LESLEY DUNCAN on her own "Love Song" - as pretty a tune as you could hope to hear - it's beautiful now - finally given the clarity that it has always deserved. (She later did her own superlative version on GM Records in 1974).

BAND/GUESTS:
Other vocal contributions come from DUSTY SPRINGFIELD, MADELINE BELL and Bronze Label Artist TONY HAZZARD on "My Father's Gun" and "Ballad Of A Well-Known Gun". UK folk duo SUE and SUNNY make a rare appearance on "Son Of Your Father" while IAN DUCK, the lead vocalist for HOOKFOOT puts in great harmonica work on one of the album standouts "Country Comfort". In fact, the majority of HOOKFOOT (his DJM label mates) makes up the bulk of his band - and would stay with him for years afterwards.

Disc 2 gives us excellent Previously Unreleased Piano Demos along with two separate BBC sessions - the "Dave Lee Travis Show" from April 1970 and the "Sounds Of The Seventies Show" from July 1970. They vary in sound quality, but are more than pleasantly good. Having said that, there are THREE genuine sensations on Disc 2. When Sting was asked to do a cover for the all-star "Two Rooms" compilation in 1991, he wisely chose "Come Down In Time", which for me has always been the best track on the album. Well track 3 on Disc 2 is a recently found Piano Demo of "Come Down In Time" and it's sensationally good - just beautiful. Stripped of clutter and intruding instrumentation - the melody shines though and luckily this is one of those demos that is in tip-top studio quality condition - very little hiss - just him and his lovely song. It's truly fantastic stuff and will remind many a weary fan of why they loved Elton John in the first place - he was a bloody good songwriter.

Second up is the near 9-minute "Original Version" of "Madman Across The Water" with MICK RONSON on Lead Guitar instead of Chris Spedding (Spedding was the guitar player on the shorter album version finally released on the "Madman Across The Water" album in October 1971). Along with the next track discussed, it turned up on the 1995 re-issue CD as a bonus track. What makes this version better is the upgraded remaster which gives his raunchy guitar work an in-your-face clarity that pummels real axe-power into the song. Ronson, Bowie and Mott fans will absolutely love it!

Last is a rare B-side. Although "Tumbleweed" produced no singles at all, "Your Song" from the previous album "Elton John" was given a belated UK release in January 1971 with a unique non-album B-side, "Into the Old Man's Shoes". It first turned up on the 1995 Gus Dudgeon remaster with good sound - but here its upgraded sound quality is stunning.

To sum up: I've loved coming back to this album - the great sound quality - actual tunes with thought-provoking lyrics - the attention to detail in the well-thought out packaging - the bonuses you'll play more than once - all of it. And his 2nd self-titled album “Elton John” has received the lavish DE treatment too – and with the same high quality results.


Well done to all involved… 

PS: see also my reviews for the 2004 SACD/Surround Sound CD Remasters of 1971's "Madman Across The Water" and 1972's "Honky Chateau" - and the 2014 Bob Ludwig Remaster of 1973's double-album "Goodbye Yellow Brick Road"...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 250 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

Friday, 25 July 2008

"Christine Perfect" by CHRISTINE PERFECT (Christine McVie of Fleetwood Mac] Inside "The Complete Blue Horizon Sessions" (2008 Sony CD Remasters) - A Review by Mark Barry...



This Review Along With 300+ Others Is Available In My
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"…Can't Go On Much Longer This Way…"

This March 2008 CD release on Sony/BMG/Blue Horizon 88697192162 (Barcode 886971921625) of "The Complete Blue Horizon Sessions" by CHRISTINE PERFECT is based around Christine McVie’s lone self-titled album for the cult UK label Blue Horizon in 1970 - and it’s a long-overdue reissue of a Fleetwood Mac solo rarity. 

Lancashire lass Christine Perfect had been with Stan Webb’s CHICKEN SHACK for three albums (also on Blue Horizon) - met the bass player John McVie of Peter Green’s Fleetwood Mac - fell in love - married - and the rest as they say is well-documented Fleetwood Mac history. Here are the details (45:45 minutes):

1. Crazy 'Bout You Baby
2. I'm On My Way
3. Let Me Go (Leave Me Alone)
4. Wait And See
5. Close To Me
6. When You Say
7. And That's Saying A Lot
8. No Road Is The Right Road
9. For You
10. I'm Too Far Gone (To Turn Around) – Album Version
11. I Want You
12. Tell Me You Need Me
13. I'm Too Far Gone (To Turn Around) – Single version
14. Hey Baby
15. It's You I Miss
16. Gone Into The Sun
Tracks 1 to 5 (minus "I'd Rather Go Blind" – see notes) make up Side 1 of her debut solo album "Christine Perfect" released 1970 in the UK on Blue Horizon 7-63860. Tracks 6 to 11 make up Side 2. The album was reissued in 1976 as "The Christine Perfect Album" on Sire with a different cover (sat in a whicker work chair). 

BONUS TRACKS:
Track 12 “Tell Me You Need Me” is a Previously Unreleased album outtake
Track 13 is her 2nd single around the album “I’m Too Far Gone (To Turn Around)”. It’s a slightly edited version on the album cut and was released February 1970 on Blue Horizon 57-3172 in the UK. The song is an Otis Clay/Benford Hendricks cover version made famous by Bobby Bland on his 1965 Duke Records hit (Duke 393). The album cut “Close To Me” was its B-side.
Tracks 14 to 16 are a Previously Unreleased BBC Session in Mono (see Notes)

DUNCAN COWELL remastered all tracks at Sound Mastering in London - and yet again - a typically great job has been achieved – warm, alive and none-too-hissy. The house band for the August/December 1969 sessions featured RICK HAYWARD and TOP TOPHAM of THE YARDBIRDS on Lead and Rhythm Guitars with MARTIN DUNSFORD on Bass and CHRIS HARDING on Drums. 

As forthcoming tasters two singles preceded the album’s release - “When You Say” and “I’m Too Far Gone (To Turn Around)”. Released October 1969 on Blue Horizon 57-3165 - the first “When You Say” was a DANNY KIRWAN penned song with the album cut “No Road Is The Right Road” as the B-side (both McVie and Kirwan play and produce). MIKE VERNON - the label’s boss - felt that at the time that it was a bad choice and I would agree. With a string-quartet arrangement dominating the whole song and it’s slow neither here nor there pace - the song is completely unrepresentative of what’s on the rest of the album. Having said that you can definitely here the beginnings of the sound that would permeate the “Kiln House" album by Fleetwood Mac in September of 1970 (a huge personal favourite of mine and I feel a very underrated early Seventies classic). With its Scott Walker meets Jack Nitzsche string melodrama - “When You Say” is an interesting song if not a slightly odd one.

With the September 1969 Melody Maker magazine win as Best Vocalist under her belt, and the 2 singles prepping the fans, the album was finally released in 1970 as “Christine Perfect” on Blue Horizon 7-63860 (it was reissued in 1976 as “The Christine Perfect Album” on Sire following the huge success of 1975’s “Fleetwood Mac” album). Its initial release was met with mixed reviews - and even her own position towards it over the years has ranged from scathing to outright disowning it – calling it the worst record she’s ever made. Of its 12 tracks, the first 5 are self-penned, 6 is the CHICKEN SHACK song “I’d Rather Go Blind” with Christine on award-winning lead vocals, 7 is the Danny Kirwan contribution “When You Say” and then the other 5 are various cover versions. The album’s opener, “Crazy ‘Bout You Baby” was noticed on an Ike & Tina Turner album from 1969 called “Outta Season” (their version is bluntly far better and funkier!). “I’m On My Way” (originally proposed as the album title) is a Deadric Malone penned song sung as a B-side by Bobby Bland on Duke Records in 1969. “And That’s Saying A Lot” is a Chuck Jackson cover sung by the superb soul maestro on Wand Records in 1965 and “I’m Too Far Gone (To Turn Around)” is discussed above. Which leaves the swamp funky boogie of “I Want You”, a TONY JOE WHITE stunner that turned up on his debut album for Monument Records “Black & White” in 1969. The rocking guitar work by both leads here is just fantastic (a real high on which to end the album). I also love the funky groove of “Let Me Go (Leave me Alone)” which would have been a far better single choice (lyrics from it title this review).

Given that there was room, the exclusion of Chicken Shack’s “I’d Rather Go Blind” is a bit of a blemish on an otherwise great re-issue and obviously makes a mockery of the word ‘complete’ on the outside wrap. This reissue clearly makes the presumption that real fans will already have the song from previous purchases and I suppose that’s fair enough. I still think it should have been on here especially as it breaks the actual track run of the original album - and for me that’s pissing about way too much. Still, on the upside for newcomers, if its exclusion here points that person in the direction of the sensational Chicken Shack 3 CD set “The Complete Blue Horizon Sessions”, then that’s a good thing, because in truth, it’s a far more rewarding and better-value purchase than this one.

Which brings us onto the bonus tracks - a real find is the sauntering ballad “Tell Me You Need Me” - an entirely new Christine song from the original sessions seeing the light of day here for the first time in nearly 40 years. It’s very of-the-time Fleetwood Mac, yet with her own personal touch to it – a real find as I say. Speaking of which the last three tracks are brand-new - previously unreleased mono recordings. They were taped at the BBC Recording Studios in Maida Vale, London on the 24th of November 1969 for airing on the Dave Lee Travis Sunday Show that weekend. “Hey Baby” is co-written with her old band partner Stan Webb of Chicken Shack, while “It’s You I Miss” and “Gone Into The Sun” are by Christine herself.  I love all three and am more than pleasantly surprised by their quality. “Hey Baby” is rocking boogie-woogie piano blues tune, the keys tinkered by the good lady herself with the same band as the albums sessions, Top Topham and Rick Hayward in particular providing superbly tight backup. “It’s You I Miss” could so easily have been a Peter Green guitar groove on any of the Fleetwood Mac Blue Horizon albums, while “Come Into The Sun” is good also, if not as exciting as the two that went before it. In truth, I’m digging the bonus tracks more than the actual album!

To sum up then, a 3 star album pushed up to 4 on this re-issue by its great sound, detailed presentation and excellent bonus tracks. A must-buy for fans - and for those disappointed by it in the first place - definitely worth another look…

"Loving And Free" by KIKI DEE featuring Elton John and Bernie Taupin (June 2008 EMI ‘Expanded Edition’ CD Reissue – Geoff Pesche Remaster) - A Review by Mark Barry...





"…I Will Untangle Myself…"

Kiki Dee's (real name Pauline Matthews) debut album for Elton John's newly formed Rocket Records "Loving & Free" was originally issued on vinyl LP in November 1973 on Rocket PIGL 5 in the UK. With songwriting, Production and band contributions from ELTON JOHN and BERNIE TAUPIN - the album also housed hugely popular chart hits in the form of two gorgeous ballads - and Kiki's emotive cover of Veronique Sanson's "Amoureuse" and the title song "Loving & Free". Let's untangle this reissue and get to the details...

This UK issued June 2008 'Expanded Edition' CD Remaster of "Loving & Free" by KIKI DEE on EMI 363 1132 (Barcode 0094636311326) reissues that forgotten nugget and adds on two rare bonus tracks (47:25 minutes). It’s the 1st of 6 albums she recorded between 1973 and 1987 – each being given a sonic overhaul by EMI (see list below) - and a cracker it is too.

1. Loving & Free [Side 1]
2. If It Rains
3. Lonnie & Joseph
4. Travellin In Style
5. You Put Something Better
6. Supercool [Side 2]
7. Rest My Head
8. Amoureuse
9. Song For Adam
10. Sugar On The Floor

BONUS TRACKS:
11. Last Good Man In My Life
12. Six Days On The Road

Two 45s came off the album at the time - with one other single issued 3 years later as a belated hit. First up was "Lonnie & Josie" b/w "Last Good Man In My Life" with both tracks written by ELTON JOHN and BERNIE TAUPIN. Released in June 1973 on Rocket PIG 2 - it unfortunately went the same as her earlier singles and didn't chart. Making its debut on this 2008 CD reissue (Track 11) - the B-side “Last Good Man In My Life” has long been sought after by collectors as a non-album JOHN/TAUPIN track unavailable anywhere else. Apparently it was an outtake from the "Goodbye Yellow Brick Road" sessions. The second and last bonus track is a Previously Unreleased raucous cover of Dave Dudley's 1963 hit "Six Days On The Road" – and it's very good too.

The second 7" single finally hit pay dirt. "Amoureuse" b/w "Rest My Head" (both from the album) hit the UK shops in October 1973 on Rocket PIG 4 just before the album's release in late November. A beautiful song - it was an immediate hit with the public. Written by French singer VERONIQUE SANSON - its plaintive melody had lyrics added to it by the British composer GARY OSBOURNE. "Rest My Head" is a Kiki Dee original. "Amoureuse" peaked at Number 13 in the UK and introduced Kiki's great voice to the public. It really was a career-maker.

The title track "Loving and Free" was finally released as a 4-track EP in a Picture Sleeve in September 1976 on Rocket ROKN 515 (sometimes referred to as the "Kiki Dee" EP). It followed on the back of the huge number 1 success of the "Don't Go Breaking My Heart" duet with ELTON earlier in June and July of that year. Its 4 tracks are: "Loving And Free", "Amoureuse", "I've Got The Music In Me" and "(You Don't Know) How Glad I Am". Why it wasn't released immediately after "Amoureuse" is anyone's guess?

The album's 10 tracks were famously produced by ELTON JOHN with his house band of DAVEY JOHNSTONE on Guitars, DEE MURRAY on Bass and NIGEL OLSSEN on Drums featuring on many of the songs. Elton himself provided Keyboards and Backing Vocals on seven out of the album's ten tunes (he's also on the non-album B-side). GERRY CONWAY and DAVE MATTACKS of FAIRPORT CONVENTION fame filled in the drums on other tracks with LESLIE DUNCAN of "Love Song" fame providing backing vocals on the superb Kiki original "If It Rains". "Travellin' In Style" is a FREE cover, "Song For Adam" is a JACKSON BROWNE cover introduced to Kiki by Elton, while she gives a very soulful rendition of "You Put Something Better Inside Me", a Gerry Rafferty/Joe Egan written STEALER'S WHEEL song. "Supercool" is the third exclusive JOHN/TAUPIN track - a rocker - though not as good as the better B-side "Last Good Man In My Life".

The booklet is excellent – they’ve pictured rare 7" single sleeves - photos of Kiki from the time - a knowledgeable CHRIS WHITE synopsis of the album and details of the sessions (its far more comprehensive than I thought it would be). Special mention should also be made of the EMI's remastering done by GEOFF PESCHE at Abbey Road Studios. The sound is just gorgeous - and I mean that - really clear and full. "Loving And Free" and its beautiful guitar work by PAUL KEOGH now sounds astonishing - a treat to hear it given the respect it deserves. Penned by Kiki - it's a criminally forgotten classic of the time.

A minor downside to this otherwise excellent reissue is that both "Lonnie & Josie" and "Amoureuse" were released in the States on MCA 40095 and 40157 respectively - and as advance radio promos, both singles sported a mono and stereo mix on either side. It's a damn shame that the exclusive "US Mono Mix" of each single wasn't included on here as bonuses when there was plenty of room. Niggles worth mentioning.

Other than that this is like EMI's superb 2006 reissues of Labi Siffre's 1970's Pye Albums - forgotten goodies given great remastered-sound, decent liner notes and genuinely excellent bonus tracks. Thoroughly recommended and a job well done for Britain's Pauline Matthews.

KIKI DEE - June 2008 EMI Records CD Reissues

1. I’ve Got The Music In Me (1974 on Rocket Records)
2. Loving And Free (1975 on Rocket Records)
3. Kiki Dee (1977 on Rocket Records)
4. Stay With Me (1979 on Rocket records)
5. Angel Eyes (1987 on Columbia Records)
6. Cage The Songbird
Note: Six is an unreleased album recorded during the Rocket Records period, now aired for the first time - it also features contributions from ELTON JOHN and BERNIE TAUPIN.

SOME OF MY E-BOOKS FOR SALE on AMAZON (All Updated to 2018)

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CLASSIC ROCK & POP 1970 to 1974 - EXCEPTIONAL CD REMASTERS

THERE'S SOMETHING ABOUT 1971 - BEST CD REMASTERS

1960s and 1970s MUSIC ON CD Volume 1 of 3 - EXCEPTIONAL REMASTERS

CLASSIC PROG ROCK, PSYCH and Other Genres Thereabouts - Exceptional CD Remasters...

MY BROKEN HEART (75 Days In The NHS) - Poem of Poems

INDEX - Entries and Artist Posts in Alphabetical Order