"Jon Savage's 1965: The Year The Sixties Ignited" by VARIOUS ARTISTS (January 2018 UK Ace Records 2CD Compilation - Nick Robbins Remasters) - A Review by Mark Barry...

This Review and over 340 more like it can be found 

In My Amazon E-Book 

GIMME SHELTER!  

CLASSIC 1960s ROCK ON CD
And Other Genres Thereabouts 

Your Guide To 

Exceptional CD Reissues and Remasters...

<a href="https://www.amazon.co.uk/gp/product/B013TDUC2K?&linkCode=li3&tag=mabasreofcdbl-21&linkId=cd0b719a1c262f64edfa2da19b1aa5b9&language=en_GB&ref_=as_li_ss_il" target="_blank"><img border="0" src="//ws-eu.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=B013TDUC2K&Format=_SL250_&ID=AsinImage&MarketPlace=GB&ServiceVersion=20070822&WS=1&tag=mabasreofcdbl-21&language=en_GB" ></a><img src="https://ir-uk.amazon-adsystem.com/e/ir?t=mabasreofcdbl-21&language=en_GB&l=li3&o=2&a=B013TDUC2K" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important;" />

"...See My Friends - Junkyard Angels..."

In some respects in other to properly review the 2018 2CD set "Jon Savage's 1965 - The Year The Sixties Ignited" - you have to talk about what's 'not' on here.

A jaundiced eye will immediately notice the absence of artists not just pivotal to the year in question but to the whole musical landscape of those amazingly creative times – namely The Beatles and The Rolling Stones - disallowed no doubt because of licensing rights although Savage has included them sideways through their connections to other bands (The Sickle for The Beatles and Vashti Bunyan for The Rolling Stones). Having said that and even allowing for the fact that each CD carries a disappointing one-hour playing time (room for more boys) and the fact that some tunes will be overly familiar to long-time collectors - I'm still mightily impressed by the majority of Savage's savvy choices. This is a great listen...and cleverly sequenced too...

You get groundbreaking sounds and genres (early Punk and emerging Soul) - forgotten heroes and influence shapers (Vashti Bunyan, The Poets, The Sonics and producers Jimmy Miller and Andrew Loog Oldham) and that almost perceptible sense of restlessness and rage from the bands and writers living through huge social upheaval and change - kids no longer wanting to be force-fed The Bachelors or The Anita Kerr Singers and the biased sanitised opinions of the Man. As you play through this twofer - you can literally feel real life encroaching on the music charts – in the lyrics – the grungy guitars - change bursting through the crap of Jim Crow and his Lasso Crew. But before we get bogged down with a river of slippery adjectives - let's get to the music...

UK released Friday, 26 January 2018 (10 February 2018 in the USA) - "Jon Savage's 1965 - The Year The Sixties Ignited" by VARIOUS ARTISTS on Ace Records CDTOP2 1513 (Barcode 029667086028) is a 48-Track 2CD compilation of Remastered UK and US 7" singles and plays out as follows:

Disc 1 (59:59 minutes):

1. Concrete And Clay - UNIT FOUR PLUS TWO (January 1965 UK, Decca F 12071, A-side)

2. Land Of A Thousand Dances Pt. 1 - THEE MIDNITERS (January 1965 USA, Chattahoochee CH-666, A-side)

3. Shotgun - JR WALKER & THE ALL STARS (April 1965 UK, Tamla Motown TMG 509, A-side)

4. Come And Stay With Me - MARIANNE FAITHFULL (February 1965 UK, Decca F 12075, A-side)

5. That's The Way It's Got To Be - THE POETS (February 1965 UK, Decca F 12074, A-side)

6. Fortune Teller - TONY JACKSON with THE VIBRATIONS (February 1965 UK, Pye 7N 15766, B-side of "Love Potion No. 9")

7. Twine Time - ALVIN CASH & THE CRAWLERS (November 1964 USA, Mar-V-Lus 6002, A-side - February 1965 UK, Stateside SS 386, A-side)

8. Stranger In Town - DEL SHANNON (March 1965 UK, Stateside SS 395, A-side)

9. Nowhere To Run - MARTHA and THE VANDELLAS (March 1965 UK, Tamla Motown TMG 502, A-side)

10. Iko Iko - THE DIXIE CUPS (April 1965 UK, Red Bird RB 10 024, A-side)

11. Boot-Leg - BOOKER T. & THE MG's [Isaac Hayes on Keyboards] (July 1965 UK, Atlantic AT 4033, A-side)

12. Leaving Here - THE BIRDS [English Band featuring Ron Wood of Faces and Rolling Stones] (April 1965 UK, Decca F 12140, A-side)

13. I'm Alive - THE HOLLIES (May 1965 UK, Parlophone R 5287, A-side)

14. Some Things Just Stick In Your Mind - VASHTI [Vashti Bunyan] (May 1965 UK, Decca F 12157, A-side - written by Jagger & Richards)

15. Anyway Anyhow Anywhere - THE WHO (May 1965 UK, Brunswick 05935, A-side)

16. Incense - THE ANGLOS (May 1965 UK, Brit Records WI 1004 - reissued June 1965 UK, Fontana TF 589, A-side both cases)

17. The Price Of Love - THE EVERLY BROTHERS (May 1965 UK, Warner Brothers WB 161, A-side)

18. Boss Hoss - THE SONICS (May 1965 USA-Only, Etiquette ET-16, B-side of "The Hustler")

19. Nobody Knows What's Goin' On (In My Mind But Me) - THE CHIFFONS (July 1965 UK, Stateside SS 437, A-side)

20. Heart Full Of Soul - THE YARDBIRDS [feat Jeff Beck, Graham Gouldman song] (June 1965 UK, Columbia DB 7594, A-side)

21. Agent Double-O Soul - EDWIN STARR (June 1965 USA, Ric-Tic RT-103, A-side)

22. In The Midnight Hour - WILSON PICKETT (July 1965 UK, Atlantic AT 4036, A-side)

23. Too Many People - THE LEAVES (July 1965 USA, Mira 202, A-side - reissued July 1966 USA on Mira 227)

24. See My Friends - THE KINKS (July 1965 UK, Pye 7N 15919, A-side)

Disc 2 (62:05 minutes):

1. I'll Feel A Whole Lot Better - THE BYRDS (June 1965 USA, Columbia 4-43332, B-side of "All I Really Want To Do")

2. Buttermilk Pt. 1 - SLY [Sly Stone] (August 1965 USA, Autumn 14, A-side)

3. Anything - THE VEJTABLES (August 1965 USA, Autumn 15, B-side of "I Still Love You")

4. Can't Seem To Make You Mine - THE SEEDS (August 1965 USA, GNP Crescendo 354, A-side)

5. Are You A Boy Or Are You A Girl - THE BARBARIANS (August 1965 UK, Stateside SS 449, A-side)

6. London Town - THE PRETTY THINGS (August 1965 UK, Fontana TE 17442 - 2nd Track on Side 1 of the "Rainin' In My Heart" 4-Track EP)

7. You've Got To Hide Your Love Away - THE SILKIE (September 1965 UK, Fontana TF 603, A-side - features Paul, John and George of The Beatles)

8. From A Buick 6 - BOB DYLAN (October 1965 UK, CBS Records 201824, B-side of "Positively 4th Street")

9. If You Gotta Go, Go Now - MANFRED MANN (September 1965 UK, HMV Records POP 1466, A-side)

10. Papa's Got A Brand New Bag Pt. 1 - JAMES BROWN & THE FAMOUS FLAMES (September 1965 UK, London HL 9990, A-side)

11. Ain't That Peculiar - MARVIN GAYE (November 1965 UK, Tamla Motown TMG 539, A-side)

12. Can You Hear Me - LEE DORSEY (October 1965 UK, Stateside SS 465, B-side of "Work, Work, Work" - reissued April 1968 UK on Bell BLL 1006 as an A-side)

13. It's My Life - THE ANIMALS (October 1965 UK, Columbia DB 7741, A-side)

14. You Just Gotta Know My Mind - KAREN VERROS (October 1965 USA, Dot 16780, A-side - written by Donovan, produced Jack Nitzsche)

15. Blow Your Mind - THE GAS CO (October 1965 USA, Mirwood 5501, A-side - produced by Jack Nitzsche)

16. The Train From Kansas City -THE SHANGRI-LAS (October 1965 UK, Red Bird RD 10 036, B-side of "Right Now And Not Later")

17. You Got What I Want - THE SORROWS (October 1965 UK, Piccadilly 7N 35277, A-side)

18. Hey GYP (Dig The Slowness) - DONOVAN (October 1965 UK, Pye 7N 15984, A-side)

19. Girl From The North Country - LINK WRAY (October 1965 USA, Swan 4232, A-side)

20. I've Got Mine - SMALL FACES (November 1965 UK, Decca F 12276, A-side)

21. The Duck - JACKIE LEE (December 1965 UK, London HLM 10233, A-side)

22. The Story Of John Hardy - THE SIR DOUGLAS QUINTET [feat Doug Sahm] (November 1965 UK, London HLU 10001, A-side)

23. We Sell Soul - THE SPADES [feat Roky Erickson] (December 1965 USA, Zero 10002, A-side)

24. My World Is Empty Without You - THE SUPREMES (December 1965 USA, Motown M-1089, A-side - February 1966 UK on Tamla Motown TMG 548, A-side)

Third in this series of Jon Savage compilations - October 2015's "1966" on Ace CDTOP2 1452 (Barcode 029667074223) and March 2017's "1967" on Ace CDTOP2 1495 (Barcode 029667079525) are the other two volumes - the 28-page booklet is a proper feast for the eyes and noggin. Savage sticks to the facts for each entry but also enlightens on song histories like how Tony Hall (head of Decca's promotion at the time) almost single-handedly pushed the Atlantic UK 7" single of Wilson Pickett's magical "In The Midnight Hour" up the charts. His love of the song and belief in it as a smash saw him get it featuring it on 'Juke Box Jury' many weeks after its failed British release due to zero promotion from other reps more interested in plugging safe Pop. Pickett was rewarded with a UK No. 12 chart placing - eight higher than his US placing of No. 20. Amazing to think of it now but some white guy who knew the goodies when he heard it - was the difference between us knowing the song for decades - or it sinking into obscurity through blind musical stupidity. Like the booklets for the other twofers "1966" and "1967" - the text here is peppered with British and American 45s - trade adverts - promotional posters - sheet music - beautifully done. Long-time Ace Records associate and Audio Engineer NICK ROBBINS has carried out the Mastering and as always - I love his work. Even stuff that is bucketshop like Sly's first single on Autumn Records or the crude Roky Erickson vocals and guitar on The Spades rare "We Sell Soul" are given that oomph they need.

I'd admit that Disc 2 is far better in my book than Disc 1 where I have my doubts about Del Shannon's "Stranger In Town" or Unit Four Plus Two's "Concrete And Clay" 'igniting' anything. But as you wade through the 48-songs you're struck again and again at the sheer brilliance of The Byrds, The Hollies, The Who, The Kinks and the fantastic Small Faces single "I've Got Mine" (a rare failure chartwise for them). Unsung heroes include Folky Vashti Bunyan with her lovely but slightly creeped-out cover of Jagger and Richard's "Some Things Just Stick In Your Mind" (Jimmy Page of Led Zeppelin features on Guitar) - The Everly Brothers smashing their old sound with the fab and groovy hook of "The Price You Pay" (a deserved No. 2 hit) and the sheer youth declaration of intent in The Animals "It's My Life" sporting hissed lyrics like "...It's my life and I'll do what I want...It's my mind and I'll think what I want..." – Eric Burdon (Newcastle’s finest) taking no lip from Whitehall or Washington.

Nuggets include the superb garage vibe of "Leaving Here" by England's Birds. Covering Eddie Holland's H-D-H composition - the UK band featured Ron Wood of The Faces and Rolling Stones fame as well as Kim Gardner who would later give us "The Resurrection Shuffle" by Ashton, Gardner & Dyke in 1970. "Incense" by The Anglos is not just a true 'tune' (as they used to say in Reckless) - but it's been a Club and Northern Soul dancefloor monster for five decades. It was an early Jimmy Miller Production and when Chris Blackwell of Island Records heard its cool sound - he persuaded the American Miller to relocate to the UK where he would go on to have a huge input on the sound of The Spencer Davis Group, Traffic, Spooky Tooth, Family and of course The Rolling Stones ("Let It Bleed" for Gawd's sake!). "Incense" regularly featured on all those Island/Sue label samplers you used to see at the end of the Sixties - the vocalist being Joe Webster and not Steve Winwood as many wrongly presumed (they were soundalikes). Smart choices too include The Kinks forgotten and at the time derided "See My Friends" (flange cool par excellence) and the kick-ass genius of "Too Many People" by The Leaves – wild harmonica vying with sliding guitars and a back beat that would make The Funk Brothers nod in approval. And how cool is Dylan's "From A Buick 6" – rocking it out like an unleashed brat in a year that saw everyone cover Bob songs (the Manfred Mann and Link Wray choices are very smart inclusions too - the latter highlighting a rare vocal from Link).

But what comes across even more potently across both CDs is the emergence and 'discovery' of Soul Music by white kids – tears in their eyes as they listen under the sheets to Pirate stations like Radio Luxembourg and Radio London. "Nowhere To Hide" has that driving beat but also a frustration and hurt - Edwin Starr is a hero for his "Agent Double-O Soul" - as joyful a genre tune as you could hope for and adopted as a near-anthem in the UK – and his Inner Funky Bad Self is already on display in Sly Stone’s astonishingly cool "Buttermilk Pt. 1" - where his vocal actually sounds like early Beefheart. And on it goes with Jackie Lee getting ants-in-his-pants as he walks like a Duck, Marvin Gaye feeling Peculiar about his latest girly - while the ladies of The Supremes bring it all to a satisfactory but aching close with "My World Is Empty Without You" (try to get over it Diana).

These kind of compilations are damn difficult to get right and for sure some will feel there are clunkers in amongst the goodies (overly familiar material as well). But having lived with its double-digital charms for days now - I'm loving "Jon Savage's 1965" and I urge you to blow your mind on it too...

 Titles in Jon Savage's Year Series are (2CD Compilations)

CDs:

1. Jon Savage's 1965: The Year The Sixties Ignited (26 January 2018 2CD set on Ace CDTOP2 1513 - Barcode 029667086028)

 

2. Jon Savage's 1966: The Year The Decade Exploded (30 October 2015 2CD set on Ace CDTOP2 1452 - Barcode 029667074223)

 

3. Jon Savage's 1967: The Year Pop Divided (31 March 2017 2CD set on Ace CDTOP2 1495 - Barcode 029667079525)

 

4. Jon Savage's 1968: The Year The World Burned (30 November 2018 2CD set on Ace CDTOP2 1536 - Barcode 029667092821)

 

5. Jon Savage's 1969-1971: Rock Dreams on 45 (25 October 2019 UK 2CD set on Ace CDTOP2 1559 - Barcode 029667096621)

 

6. Jon Savage's 1972-1976: All Our Times Have Come (26 March 2021 UK 2CD set on Ace CDTOP2 1594 - Barcode 029667101523)

7. Jon Savage's 1977-1979: Symbols Clashing Everywhere (28 January 2022 UK 2CD set on Ace CDTOP2 1610 - Barcode 029667104623)

8. Jon Savage's 1980-1982: The Art Of Things To Come (24 February 2023 UK Ace Records CDTOP2 1625 - Barcode 029667107921)

9. Jon Savage's 1983-1985: Welcome To Techno City (26 January 2024 UK Ace Records CDTOP2 1639 – Barcode 029667110020)

VINYL:

1. Jon Savage's 1965-1968: The High Sixties On 45 (June 2019 UK on Ace Records XXQLP2 060, 35-Track 2LP Set on Orange Vinyl in Stereo and Mono, Barcode 029667009515)

"Truth: The Columbia Recordings 1969-1970" by THE FLOCK (September 2017 Esoteric Recordings 2CD Reissue - Ben Wiseman Remasters) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters 
As well as 1960s and 1970s Rock and Pop - It Also Focuses On
Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs

(No Cut and Paste Crap)

"...Big Bird..."

Reading the liner notes on the rear cover to "The Flock" - you knew your were in good hands - they'd been penned by the much-admired and musically trusted British Bluesman John Mayall. He talked of their July 1969 "Whiskey A Go Go" live debut in the famous Los Angeles musical bolt hole - and how only two months later with the US September 1969 release of their self-titled debut album on Columbia Records - it was time for both the British Press and Public to wake up to their Chicago based Fusion-Rock headed by the Vocals and Guitar of Fred Glickstein and the wild bow magic of Violinist Jerry Goodman.

The Bluesbreaker mainman was of course right. Sporting a seven-man line-up - The Flock joined with the likes of Chicago and Blood, Sweat and Tears in that initial flowering of Fusion-Based Rock coming out of America in 1969 - a sound that encompassed a little bit of Blues, complicated and challenging Rock, Jazz, Psychedelic and even Gospel. In fact along with the Latin Fusion of Santana – Columbia Records was the big-label home of innovation and this kind of music at the time. And how good is it to see The Flock's small but memorable legacy of Art Rock be treated so well by England's champions of all things complex and well 'Flocky' - Esoteric Recordings. Let's get to those high-flying big birds...

UK released Friday, 29 September 2017 - "Truth: The Columbia Recordings 1969-1970" by THE FLOCK on Esoteric Recordings ECLEC 22606 (Barcode 5013929470644) is a 2CD anthology which offers both of their studio albums - "The Flock" from 1969 and "Dinosaur Swamps" from 1970 – six outtakes first issued in 1993 (two from the debut and four from an abandoned third album) and six US and European single sides/edits (Previously Unreleased on CD). This new twofer plays out as follows...

Disc 1 (65:30 minutes):

1. Introduction [Side 1]

2. Clown

3. I Am The Tall Tree

4. Tired Of Waiting

5. Store Bought - Store Thought [Side 2]

6. Truth

Tracks 1 to 6 are their debut album "The Flock" - released September 1969 in the USA on Columbia Records CS 9911 (Stereo) and April 1970 in the UK on CBS Records S 63733 (Stereo). Produced by JOHN McCLURE - it peaked at No. 48 in the US LP charts and No. 59 in the UK.

7. What Would You Do If The Sun Died?

8. Lollipops And Rainbows

Tracks 7 and 8 first appeared on the April 1993 CD compilation of Remasters - "Flock Rock: The Best Of The Flock" (Columbia CK 53440 – Barcode 74645344027). Both were unreleased outtakes from the debut album sessions recorded 6 June 1969.

9. Tired Of Waiting (Single Version, 2:40 minutes)

10. Store Bought - Store Brought (Single Version, 2:41 minutes)

Tracks 9 and 10 are edits (for both sides) released as a US 45 on Columbia 4-45021 in October 1969 and in the UK in April 1970 on CBS Records 4932 (Previously Unreleased on CD)

11. Clown (Part One)

12. Clown (Part Two)

Tracks 11 and 12 released as two-part 7” single in France only (with a picture sleeve) on CBS France 4965 (Previously Unreleased on CD)

Disc 2 (65:19 minutes):

1. Green Slice [Side 1]

2. Big Bird

3. Hornschmeyer's Island

4. Lighthouse

5. Crabfoot [Side 2]

6. Mermaid

7. Uranian Sircus

Tracks 1 to 7 are their second and last studio album "Dinosaur Swamps" – released October 1970 in the USA on Columbia Records C 30007 (Stereo) and in the UK on CBS Records S 64055 (Stereo) – both in Gatefold Sleeves. Produced by JOHN McCLURE – it peaked at No. 96 in the US charts but didn’t chart in the UK. 

8. Chanja

9. Atlantians Truckin’ Home

10. Afrika

11. Just Do It

Tracks 8 to 11 first appeared on the May 1993 US CD compilation of Vic Anesini Remasters - "Flock Rock – The Best Of The Flock" (Columbia/Legacy CK 53440 – Barcode 074645344027). They were outtakes to their unreleased third album recorded 16 December 1970.

12. Mermaid (Single Edit, 2:43 minutes)

13. Crabfoot (Single Edit, 2:48 minutes)

Tracks 12 and 13 issued a US 45 7” single in January 1971 on Columbia 4-45295 (Previously Unreleased on CD)

The 16-page booklet has new liner notes from noted writer MALCOLM DOME featuring photos of the band, the outer and inner gatefold sleeve to "Dinosaur Swamps" and of course that famous photo of Jerry giving it some wired violin. MARK POWELL of Esoteric did the compilation and archiving whilst long-standing Audio Engineer BEN WISEMAN handled the superb Remasters. Last time Columbia/Legacy handled the Flock was 25 years ago on the "Flock Rock...Best Of..." CD compilation from May 1993 – which featured Vic Anesini Remasters of 15 tracks – here we get comparable Audio – beautifully clear and powerful.

THE FLOCK was:

FRED GLICKSTEIN - Lead Guitar and Vocals

JERRY GOODMAN - Violin and Vocals

RICK CANOFF - Tenor Sax

TOM WEBB - Tenor Sax

FRANK POSA - Trumpet

JERRY SMITH - Bass

RON KARPMAN - Drums

JERRY GERBER on Saxophones, Flute, Banjo and Vocals replaced Tom Webb for "Dinosaur Swamps"

Most British fan's introduction to The Flock came not through the belatedly released debut album in April 1970 - but through a 6 March 1970 double-album sampler designed to promote CBS UK's roster of artists - the David Howell compiled "Fill Your Head With Rock - The Sound Of The Seventies". CBS Records SPR 39/40 was the third release from the British side of Columbia Records capitalising on the June 1969 chart-placing of their first two budget LP samplers - the fondly remembered "Rock Machine I Love You" and "The Rock Machine Turns You On". I mention all this because on the front cover of the 6 March 1970 2LP sampler "Fill Your Head With Rock" was Jerry Goodman of The Flock giving it some full-colour bare-chested Rock-God Prog-Jazz-Fusion Violin-Virtuoso (yeah baby). The image had graced the back cover of the debut album "The Flock" - but in black and white. Here he looked amazing - the 2LP set contained the album-cut of their Ray Davies and The Kinks cover "Tired Of Waiting". Although the double wasn't issued Stateside - it was a hit across loads of European and Asian/Australian markets. The Flock played Rotterdam 26 June 1970 on the back of it - only to stand naked and tall two days later at the Bath Festival in the UK where a certain Led Zeppelin made a pivotal impression. On that bill were other Prog acts like Pink Floyd, Colosseum and The Nice as well as Rock acts like Rory Gallagher's Taste, Ten Years After and their British pal/champion - John Mayall.

I must admit it’s been decades since I played their debut and I’m struck by how damn good most of it sounds after all these hairline-receding years. Opening sweetly with Acoustic strums - "Introduction" – the first of five original band compositions - soon succumbs to Jerry's ever-present Violin - sounding not unlike Fiddler On The Roof on acid. For sure the overly long "Clown" has some very dated vocal passages before the music takes over and romps to its 8:49 ending - but Glickstein proves himself a rocking guitar player – battling it out with Jerry Smith’s Bass lines (they released the wildly un-radio-friendly "Clown" as a two-parter single in France with a picture sleeve – wow – them was the days!). "I Am The Tall Tree" features some toe-curling lyrics vying for space with soulful playing - while it’s not surprising that Columbia and CBS both tried the band’s cover of The Kinks 1965 hit "Tired Of Waiting For You" (shortened to "Tired Of Waiting") as a 45 to plug the album – it’s probably the most (dare we say it) commercial cut on the record. Unrecognisable here – The Flock do the tune proud with some suitably grungy guitar work that ups the garage feel of the Kink Size original (the single edit is particularly impressive). Side 2 has only two tracks – the guitar-laden "Store Bought – Store Thought" which features wicked guitar and brass passages – and the seriously challenging but brilliant fifteen and half minutes of this compilations namesake - "Truth". Part Blues, part Prog, part Jazz Rock – it’s an amazing tour-de-force of Violin vs. Guitar vs. Brass - even if by the end the Bluesy jam – the song threatens to overstay its welcome. Having said that - if I were asked to point a singular finger at an example of this American band’s brilliance – it would be at this musicianship-showcase track "Truth".

By the time the band reached mid 1970 – a chemically enhanced visit to Boston became the basis for their ELP vs. The Mahavishnu Orchestra second album – the ambitious and occasionally brilliant "Dinosaur Swamps". With a doomy fade in - "Big Bird" then suddenly and unexpectedly becomes the Fiddle of Area Code 615 meets the Brass section of Blood, Sweat & Tears. By the time the voices arrive – it may have lost its way a tad – but structurally its impressive stuff nonetheless (and the Audio is fab). The near nine minutes of "Hornschmeyer’s Island" offers more of the same – our seven-piece heroes floating jazzily upstream in a musical canoe. The bopping "Crabfoot" is almost a single similar to Chicago’s "25 or 6 to 4" and the mad "Uranian Sircus" ends the album on loony laughter and dense rhythms that sound like they’re too stoned for their own creative good. Of the four jams that were to make up the unreleased third album supposedly to be entitled "Flock Rock" – the short "Chanja" offers up wild Zappa-like guitar – while the trumpet-soloing of "Just Do It" shows how far they’d veered towards Jazz and away from Rock.

For sure THE FLOCK won't be everyone's idea of a fun night in with a bottle of Chardonnay and a scented Michael Buble candle. But if your like your Prog Rock and Fusion with a dash of Jazz 'Brasso' and some 'Vim' Violin as a chaser – then this wicked reminder of headier days is the "Fill Your Head With Rock" bare-chested brat for you...

"Three Billboards Outside Ebbing, Missouri" - The 2017 Film - A Review by Mark Barry...

"...You Just Need Love...Listen To Your Heart..."

Just come from the cinema and like the entire audience - the better half and I were quietly blown away by the hard-hitting, wildly funny and genuinely heart breaking - "Three Billboards Outside Ebbing, Missouri".

I’m also reminded of "Darkest Hour" in that all the talk is of Gary Oldman and his amazing central performance – so too here it’s Fargo’s own Francis McDormand – ragged and boiler-suited and burning with an inner rage at the unsolved loss of her daughter savagely taken from their family seven years earlier. But while McDormand gets the juicy lead role and is allowed to scene steal as her character Mildred Hayes gets to kick local lazy-assed racist cop butt at every possible turn – like "Darkest Hour" it's the support cast and their unexpected character arcs that absolutely lift this movie up into something really special indeed.

If I was to single out anyone – it’s the local sloppy cops. Both Woody Harrelson and Sam Rockwell have put in great performances before in a huge array of Movies/TV - but here they've been given parts as the Chief of Police Willoughby and his not-so-bright sidekick Officer Dixon that make them glisten – roles that will have even the most weary of film-buffs renew their admiration for this mighty pairing of actors. And just when you think you know exactly what their characters are (a whole community stained and brutalised by a callous horror they'd rather forget) – they climb out of their personal holes and grow right in front of your eyes (you could feel the audience enjoying the rich writing). Clocking up what has to be career bests in the same movie - both Rockwell and Harrelson must surely be up for statue glory come the 2018 awards season.

But perhaps the biggest winner here is the stunning Script and Direction from Martin McDonagh (the Script especially). McDonagh wrote the brilliant and acidic "In Bruges" that starred Brendan Gleeson and Colin Farrell and also helmed "Seven Psychopaths" where the British Director first worked with Sam Rockwell - so if you know those excellent movies - you'll know his penchant for crude and rude spliced and diced with brains and real-life pathos. "Three Billboards..." offers more of that same freshness and manages to surprise you too.

Throw in quality actors and great dialogue for the likes of Peter Dinklage, Abbey Cornish, Caleb Landry Jones, Zeljko Ivanek, Darrell Britt-Gibson, Amanda Warren and even a small but sweet part for Ireland's Kerry Condon (the lady jockey in the TV series "Luck") and a Carter Burwell Soundtrack that adds even more power at just the right moments whilst not getting in the way of the story - and you're on a filmic winner.

"Three Billboards Outside Ebbing, Missouri" is great cinema and frankly I wouldn't want to spoil anyone's viewing of it by giving away too much story-tell - because like "Darkest Hour" this movie is intensely moving and another must see before the statues start flowing in Spring. Well done to all involved...

"Liege & Lief" by FAIRPORT CONVENTION (May 2002 Universal/Island Remasters 1CD Reissue - Gary Moore Remaster) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters  
As well as 1960s and 1970s Rock and Pop - It Also Focuses On
Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"…Come All Ye Rolling Minstrels…"

Voted in 2006 as the 'most influential Folk album ever' by those lovely peopleoids at the BBC - "Liege & Lief" finished out an astounding year for FAIRPORT CONVENTION - 1969. They gingerly popped out "What We Did On Our Holidays" in January, "Unhalfbricking" (with "Who Knows Where The Time Goes") in July and the mighty "Liege & Lief" in December of that momentous year. 

Other bands who put out three great studio albums in one year are The Rolling Stones in 1965 (USA), The Lovin' Spoonful in 1967 (USA), Creedence Clearwater Revival in 1969 (USA) and with a slight Fairport tie-in - Matthews Southern Comfort in 1970 in the UK. 

But with their three 1969 albums (all on Island Records) - England's Fairport Convention practically introduced Folk-Rock to the world as well the gigantic singer-songwriter talents of vocalist Sandy Denny and guitarist Richard Thompson. "Liege & Lief" was some achievement really. Here are the Rakish Paddies, Crazy Man Michaels and Farmers Tossing Feathers...

Released May 2002 - the single CD version of "Liege & Lief" by FAIRPORT CONVENTION on Universal/Island Remasters IMCD 291 (Barcode 731458692928) breaks down as follows (55:21 minutes);

1. Come All Ye [Sandy Denny and Ashley Hutchings song]

2. Reynardine [Traditional Air Arranged By Fairport Convention]

3. Matty Groves [Traditional Air Arranged By Fairport Convention]

4. Farewell, Farewell [Richard Thompson song]

5. The Deserter [Traditional Air Arranged By Fairport Convention] - Side 2

6. Medley: The Lark In The Morning, Rakish Paddy, Foxhunter's Jig, Toss The Feathers [Traditional Air Arranged By Fairport Convention]

7. Tam Lin [Traditional Air Arranged By Dave Swarbrick]

8. Crazy Man Michael [Dave Swarbrick/Richard Thompson song]

Tracks 1 to 8 are their 4th album "Liege & Lief" - released December 1969 in the UK on Island Records ILPS 9115 and May 1970 in the USA on A&M Records SP 4257.

9. Sir Patrick Spens (Sandy Denny Vocal Version) [Traditional Air Arranged By Fairport Convention]

10. Quiet Joys Of Brotherhood (Take 1) [Traditional Air Arranged By Sandy Denny, Words by Richard Farina]

Both 9 and 10 are PREVIOUSLY UNRELEASED (Take 4 of "Quiet Joys Of Brotherhood" was released on the 1986 retrospective box "Who Knows Where The Time Goes" - not Take 1)

The 16-page booklet on this single-disc remaster is a pretty affair - colour montages of the band, historic references and plates on subjects that inspired the songs, liner notes by original Producer JOE BOYD and band member ASHLEY HUTCHINGS remembering the making of. GARY MOORE carried out the gorgeous and warm remaster with both Joe Boyd and Ashley Hutchings in attendance. Moore's name has graced Thin Lizzy, Elton John and T.Rex remasters for Universal and his much-praised work is of the same calibre here - warm, detailed and full of life.

Recorded across 4 sessions (16, 22, 29 October and 1 November) - the band was Sandy Denny (Vocals), Richard Thompson and Simon Nicols (Lead Guitars), Dave Swarbrick (Violin and Viola), Ashley Hutchings (Bass) and Dave Mattacks (Drums). Retreating to a large country house called 'Farley Chamberlayne' in Hampshire to recover from a horrific car crash that took the life of Drummer Martin Lamble and Richard Thompson's girlfriend Jeannie Taylor - the circumstances surrounding the recordings couldn't have been worse (on the verge of breaking up). Yet somehow digging down deep into English Roots for material and the warmth of the area and place seemed to heal and galvanize the proceedings. And although "Liege & Lief" is categorized as 'Folk' (the jigs of "Toss the Feathers" are purely that) - I've never heard the album in that straightjacket way and many Rock buyers thought so too. For us Folk-Rock had arrived.

Side One opens with an absolute belter "Come All Ye" - a Denny/Hutchings song that sounds like its been in someone's repertoire for 300 years or so - and just now dusted off for the modern world. The first Traditional "Reynardine" is a ballad where 'old music is played on new instruments' - floating like its haze on a country river in the morning. The eight-minute "Matty Groves" is likely to send many an English schoolteacher into a Morris Dance - Dave Swarbrick's Violin and Richard Thompson's guitar licks trading off a gorgeous Sandy Denny vocal. In fact we must talk about Sandy. When Australian Trevor Lucas joined with her in Fotheringay - the two shared lead vocals - and while he has a fabulous voice - Sandy Denny had a tone that felt like vocal honey. Her English charm and sincerity seemed unforced, real and effortless. When she begins the gorgeous Side One finisher "Farewell, Farewell" - there's a faint croak in her notes - yet it works precisely because it's so fragile (a little like herself). Ghosts of Sandy Denny fill every Kate Rusby album.

"The Deserter" is a soldier's lament given a Swarbrick/Thompson background of floating Violin and plucked Guitars. The three-part "Medley" leads us into proper Folk Music with the added backbeat of drums. You can just hear a whole pub chucking aside their wooden stools as they prance about to the jigs and reels like - well drunken sailors. "Tam Lin" and the pretty "Crazy Man Michael" bring proceedings to the close with history and melody. Of the two extras - there's a barnstormer. The ten-minute "Quiet Joys Of Brotherhood" (based on "She Moves Through The Fair") is a trippy Acid Folk workout where a lone bongo is accompanied by a violin and what sounds like a fuzzed-up Jews harp - all of it wrapped around sublime Sandy vocals. It's a properly fabulous extra.

Groundbreaking, first past the post and now a timeless classic - "Liege & Lief" has stood the test of musical time. And this cheap-as-chips deep-in-the-purse CD remaster does that legend proud and cries out for a place in your straw bed and homemade ale casket...

"Unhalfbricking" by FAIRPORT CONVENTION (March 2003 Island Remasters 'Expanded Edition' CD Reissue - Paschal Byrne Remaster) - A Review by Mark Barry...

"Unhalfbricking" by FAIRPORT CONVENTION from 1969

"...No Thought For Time..."

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters  
As well as 1960s and 1970s Rock and Pop - It Also Focuses On
Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

Fairport Convention were to have an extraordinary year in 1969 - one of only a handful of bands to release three studio albums in one year - "What We Did On Our Holidays" in January with the mighty "Liege & Lief" in December and this - their 2nd platter "Unhalfbricking in July 1969. Other bands that achieved three in a year were The Rolling Stones in 1965 (USA), Creedence Clearwater Revival in 1969 (USA) and Matthews Southern Comfort in 1970 (UK). While those other bands should be name-checked for such voluminous original output - by the time the Fairports had placed "Unhalfbricking" at No. 12 in the UK LPs charts with "Liege & Lief" to follow at the tail-end of that extraordinary year at No. 17 – our Muswell Hill Heroes had practically invented the genre 'British Folk Rock' or 'Electric Folk' and changed music forever.

Yet despite its higher chart placing at No. 12 - it's "Liege & Lief" that gets all the plaudits, the hero worship and general trembling on ancient British knees. I'd like to argue that the humble but unfairly forgotten "Unhalfbricking" with the eleven-minute World-Music/Irish Traditional/British Folk structures of "A Sailor's Life" and the jaw-dropping beauty of Sandy's "Who Knows Where The Time Goes?" is just as influential and should be just as hallowed. And besides any album that has Nick Drake's house on the front cover – a silly made-up name from Sandy Denny - and makes three old Bob Dylan songs sound like new again gets an automatic five-star rating from me. "Million Dollar Bash" indeed! Here are the CD reissue details...

UK released March 2003 - "Unhalfbricking" by FAIRPORT CONVENTION on Island Remasters IMCD 293 - 063 596-2 (Barcode 044006359625) is an 'Expanded Edition' CD Reissue and Remaster with Two Bonus Tracks that plays out as follows (48:18 minutes):

1. Genesis Hall [Side 1]

2. Si Tu Dois Partir

3. Autopsy

4. A Sailor's Life

5. Cajun Woman [Side 2]

6. Who Knows Where The Time Goes?

7. Percy's Song

8. Million Dollar Bash

Tracks 1 to 8 are their 3rd studio album "Unhalfbricking" - released July 1969 in the UK on Island Records ILPS 9102 in Stereo and November 1969 in the USA on A&M Records SP 4206. Produced by JOE BOYD, SIMON NICOL and FAIRPORT CONVENTION (Engineer JOHN WOOD) - "Genesis Hall" and "Cajun Woman" are Richard Thompson songs - "Autopsy" and "Who Knows Where The Time Goes?" are Sandy Denny songs - "A Sailor's Life" is a Traditional cover with "Si Tu Dois Partir", "Percy's Song" and "Million Dollar Bash" all being Bob Dylan covers.

BONUS TRACKS:

9. Dear Landlord [Bob Dylan song] - an outtake from the "Unhalfbricking" sessions

10. The Ballad Of Easy Rider [Byrds song written by Roger McGuinn] - an outtake from the "Liege & Lief" album sessions

FAIRPORT CONVENTION was:

SANDY DENNY - Lead Vocals

RICHARD THOMPSON - Lead Guitars and Vocals

SIMON NICOL - Second Guitar

ASHLEY HUTCHINGS - Bass

MARTIN LAMBLE - Drums

Guests:

DAVE SWARBRICK - plays Fiddle on "Cajun Woman", "A Sailor's Life", "Si Tu Dois Partir" - Mandolin on "Million Dollar Bash"

TREVOR LUCAS - plays Triangle on "Si To Dois Partir"

MARC ELLINGTON - sings on "Million Dollar Bash"

IAN MATTHEWS - sings on "Percy's Song"

DAVE MATTACKS - plays drums on "The Ballad Of Easy Rider"

Even after all these years (2019 will be 50) – the wildly-different American A&M Records front sleeve with three circus elephants and a woman astride on top still throws me for six – what were they thinking! (Its pictured on Page 8 of the 16-page booklet). Original Band Member ASHLEY HUTCHINGS penned the new liner notes and gives really interesting insight into the songs – the fantastic rearrangement of "A Sailor's Life" with its early World Music incantations and how guest musicians like Fiddle Player Dave Swarbrick and Drummer Dave Mattacks were such a comfortable fit that they soon became permanent members of the band. Long-time Audio Engineer PASCHAL BYRNE handled the original tapes and his typically excellent skill gives this CD reissue a gorgeous sound. There's also a wad of Colour and Black and White photos of the Famous Five - Sandy goofing about and Richard Thompson looking like he needs to see a good barber and soon.

The album opens with the first of two Thompson originals "Genesis Hall" (the other on here is "Cajun Woman") and immediately the guitars and Sandy's voice create a magical sound. The lyrics "...to see both sides...to judge without hate..." still impress too. The first of three Bob Dylan covers sees his "If You Gotta Go, Go Now" transformed into a daft-as-a-brush French knees up on Fiddle and Washboard. Bizarrely the July 1969 UK 7" single on Island WIP 6064 with Richard's "Genesis Hall" on the flipside was a No. 21 hit and brought the hairy-mob into a Top Of The Pops studio for the first and only time. Things settle back down with Sandy's "Autopsy"- a song that's both sleepily pretty and strangely bleak at one and the same time - it's 4:20 minutes punctuated by beautifully economic and played guitar work from RT. Side 1 ends with a monster - the 11:08 minutes of "A Sailor's Life" - a Traditional air sweetly sung by Sandy. But then as it progresses it's transformed into a drone that encompasses Irish Folk, Indian Rhythms and British Folk Rock - Swarbrick's looming Fiddle slinking in while Thompson plucks and flicks on the guitar - both battling it until the end. It's fantastic stuff...

Side 2 opens with the second Thompson original - where he lets rip on the wild partying "Cajun Woman" - a song that seems two decades ahead of its sound yet strangely out of place here (if that makes sense). But then 'it' happens - the magic - "Who Knows Where The Time Goes?” Re-listening to it for the millionth time and I'm still floored by its beauty and pathos. I often imagine a Mum watching her grown-up daughter from out of a kitchen window taking to her Dad with her new beau in the garden - introducing the one she'll marry. The mum is listening to Sandy sing on her mini stereo - fixing things on her counter-top (just so) - her precious child now a woman and leaving for her own life. No thought for time - except where has it gone and how did it go by so fast...

The Extras actually feel like Bonus Material - an outtake cover of Dylan's "Dear Landlord" where the band sound relaxed and Sandy effortless in her rendition. The Byrds cover for "The Ballad Of Easy Rider" actually hails from the "Liege & Lief" sessions later in 1969 but Hutchings says in the liner notes that its sound is more in keeping with "Unhalfbricking" - and he's right - in fact it sounds like a sort of dry-run for "Who Knows Where The Time Goes?" - very pretty indeed.

When you think that you couldn't locate the original British vinyl LP with its black-eyed Island Records logo for under £250 - then the three-quid cost of this fabulous CD reissue seems like a garden fence I'd want to climb. Fab and then some...