"Who Came First: 45th Anniversary Expanded Edition" by PETE TOWNSHEND (April 2018 Universal UMC/Eel Pie Recording Productions 2CD Set - 2017 Jon Astley Remasters) - A Review by Mark Barry...

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"...I Am Content..." 

After the Who unleashed the barnstorming snot-nosed wee-wee on the wall that was "Who's Next" in August 1971 (the British Rock band on fire in every way) - I can remember both the excitement and confusion that accompanied "Who Came First" when it finally arrived in October 1972. With Pete standing on the front cover glaring out at us like a drill-sergeant with violent intent to his recruits in what appeared to be a car mechanic's freshly-cleaned overalls sporting a badge on his lapel of some grinning moustached Indian Guru geezer whilst standing on a platform of un-hatched chicken eggs in Doc Martens – I was intrigued and frankly a tad suspicious. 

Housed in its glossy gatefold sleeve and sporting a natty foldout 'Wave' poster within that I never truly understood (the artist Mike McInnerney gets Page 18 in the new booklet to unravel what he painted and why) - I can also remember feeling disappointed – musically that is. Essentially a bunch of outtakes from the Lifehouse Project (tracks that had formed the guts of "Who's Next") with some new stuff and cover versions thrown in – Pete's first solo album seemed weirdly low-key almost. But on repeated listens - I realised a readjustment had to take place. This was not a WHO album – but a PT solo record. And its music stood alone – his ideas too. This was also a more leisurely sounding project – Folksy - Country and Americana – more melodic in its approach - and after the riffage of 1971 – actually took some getting used to. 

And then there was the religious content – a Who-related Rock album celebrating the 76th Birthday of Meher Baba. I can remember the press of the day being polite at best about The Who's guitarist and principal songwriter 'standing on his own two feet' re his beliefs as he babbled on about some transcendental Avatar – an Indian man he’d met and adored in the late Sixties. A spiritual Guru and Guide – Meher Baba is referred to in songs like "Parvardigar" as a master and infinite and all wise – unfortunately the kind of subservient surrender mumbo-jumbo cack that Rock Stars spouted and championed in those days to counter their self-inflicted, drugged-up, screwed-up privileged lives. But at least Townshend and his spiritual quest seemed sincere to me and even if many of the Bentley-driving Gurus name-checked by Cream in 1967 were still putting up their prices and ultimately turned out to be the worst charlatans of all – the message of positivity and love from Pete’s first solo album had a powerful resonance with yours truly in 1972. 

Now here we are in April 2018 with another re-issue. This time Universal UMC in conjunction with PT’s Eel Pie Recordings are giving us a belated (should have arrived in 2017) two-disc '45th Anniversary Expanded Edition' in a equally natty looking squished-up book pack. It comes with all artwork restored - new Jon Astley remasters from original tapes - newly updated liner notes from PT himself that include the extras typed in the same script font as the original LP (a nice touch) and even some good previously unreleased on Disc 2 (eight are new). Let’s get to the angels in our midst...

UK released 20 April 2018 - "Who Came First: 45th Anniversary Expanded Edition" by PETE TOWNSHEND on Universal UMC/Eel Pie Recording Productions PTWCF45 (Barcode 602567302902) is a 2CD Digipak Reissue with 2017 Jon Astley Remasters Housed in an Oversized Card Slipcase that plays out as follows:

Disc 1 "Who Came First" (37:42 minutes):

1. Pure & Easy [Side 1]

2. Evolution

3. Forever's No Time At All

4. Let's See Action 

5. Time Is Passing [Side 2]

6. There's A Heartache Following Me

7. Sheraton Gibson 

8. Content 

9. Parvardigar

Tracks 1 to 9 are the solo LP "Who Came First" - released October 1972 in the UK on Track 2408 201 and in the USA on Decca/Track DL 79189. Recorded, Engineered, Mixed and Produced by PT – it peaked at No. 30 in the UK and No. 69 in the USA

Disc 2 BONUS TRACKS (73:02 minutes):

1. His Hands 

2. The Seeker (2017 Edit, 4:36 minutes)

3. Day Of Silence 

4. Sleeping Dog

5. Mary Jane (Stage A)

6. I Always Say (2017 Edit, 4:58 minutes)

7. Begin The Beguine (2017 Mix, 4:41 minutes)

8. Baba O'Riley (Instrumental, 9:49 minutes)

9. The Love Man (Stage C) 

10. Content (Stage A) 

11. Day Of Silence (Alternate Version, 4:38 minutes)

12. Parvardigar (Alternate Version), 7:12 minutes)

13. (Nothing is Everything) Let's See Action (Incomplete Take, 3:57 minutes)

14. There's A Fortune In Those Hills 

15. Meher Baba In Italy 

16. Drowned (Live In India, 1976)

17. Evolution (Stone) (Live At The Ronnie Lane Memorial Concert, Royal Albert Hall, London, 8 April 2004) 

Like most I've had the 1992 Rykodisc single CD for years with its six Bonus Tracks - two of which are missing from this new package - "The Seeker (1972 Version)" and "Lantern Cabin". I also bought a 2016 single CD reissue of "Who Came First" on Universal UMC 4780134 (Barcode 602547801340) that just offers the nine-track album in a card digipak and a new Miles Showell/Myles Clarke Remaster done at Abbey Road. It sounds gorgeous and at 38:00 minutes total playing time is oddly 18-seconds longer that the version offered here in 2018. Although the 8-page booklet is woefully ordinary and it’s devoid of extras – I’m keeping it because I like the Audio. This 2018 version is also the first in a new series of 'Expanded Edition' Townshend solo releases from Universal offering forthcoming upgraded versions of "Empty Glass", "All The Best Cowboys Have Chinese Eyes". "White City" and the "Scoop" series of outtake sets.  

Although it tries to look the part of being something substantial - I find these oversized digipak-within-a-card-slipcase issues flimsy to say the least. On the upside the booklet has PT's most extensive explanation of the album's origins - a sort of composite of two limited edition music sets (about 100 copies of each) given out to Baba followers via a magazine - and also enlightens on each track including the newbies. There are photos of both Townshend and Baba from the period and the new JON ASTLEY Remasters are his usual loud-renditions but this time without being overly bombastic super-fantastic. Take "Evolution" or the simple strumming in "Sheraton Gibson" and the clarity is undeniable - nicely done. To the record first...

It has to be said in all honesty that some of the tracks on "Who Came First" missed the dynamic of the band and especially Roger Daltrey's distinctive vocals that somehow elevated everything PT wrote. But like most fans – I’ve never wanted to part with my original. The opening side 1 piece "Pure And Easy" was written and recorded by The Who for the Lifehouse Project in 1971 and has been a CD Bonus Track for "Who’s Next" reissues in 1995 and the 2003 Deluxe Edition 2CD set. But that version is the New York Record Plant Sessions mix of 4:30 minutes – here PT uses his own Home Demo version at 5:32 minutes. I've always liked it as a song - uplifting and good on the brain. Up next is the thematically fitting, truly lovely and evocative Folk melody of "Evolution" with the mighty Ronnie Lane on Lead Vocals. Here he covers one of his own songs called "Stone" (re-named "Evolution" for the WCF album) that first turned up on Side 1 of the Faces March 1970 debut album "First Step". Its lyrics wittily talk of consciousness evolving over millennia - a spiritual theme central to Baba teachings. Lane and Townshend were not just pals but a singer-songwriter match made in British musical heaven They would do a celebrated duet album together released October 1977 called "Rough Mix" on Polydor Records – fabulous stuff – and an LP that once again returning to both Country and Americana tunes and styles – something that clearly both men loved and were steeped in. Lane was also a BM follower at the same time as PT and the Live Version of "Evolution (Stone)" on Disc 2 at his Memorial Concert in 2004 is seriously charged stuff (sung by PT). You can feel it in the band, the audience and Pete’s awkward but emotional spoken intro about consciousness. Like Marriott, Bowie and Prince - here is a musician that actually hurts people to think is no longer with us – all of them gone too bloody soon.

Even better is vocalist No. 3 - "Forever is No Time At All" written by Billy Nicholls and Katie McInnerary (with Nicholls at the microphone). Both followers of Meher Baba – Ronnie Lane and Billie Nicholls also shared a musical connection between them. Nicholls had done an ultra-rare withdrawn LP for Immediate Records in 1968 called "Would You Believe" (on Immediate IMCP 009). This hallowed and revered beast is presently listed at a whopping £5000 for an original copy in the 2018 Record Collector Price Guide because the players on it are liable to send most collectors into hysteria – John Paul Jones pre Led Zeppelin, Steve Marriott, Ian McLagan, Kenney Jones and of course Ronnie Lane of the Immediate period Small Faces, Caleb Quaye of Elton John’s band and Hookfoot alongside ace piano sessionman Nicky Hopkins (so often associated with The Stones in the late Sixties and Early Seventies). Townshend rated Billie’s opinions and Nicholls also had an extraordinarily expressive voice – something wonderfully British about it – a little like Ronnie Lane. "Forever is No Time At All" is actually one of my faves on the album. 

The LP’s most famous song has a history all to itself as well. The full 6:15 minute album-version of "Let’s See Action" ending Side 1 now reflects the US spelling of the track by including the words "(Nothing Is Everything)..." plopped in before its title (sung by PT and not Roger Daltrey). I’d agree with most fans by saying that the edited and more punchy single mix of "Let’s See Action" issued a full year prior as a stand alone band 7” single (Track 2094-012, October 1971) with Roger Daltrey on lead vocals - is way better. But any number of variants on this track is all right by me. The Ray Baker cover version is a Country Strum that predates the whole sound achieved on "Rough Mix" six years later and the Audio is gorgeous. Maud Kennedy's poem make up the lyrics to "Content" - clearly one of Pete's faves on the album - a song that is both pretty and somehow sad too - alone with the truth - trying to be brave. With all of its fawning and swooning towards Baba - "Parvardigar" makes me kind of cringe - but if you're a fan - the Audio is fantastic. 

Opening the Bonus Tracks CD is "His Hands" - an instrumental that was recorded for the third and last Meher Baba magazine disc in the Goring-On-Thames converted studio Pete purchased in 1971. Lovely and so apt to this project - that leads into a huge fan-rave "The Seeker". Although its credited as a '2017 Edit' - I can't really hear any difference between it and the 1972 Version that appeared as a Bonus Track on the 1992 Ryko CD (even the playing times at 4:36 minutes are exactly the same). Not as good in any way as the officially released WHO single – it’s still a thrill to have any variant of it over and above. Both "Day Of Silence" and "Sleeping Dog" again were on the Ryko CD - the first track referring to 10 July - a day where Baba followers observe 'silence' all day as he had done every year since 1925.

 

"Sleeping Dog" reflects the domestic bliss he was feeling at the time (wife and kids in bed while he recorded). Can't say any of the Edits impressed but the near 10-minute "Baba O'Riley" is an absolute blast – here the "Who's Next" opener given free reign. Just when you expect "...out here in the fields..." to come roaring in – you get more of the opening and then that riffage. It then layers more and more keyboards until it becomes a Terry Riley soundscape with a WHO twist – fab. And despite the sudden break at the end of "Nothing Is Everything" – the shorter guitar and vocals demo already displays brilliance and I can see why he included it. 

For sure not everything on here is going to thrill (even die-hard fans) but what a fascinating look into the process and how it relates to his on-going journey. "Who Came First" (then and now) is one you can file under chicken and egg. And if you're asking me which came first – I've still no bleeding idea... 

"Things To Come" by SEVENTH WAVE - April 1974 Debut Album on Gull Records featuring Members of Second Hand, Ken Elliott and Kieran O'Connor (June 2018 UK Esoteric Recordings 'Expanded Edition' CD Reissue with Ben Wiseman Remaster) - A Review by Mark Barry...

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"...Old Dog Song..."

Gull Records (distributed by Decca) went after the Camel, VDGG and Caravan marketplace with their label's first release - "Things To Come" by SEVENTH WAVE.

Issued April 1974 on Gull Records GULP 1001 alongside Isotope's self-titled debut album (GULP 1002, also released April 1974) and Steve Ashley's "Stroll On" in May 1974 (Gull Records GULP 1003) – they all looked and sounded the melodic thoughtful Prog Rock part - but for me always lacked actual tunes.

Seventh Wave comprised of two individuals - singer and multi-instrument keyboardist KEN ELLIOTT and his equally dexterous percussion pal KIERAN O'CONNOR. They weren't new to Prog or Instrumentals - both being ex Second Hand who had two huge cult albums back in the vanguard of the genre - "Reality" on Polydor Records in 1968 and "Death May Be Your Santa Claus" in 1971 on Mushroom Records - both mega-bucks vinyl rarities should you ever feel the need to acquire them (I've reviewed the famous 1971 beast).

Unfortunately as a Rarities LP Buyer and Mail Order Manager in Reckless Records in Islington and Soho's Berwick Street for nearly two decades (busy, busy places and the Berwick Street store still is) - I remember Seventh Wave well - in that you couldn't give either of their LPs away for anything above two or three quid. Their second and last platter was "Psi-Fi" in August 1975 on Gull Records GULP 1010 (both titles reissued in July 1977 on the same catalogue numbers when stuff like Gordon Giltrap was breaking on The Electric Company label). Despite the obvious technical know-how and the dense almost Utopia-like production values - "Things To Come" hasn't really aged that well. All too many of the synth instrumentals like "Sky Scraper" and the one-minute "Escalator" feel like noodles rather than songs and when Elliott did sing on stuff like "Metropolis" or the Spector-esque "Old Dog Song" - he sounded like Geddy Lee from Rush with a tourniquet around his nether regions. Better is "Smog, Fog And Sunset" with its huge notes and the ever so-slightly funky jaunt of "Dance Of The Eloi" sounding not unlike a Genesis middle-eight from 1976's "A Trick Of The Tail".

What I can say is that BEN WISEMAN – a Remaster Engineer of re-known used by Esoteric on many's a reissue and a name (like Andy Pearce) I look out for – has revisited the Gull Master Tapes for this 2018 'Expanded Edition' CD reissue and delivered a spectacular soundscape. 

This 29 June 2018 UK CD of "Things To Come" by SEVENTH WAVE on Esoteric Recordings ECLEC 2630 (Barcode 5013929473041) sounds huge and in a good way  and contains the shorter single-mix of "Metropolis" as a Bonus Track (issued May 1974 as a UK 7" single on Gull Records GULS 3 with "Festival" on the flipside).

The 16-page booklet has new MALCOLM DOME liner notes with contributions from Elliott (taking the title from the famous H.G. Wells story – keyboardist Hugh Banton of Van Der Graaf Generator joining them for the second LP sessions) – there are lyrics to the four vocal tracks and Sound Engineer/Producer Neil Richmond who had aided loads of Trojan LPs at Chalk Farm Road with Vic Keary lends his thoughts on the recordings too. Fans will also be pleased to see Michael Priddle's intricately cool artwork is also reproduced throughout the booklet.

Good but never great for me – fans will need this however for the upgraded audio and quality booklet presentation...

"Strong In The Sun" by TIR na n’OG (November 2012 UK Esoteric Recordings ‘Expanded Edition’ CD Reissue - Paschal Byrne Remasters) - A Review by Mark Barry...

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US AND THEM - 1973
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"...Most Magical…"

Being a Dubliner I instantly knew what "Tir na n'Og" referred to. Translated it's Gaelic for "Land Of The Young" (locally pronounced Tier Nah Nogue). We had the old stories rammed down our willing throats in History class in school. It comes from the ancient Irish tales of warrior king Ossian (or Oisin in Gaelic).

I've had this Prog-Folk duo's third and final studio album "Strong In The Sun" (issued October 1973) on original UK vinyl for decades now as well as the other two they did - "Tir na n'Og" from May 1971 and "A Tear And A Smile" from April 1972 (see separate reviews) and loved them all to bits. Formed in Dublin in 1970 - guitarists and singers Sonny Condell and Leo O'Kelly made a lovely racket and gathered fans far and wide very quickly – supporting Jethro Tull on high profile tours. I even followed Sonny Condell (one part of the duo) when he teamed up with Phillip King and Greg Bolland to form SCULLION in Ireland in the late Seventies – a fantastically eclectic and musical band who put out about five albums – the second of which "Balance And Control" was produced by none other than John Martyn in 1980 on WEA Ireland.

Speaking of Island Records connections – originally recorded by Tony Cox at Sound Techniques Studios in London – the spiritual home of other Island Records Folk-Rock luminaries like John Martyn, Fairport Convention and Nick Drake – Tir na n’Og’s "Strong In The Sun" even opened with a rare Nick Drake cover version - "Free Ride" from ND’s third and last album "Pink Moon" in 1972 (the booklet incorrectly states that the Irish Duo were the first to cover any of his material while he was alive – but it was Alexis Korner who did "Saturday Sun" on his “Alexis Korner” debut album for RAK Records in July 1971 (SRAK 501)). As it turned out neither of the Chrysalis bosses Chris Wright and Terry Ellis (their names combined gave us the soundalike Chrysalis label) were enamoured with what they heard and ordered the album to be completely re-recorded – roping in Matthew Fisher of Procol Harum and EMI’s legendary Beatles Engineer Geoff Emerick to do the re-record deed. You can sure hear the polish on this Remastered CD – gorgeous Audio quality throughout. To the music at hand...

UK released November 2012 - "Strong In The Sun" by TIR na n'OG on Esoteric Recordings ECLEC2351 (Barcode 5013929435148) is an 'Expanded Edition' CD Remaster with One Bonus Track that plays out as follows (42:49 minutes):

1. Free Ride [Side 1]

2. Whitestone Bridge

3. Teeside

4. Cinema

5. Strong In The Sun

6. The Wind Was High [Side 2]

7. In The Morning

8. Love Lost

9. Most Magical

10. Fall Of Day

Tracks 1 to 10 are their 3rd and final studio album “Strong In The Sun” - released 26 October 1973 in the UK on Chrysalis CHR 1047 (CHR 1047 in the USA also). Produced by MATTHEW FISHER (of Procol Harum) – it didn’t chart in either country.

BONUS TRACK:

11. The Mountain And I

Track 11 is the Non-Album B-side of the September 1973 UK 7" single for “Strong In The Sun” on Chrysalis CHS 2016

TIR na n’OG was:

SONNY CONDELL – Vocals, Acoustic and Electric Guitars, Jew’s harp and Pottery Drums

LEO O’KELLY – Vocals, Acoustic and Electric Guitars, Dulcimer and Violin

Guests:

Matthew Fisher (of Procol Harum) – Keyboards (also Producer)

Brian Ogders (of Sweet Thursday and Apollo 100) – Bass

Dave Markee (of Centipede) – Bass

Jim Ryan – Bass

Jeff Jones (of Wild Turkey), Barry De Souza and Ace Follington– Drums 

The 8-page booklet features liner notes by noted writer and music-biz legend TREVOR BOYD reproducing a trade newspaper advert (probably the New Musical Express) for a tour with Bridget St. John (she was doing early promotion her forthcoming “Jumble Queen” LP) as well as a Chrysalis Records black and white promo photo of the hairy duo.

The new remaster has been handled by PASCHAL BYRNE at The Audio Archiving Company in London using original master tapes and is truly gorgeous - crystal clear acoustic instruments with warmth and clarity on every track. It really is a fantastic job done.

While the debut album was Half-Folk/Half Prog (with Tyrannosaurus Rex hippy overtones) - this 2nd LP showed a huge improvement in the song-writing department and was accompanied by a really beautiful TONY COX production. It also saw a definite Tir na n'Og sound emerging too (like an older version of Glen Hansard of The Frames or music from the film "Once"). Album three only progressed that further – though in my opinion it’s the less adorned tracks that work best and not the highly polished ones like "Whitestone Bridge" where the ‘bigger band’ vibe feels ever so slightly forced. Not so for the absolutely mesmerizing Sonny Condell acoustic ballad "Teeside" – simple and beautiful – ebb-tide carrying his love away – leaning into the North wind...

"Cinema" (Leo O’Kelly tune) features an early use of samples – dialogue from some Henry Fonda western – the acoustic and piano strum sounding like The La's a full decade before the event – while it's easy to see why Chrysalis chose his "Strong In The Sun" as the lead-off 45 a month before the album hit the shops in October 1973 (Chrysalis CHS 2016) – pretty 'coming to stay with me' melody and a catchy 'we're gonna be free' chorus. Actually I think the Condell non-album B-side "The Mountain And I" is equally cool if not even better.

One of the album’s highlights is undoubtedly the Side 2 opener "The Wind Was High" – a typically light-as-a-feather love song by Leo O’Kelly - TIR na n'OG weaving their vocal/acoustic magic – a tune imbibed with a kind of Irish longing that feels both joyful and sad at one and the same time. The very Leonard Cohen sounding "In The Morning" started out as an October 1969 Irish 7" single on Song Records SO 0004 - the non-album B-side to "Like" by the oddly-named 'Tramcarr 88'  – a band that featured Condell and his cousin John Roberts (Roberts wrote the A – while Condell wrote the flip). TIR na n'OG upgrade the song to better production values thereby bring out its pretty melody. Although it feels like an early run for the sound Scullion made - I never really liked "Lost Love" – too forced. Far better is the two Condell finishers - "Most Magical" and "Fall Of Day" where TIR na n'OG begin to sound like a force to be reckoned with – the first a rapid acoustic romp with the second a mid-tempo number with fantastic harmony vocals.

After they split in 1974 – Condell of TIR na n'OG morphed in the late Seventies in the affectionately remembered three-piece SCULLION (Sonny Condell, Phillip King and Greg Bolland) who made 5 albums in Ireland including the fab "Balance And Control" in 1980 produced by the mighty JOHN MARTYN (only recently reissued on CD by Prog Temple). There was a CD issued October 2001 in the UK called "Spotlight" on Hux Records HUX 021 (Barcode 682970000213) that contained April 1972 to October 1973 live BBC Recordings featuring roughly half of the songs from "Strong In The Sun" and more. Condell even made a CD album in 2013 - whilst the fondly remembered TIR na n'OG sport their own rather good Prog Folk website for deeper diving.

TIR na n'OG would definitely be an acquired taste for some. This 3rd outing is not all genius for sure - but for me there was always something magical in those hooks and songs – tunes like "Teeside" and "Fall Of Day".

And now their (land of the young) albums have the properly beautiful sounding remasters their catalogue has always deserved. Dig in – I envy you the journey...

"All In Your Mind: The Transatlantic Years 1970-1974" by STRAY (October 2017 Esoteric Recordings 4CD Box Set - Ben Wiseman Remasters) - A Review by Mark Barry...

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As well as 1960s and 1970s Rock and Pop - It Also Focuses On

Blues Rock, Prog Rock, Psych, Avant Garde, Underground

Folk-Rock, Singer-Songwriter, Country Rock and more

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"...Time Machine..."

For such a prolific British band - Acton’s finest never once saw the fruits of their LP labours chart in any meaningful way. West London's hard-rockers STRAY put out a whopping eight studio albums on two huge record labels between 1970 and 1976 (Transatlantic Records first and then Dawn) and all of it made up of almost entirely original material (the only cover version is one of Cliff Richard’s 50ts classic "Move It"). And yet despite a passionate and loyal college circuit following and years of relentless gigging – not a snifter. Welsh three-piece Budgie placed loads – Space Rock mavericks Hawkwind the same - Ireland's Skid Row with a very young Gary Moore and their weird variant of Speed Rock even nabbed one in 1970 against all the musical odds - but not STRAY.

Hindsight however has seen a growing-warmth towards our head-banging heroes that has transcended decades. Steve Harris of Iron Maiden and Neil Peart of Rush have sung their praises and name-checked Stray's more Prog elements as a seminal influence. The respected and artist-orientated Angel Air Records of the UK put out a live set of the classic line-up in 2014 and fans of hard-hitting Blues Rock mixed with a tinge of Psych and complicated time-phrases have been discovering their forgotten albums for decades.

Hardly surprising then that here comes Cherry Red's much-praised Esoteric Recordings with another overhaul - a 4CD Mini Box Set covering the first period of their output on Transatlantic Records – five albums and a heap of rarities (thirteen to be exact). Although the outer clamshell looks the part – the inner card sleeves decidedly let the side down with no original artwork and albums split across discs. But even despite these iffy presentation choices (not something I ever say of Esoteric Recordings who along with Ace Records are amongst my favourite British reissue labels) - there's much to be praised here – especially the new Ben Wiseman Remastering. So once more my hirsute hobbit-obsessed friends unto the suicidal past, mind trips, moving on Mudanzas and flicks on a Saturday morning...

UK released 20 October 2017 - "All In Your Mind: The Transatlantic Years 1970-1974" by STRAY on Esoteric Recordings ECLEC 42607 (Barcode 5013929470743) is a 4CD Mini Clamshell Box Set containing five albums plus rarities that plays out as follows:

Disc 1 (77:30 minutes):

1. All In Your Mind [Side 1]

2. Taking All The Good Things

3. Around The World In 80 Days

4. Time Machine

5. Only What You Can Make It [Side 2]

6. Yesterday's Promise

7. Move On

8. In Reverse/Some Say

Tracks 1 to 8 are their debut album "Stray" - released June 1970 in the UK on Transatlantic Records TRA 216 (no USA release) - Produced by HUGH MURPHY

9. Son Of The Father [Side 1]

10. Nature's Way

11. Where Do Our Children Belong

12. Jericho

13. Run Mister Run [Side 2]

14. Dearest Eloise

15. Do You Miss Me?

Tracks 9 to 15 on Disc 1 and Track 1 on Disc 2 are their 2nd studio album "Suicide" - released March 1971 in the UK on Transatlantic TRA 233 and September 1971 in the USA on Mercury SRM-1-611 with the same track list but different artwork

Disc 2 (70:05 minutes):

1. Suicide (as per Tracks 9 to 15 on Disc 1)

2. Our Song [Side 1]

3. After The Storm

4. Sister Mary

5. Move That Wigwam

6. Leave It Out [Side 2]

7. How Could I Forget You?

8. Mr. Hobo

9. Queen Of The Sea

Tracks 2 to 9 are their 3rd studio album "Saturday Morning Pictures" - released February 1972 in the UK on Transatlantic Records TRA 248 and in the USA on Mercury SRM-1-624 - Produced by MARTIN BIRCH and STRAY

10. Changes [Side 1]

11. Come On Over

12. Alright Ma!

13. Oil Fumes And Sea Air

14. Gambler

15. Hallelujah

Tracks 10 to 15 are Side 1 of their 4th studio album "Mudanzas" - released May 1973 in the UK on Transatlantic TRA 268 (no USA release) - Produced by WILF PINE

Disc 3 (64:08 minutes):

1. I Believe It [Side 2]

2. Pretty Things

3. Soon As You've Grown

4. Leave It To Us

Tracks 1 to 5 as Side 2 of "Mudanzas" (as per Tracks 10 to 15 on Disc 2)

5. Tap [Side 1]

6. Move It

7. Hey Domino

8. Customs Man

9. Mystic Lady

10. Somebody Called You

11. Give It Up [Side 2]

12. Like A Dream

13. Don't Look Back

14. Right From The Start

15. Our Plea

Tracks 5 to 15 are their 5th studio album "Move It" - released May 1974 in the UK on Transatlantic TRA 281 (no USA issue) - Produced by WILF PINE

Disc 4 (43:17 minutes):

Demos & Rarities

1. Change Your Mind

2. The Man Who Paints The Pictures

3. In The Night

4. Outcast

Tracks 1 to 4 are Pye Studio Demos recorded November 1968 and Produced by JOHN SCHROEDER

5. All In Your Mind (Single Version) - released 1971 in Italy as a 7"single on Transatlantic TN 111

6. Encore - recorded during the sessions for "Suicide"

7. Our Song (Single Version)

8. Mama's Coming Home

Tracks 7 and 8 are the A&B-sides of a January 1972 UK 7" single on Big T Records BIG 141 in a picture sleeve

9. Georgia

10. Get Out Right Away

Tracks 9 and 10 were featured on and exclusive to the Stray compilation LP "Tracks" released September 1975 in the UK on Transatlantic TRA SAM 33

11. Brand New Day - non-album B-side to the UK 7" single of "Hallelujah" released 1973 on Transatlantic/Big T Records BIG 512

12. Move It (Single Version)

13. Crazy People

Tracks 12 and 13 are the A&B-sides of a 1973 UK 7" single on Transatlantic/Big T Records BIG 512

STRAY was (same four-piece line-up for all five LPs):

STEVE GADD - Lead Vocals, Acoustic Guitars and Percussion

DEL BROMHAM - Lead Guitars, Keyboards, Harmonica, Percussion and Second Vocals

GARY GILES - Bass

RITCHIE COLE - Drums and Percussion

Guests: 

Mike Evans - Violin, Andy Bearne – Harmonica, Keith Bleasy – Congas - all on the "Suicide" LP 

Barry St. John, Kay Gardner, Lisa Strike and P.P. Arnold - all Backing Vocals on the "Suicide" LP

Jimmie Helms - Brass on "Hey Domino" and Backing Vocals on "Customs Man" on the "Move It" LP

Castle Music/Sanctuary first issued these five rare albums onto CD in Remastered form in 2005, 2006 and 2007 with the first four as Expanded Edition single CDs whilst the fifth album "Move It" became a double. Disc 4 of this 2017 reissue gathers up 13 of the Bonus Tracks from those Castle reissues but misses out on eleven BBC Sessions – one on the "Mudanzas" issue in 2006 and ten on the "Move It" double from 2007. With the total playing time on Disc 4 clocking in at 43:17 minutes - there was clearly room for some – but probably licensing rights have disallowed their inclusion here – which is a damn shame. 

Another problem (if you can call it that) is that with five LP covers to represent and only four CD card sleeves to use – Esoteric have decided to do themed artwork for all four cards with background images of the original LPs. They’re black and white and are quite awful really (see photos provided). You lose the impact of the die-cut debut gatefold "Stray" – the gatefold for the hugely popular "Saturday Morning Pictures" – the die-cut van sleeve for "Move It" and so on. Worse – as you can see from the Disc listings provided above – the second LP "Suicide" has its last song on Disc 2 with the bulk of the album on Disc 1 (others are similar). Hardly the greatest way to listen to or look at the albums as they were issued. It would of course have been far better to have had five card sleeves with all the original artwork and the bonuses spread out evenly across them – but alas.

So what do you get? The 20-page booklet has new liner notes from noted writer and rocker extraordinaire MALCOLM DOME that illuminate the band’s hurried and prolific output - whilst principal songwriter and Stray stalwart throughout the decades DAVE BROMHAM provides insider details that are both informative and witty. There are reproductions of Marquee posters, trade adverts for various albums, live shots of the four piece in full flow, snaps of the five album sleeves, a Country Club poster where they shared the venue with an eclectic choice of different-genre bands like Dando Shaft, Osibisa, Mike Westbrook and the Faces. But what I do really like is the BEN WISEMAN Remasters – 24-Bit Digital Versions done at Broadlake Studios in Hertfordshire – full of piss and vinegar – rocking out like the music does but without being overly bombastic. To the music...

Stray had been rehearsing, gigging and writing since 1968 so when they signed to Transatlantic in late 1969 (the label by then looking to expand their predominately Folk and Blues roster into the latest trends) - their self-titled debut was ready to rock. Recorded across only four days of first and second takes - "Stray" carries this Box Set's title track "All In Your Mind" - a huge fan fave and a Del Bromham song that was given prominence on the much-praised "I'm A Freak, Baby" 3CD Mini Box Set on the Grapefruit label in 2016 (goodies galore for fans of Underground Heavies). Barely into their twenties – the songs and playing belie their youth and inexperience with Bromham especially way past his Hank Marvin fixation judging by the heavy-heavy wah-wah "Time Machine". The slow and brooding "Yesterday’s Promise" sounds like Mick Abraham’s Blodwyn Pig meets Black Sabbath getting mellow with their surprisingly trippy "Planet Caravan". The manic guitar pyrotechnics of "Move On" feels like Procol Harum letting Robin Trower out of his amplifier cage. It’s pretty remarkable stuff for such youngsters.

By the time of the second LP "Suicide" in 1971 – founder member Dave Bromham had added an increasing array of instruments to his Electric and Acoustic Guitars of the debut - Mellotron, Organ, Piano, Harpsichord and Harmony Vocals - whilst simultaneously supplying all the songs except "Dearest Eloise" which was a Steve Gadd tune. His songwriting prowess was taking leaps as both the lovely and lonely "Where Do Our Children Belong" and the Stranglers-hooky guitar-chug of "Run Mister Run" testify. At just under 2:20 minutes "Dearest Eloise" has both Harpsichord and Mellotron at its quietly pretty core – more Moody Blues than Stray. And finally things go Funky with the near seven-minute "Do You Miss Me?" – a song I’d swear The Jam’s Paul Weller was listening to as he tried on long trousers for the first time. A doomy feeding-back guitar opens the album’s coolest and yet most dated rocking moment – the Side 2 finisher "Suicide" – 7:42 minutes of very 70ts angst.

For many their 3^rd album from February 1972 "Saturday Morning Pictures" was like discovering "Argus" by Wishbone Ash – a band hitting a creative stride with the gatefold visuals to go along with the thrill. You can hear the Soulful Backing Vocals of Lisa Strike and Immediate’s P.P. "First Cut Is The Deepest" Arnold on the opener "Our Song" – a much more melodic Stray suddenly sounding like their bursting with confidence and the tunes to match the braggadocio. As if discovering Prog by Track 2 - "After The Storm" opens with rain and other ethereal soundscapes only to slip niftily into a wicked Ten Years After strut-fest for the rest of its seven-minutes (Bromham giving it some Tony McPhee on his axe). "Sister Mary" could be Focus, The Moody Blues, The Strawbs or even a speeding Groundhogs – it’s a frantic acoustic-guitar strummer that encompasses all manner of styles whilst at the same time remaining a cute little rocker at heart. Another fave of mine is the loose-lips swagger of "Move That Wigwam" sounding not unlike the Faces rehearsing circa “Long Player” – brill little rocker with clever changes and a catchy doubled-vocal. They go a tad yee-haw Country-Rock with the Terry Stamp sounding "Leave It Out" – better is the fuzzed up blitz of guitars that is "How Could I Forget You" – flanged plucking and vocals ahoy. Both "Mr. Hobo" and "Queen Of The Sea" bring the melodic Rock proceedings to a very satisfying close.

Album four from the spring of 1973 "Mudanzas" (the title comes from a Spanish word for moving on/changing) opens with gorgeous string arrangements from Andrew Powell on the one-minute "Changes" only to return to Rocking business with "Come On Over" – a grungy rocker with some uncomfortable string passages thrown over the top that sound both right and wrong at one and the same time. Clearly listening to The Who - "Alright Ma!" starts our kerranging before settling down into a melodic chorus and cute tune. Going all Ronnie Lane vs. Lindisfarne - "Oil Fumes And Sea Air" is a song about freedom, ships in the bay and the sound of the water going away somewhere new. "Gambler" features some Harmonica warbling and brass jabs but both "Hallelujah" and "I Believe It" have Brass and Strings powered over them to a point where it feels they’re trying too hard.

Album five from May 1974 saw them shake it and groove it – opening with a Drum Solo called "Tap" only to segue into an almost unrecognisable but cleverly boogiefied cover of the Cliff Richard and The Drifters 1958 hit – "Move It" (let me tell you baby it’s called Rock ‘n’ Roll). But after four albums stuff like "Hey Domino" sounds like second-rate Man looking for a hit and failing. Neither here nor there rhythms and badly recorded vocals on "Customs Man" only add to the ordinariness. "Mystic Lady" also tries to be a hit single and actually gets there in a Byrds jangly guitar way.

After signing to Pye Records (covered by another Esoteric Recordings CD compilation called "Fire & Glass: The Pye Recordings 1975-1976" issued November 2017) - Transatlantic Records dragged two compilations out of the band - "Tracks" in September 1975 with two exclusive tracks that appear as Bonuses on Disc 4 and a final comp called “Reflecting & Generation” in July 1977 on Transatlantic TRA SAM 44 that sampled the five albums.

So – a lot of rare 70ts music on offer and despite the presentation carps - there is a lot to savour here and more than a niggling feeling that the British LP charts (and by extension, the British public) lost out to STRAY and not the other way around...