"The Human Menagerie" by COCKNEY REBEL - November 1973 UK Debut Album on EMI Records featuring Steve Harley, Jean-Paul Crocker, Milton Reame-James and EMI Engineer Geoff Emerick (May 2018 UK Chrysalis 1CD Reissue and Remaster from Original Master Tapes – Housed In Fold-out Card Digipak Packaging) - A Review by Mark Barry...

 

 

 

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"...Back In The Fold..."
 

What I like about Steve Harley's first two platters when his band was simply called COCKNEY REBEL is that you can't actually pigeon hole the sound they made. Art Rock maybe? 10cc's more sophisticated and perhaps more snooty older brother?

 

I also suspect that those albums (especially the seriously sophisticated debut) have crept into evolving cult-status precisely because "The Human Menagerie" and 1974's "The Psychomodo" have held up so incredibly well – rediscoveries too for those looking back to the extraordinary year that was 1973. Part Roxy Music in its knowing Glam Rock lipstick smear – Part posturing Queen in its musical structures and theatrical themes – part Elton John on the piano with Paul Buckmaster string arrangements classing up his tunes to the nines – COCKNEY REBEL is and was all of those things.

 

But what you don’t get from the non stickered foldout card digipak packaging of this solitary rather bland looking 2018 CD Reissue - is the gobsmacking Remastered Sound taken from original quarter-inch master tapes (says so on the credits beneath the see-through tray). Originally Engineered by famed-Beatles sixth member GEOFF EMERICK – this transfer of their EMI Records debut album is beautifully clean and not brick-walled with noise-reduction dampeners or oomph for the sake of it. Everything is in its place and just so.

 

Take the utterly epic near ten-minutes of "Death Trip" that ends Side 2 – I can remember my EMI LP always losing traction as the complex/Prog Rock-ish song worked towards the run out groove. Here the clarity is amazing and for me is like hearing the album anew. Violins, Piano and Guitars all kicking in about six minutes in - and those whacky lyrics – and then the huge Brass and Strings finish - so damn cool. All this for six quid! To the tunes...

 

UK released 4 May 2018 - "The Human Menagerie" by COCKNEY REBEL on Chrysalis CRC1081 (Barcode 5060516091331) is a straightforward 1CD Reissue and Remaster from Original Master Tapes of their 1973 debut album that plays out as follows (44:24 minutes):

 

1. Hideaway (3:45 minutes) [Side 1]

2. What Ruthy Said (2:29 minutes)

3. Loretta's Tale (4:07 minutes)

4. Crazy Raver (3:41 minutes)

5. Sebastian (6:52 minutes)

6. Mirror Freak (5:08 minutes) [Side 2]

7. My Only Vice (2:46 minutes)

8. Muriel The Actor (4:07 minutes)

9. Chameleon (0:49 minutes)

10. Death Trap (9:51 minutes)

Tracks 1 to 10 are their debut album "The Human Menagerie" – released November 1973 in the UK on EMI Records EMA 759 and EMI Records ST 11294 in the USA. Produced by NEIL HARRISON (Engineered by Geoff Emerick) – it didn’t chart in either country.

 

COCKNEY REBEL was:

STEVE HARLEY – Vocals (all songs written by)

JEAN-PAUL CROCKER – Electric Violin, Mandolin and Guitar

MILTON REAME-JAMES – Keyboards

PAUL JEFFREYS – Bass

STUART ELLIOTT – Drums and Percussion

Guests:

Andrew Powell – Orchestra Arrangements

 

The original album was a gatefold sleeve with the lyrics and photos of the five-piece band – all have made the transfer to the tasteful foldout card digipak – but no liner notes to talk of nor historical appreciation, input from Harley etc. So you are essentially left with the remaster, which is stunning.  

 

EMI did a 5:42 minute edit of "Sebastian" with the Non-LP B-side "Rock And Roll Parade" on the flipside (31 August 1973 on EMI Records EMI 2051) - while the Non-LP "Judy Teen" and its B-side "Spaced Out" followed on 11 March 1974 (EMI Records EMI 2128) - neither on the forthing second studio album "The Psychomodo" in June 1974. All four would have made for seriously tasty Bonus Tracks, but alas. 

 

"The Human Menagerie" opens with "Hideaway", an almost bop-along pastoral - all skipping beats and Harley's weirdly affecting and affected voice. It reminded me at the time of Deram's East Of Eden from three years before. The audio is fantastic and I can't help thinking it might have made a more commercial single release than "Sebastian". Shimmering guitar siddles across your speakers with "What Ruthy Said" - so very Roxy Music but in a less menacing way. Production quality shines through again for the kick-the-actor-from-behind "Loretta's Tale" and I love that phased vocals middle-eight about 2:40 minutes - genuinely inventive. "Crazy Raver" gives it some violin sawing - want to be a big star lyrics - and we never do learn who the lady backing singers are? But the album lifts into the artistic stratosphere with "Sebastian" - swirling and beautiful - I still find it shockingly brilliant. Next year (2023), "Sebastian" is 50 years old and I am certain it will continue to gain fans for years to come (the Remaster is just so good too). 

 

Side 2 opens with a deliberate Funk moment in "Mirror Freak" - flimsy disguise is destined to make it in a big, big way. And again the Remaster making mincemeat of the sound I've been hearing all these decades (the Bass and lingering Piano at last audible). Sounding a little The Strawbs had a baby with Fairport Convention - the folksy jaunt of "My Only Vice" is another deep album fan fave - backgrounds of pearls. The cod Caribbean "Muriel The Actor" is my least liked track on the LP - Harley getting close to a pastiche of Bowie in his affected voice. What follows though soon puts that blip into my rear-view mirror - the 45-seconds of a quiet to start with "Chameleon" leaps into a stunning orchestral moment only to be eaten alive by the huge "Death Trap" - an amazing piece of songwriting. The string arrangements swoop and sway - it's fab stuff. 

 

I know that Cockney Rebel was always an acquired taste and Harley quickly started writing hit singles that stormed the charts culminating in the gorgeous "Make Me Smile (Come Up And See Me)" - a No. 1 in 1975 that still gets Classic Radio play on probably a daily basis. But "The Human Menagerie" is where it all started, and you can so hear why...

"Live Dates" by WISHBONE ASH – November 1973 US Live Double-Album, December 1973 in the UK Both on MCA Records - featuring Martin and Ted Turner, Andy Powell and Steve Upton (November 1995/July 2002 UK Beat Goes On (BGO) CD Reissue – 2LPs onto 1CD - Andrew Thompson Remasters) - A Review by Mark Barry...

 

 

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"...Blowin' Free... "

 

Ah! the classic Live Double Album from your favourite Rock Band of the Seventies – their prowess in front of an enrapt audience not so politely slaughtering the mildly tepid studio versions that preceded them. Deriguer in those days baby...

 

And so it was no different with the Flying V duo of Wishbone Ash – their "Live Dates" 2LP bonanza from late 1973 (after four studio albums) holding a hot-water bottle comforting place in the aging tickers of (well) aging tickers. To the Kings and Pilgrims and Phoenixes and girly types with Whiskey on their breath and a glint in their eye for the guitar player (and his Bassist brother)...

 

UK released 24 November 1995 (reissued 25 July 2002 and 2007 with same catalogue numbers and Barcodes) - "Live Dates" by WISHBONE ASH on Beat Goes On Records BGOCD293 (Barcode 5017261202932) offers a full 2LP Live Set Remastered onto 1CD that plays out as follows (79:52 minutes):

 

1. The King Will Come (7:50 minutes) [Side 1]

2. Warrior (5:50 minutes)

3. Throw Down The Sword (6:00 minutes)

4. Rock 'N Roll Widow (6:0 minutes) [Side 2]

5. Ballad Of The Beacon (5:20 minutes)

6. Baby What You Want Me To Do (6:33 minutes)

7. The Pilgrim (9:15 minutes) [Side 3]

8. Blowin' Free (3:28 minutes)

9. Jail Bait (4:39 minutes)

10. Lady Whiskey (6:15 minutes) [Side 4]

11. Phoenix (17:13 minutes)

Tracks 1 to 11 are their fifth album release (first live) "Live Dates" – released November 1973 in the USA on MCA Records MCA2-8006 and December 1973 in the UK on MCA Records ULD 2-1/2 (MAPS 7169). Produced by WISHBONE ASH – it peaked at No. 82 on the US Billboard LP charts (didn’t chart UK).

 

Recorded live at four British locations – Fairfield Hall in Croydon on 17 June 1973 (Tracks 1, 8, 9 and 11), Portsmouth Guild Hall on 21 June 1973 (Track 6), Reading University on 23 June 1973 (Tracks 4, 5, 7 and 10) and Newcastle City Hall on 24 June 1973 (Tracks 2 and 3) - all songs are Wishbone Ash originals except "Baby What You Want Me To Do", a Jimmy Reed Rhythm and Blues cover version exclusive to this release.

 

WISHBONE ASH was:

ANDY POWELL – Lead Vocals and Guitar

TED TURNER – Lead Vocals and Guitar

MARTIN TURNER – Lead Vocals and Bass

STEVE UPTON – Drums

 

This BGO release originally issued in November 1995, was reissued in July 2002 with a slightly different back inlay and that version again sometime in 2007 (appears to be on their catalogue roster ever since). The 8-page booklet keeps the DOUG LING liner notes of 1995 reproducing the photos of the band on stage that graced the inner gatefold. Ling gives a brief history of the band, but it might have been nice if BGO used the 2002 reissue as a reason to include the 4-page booklet that came with original American vinyl copies. And although it doesn't say so specifically - a Remaster is evident – probably ANDREW THOMPSON their resident Audio Engineer. Either it rocks like the proverbial hairy-man it is.

 

Quickly establishing their twin-guitar assault on the audience, not surprisingly "Live Dates" opens Side 1 with three from their most popular platter "Argus" – their third studio album issued April 1972 in the UK on MCA Records (June 1972 in the USA on Decca). After a short drum roll and barely-spoken Good Evening - "The King Will Come", "Warrior" and "Throw Down The Sword" all share Martin Turner and Andy Powel handling Lead Vocals and Guitars - whomping the party faithful in front of them with a group that has clearly become tight, tight, tight. The audio is full and really good for the time frame involved – those flicked guitar notes that open "Warrior" alarmingly clear. And I've always loved the slow slightly Proggy vibe to "Throw Down The Sword" – Upton's symbol swishes and the crowd's clapping - well recorded.

 

Up next is the fourth studio platter "Wishbone Four" from only five months earlier in May 1973 – that album represented by two - "Rock 'N Roll Widow" and "Ballad Of The Beacon". The slide guitar sound that opens "Rock 'N Roll Widow" gets that concert distance it needed – an album that wasn't really loved after "Argus", I have always held a candle for it. The pretty "Ballad Of The Beacon" slows down the mood – leaving this town in the morning – it sounds great and as a song is actually a genuine grower (dig that guitar solo too).

 

We get a weird one in the shape of a Jimmy Reed cover version – "Baby What You Want Me To Do" - the only cut recorded at the Portsmouth gig on 21 June 1973. Maybe because the Audio quality feels a little bootleg-plus – it's good but just a tad unconvincing if I'm honest. Faith is very quickly restored with a fantastic nine-plus minute version of the builder that is "The Pilgrim" – their control and playing subtly on fire – notes building – symbols shimmering – Pilgrim is the kind of stoner track so few bands would do nowadays – but when that change and dual assault kicks in at three minutes – it's like Todd Rundgren's Utopia on a great night out. And on it goes via the youthful "Blowin' Free", the almost Danny Kirwan Fleetwood Mac 1970s riffage chug of "Jailbait" to the monstrous seventeen-minutes of "Phoenix" which I would admit may test my staying power at the age of 64.

 

Back in the day Wishbone Ash fans would have been lucky to get their hands on Live material by the band - with one exception - the famous "Live From Memphis" 3-Track EP put out by Decca in the States in 1972 as a sort of mini Promotional LP (Decca Records DL 7-1922) to promote the group amongst US Radio Stations and their Rock-friendly jocks. Recorded 21 August 1972 in the studios of WMC-FM Radio in Memphis, Tennessee – MCA used one of its cuts – the 17-minute "Phoenix" as a Bonus Track on the 2CD Remaster of "Live Dates" in 1992 (MCA Records MCAD2 10396). Beat Goes On have never used that song nor any of the others, but the Promo EP’s three can be found on both the single CD remaster of "Argus" from March 2002 or on the 2CD Deluxe Edition of "Argus" from November 2007. And as recently as 2020, "Live Dates" was repressed on a Vinyl Is Beautiful 2LP set in the USA – MCA Records 410012/13 being a Limited Edition of 1,500 copies in (wait for it) Yellow and Blue Translucent pressing aping of course the original Hipgnosis cover-scheme artwork. And we are back to what rocked then and now.

 

April 2018 saw a ginormous 30CD Box Set on Madfish Records called "Wishbone Ash The Vintage Years 1970-1991" – one for the uber-fan with more money and real estate in Cornwall than sense. And in 2022 and 52-years burning down the Rock and Roll Road – original guitarist Andy Powell keeps a version of a four-piece Wishbone Ash ticking over.

 

But this is where the rep for and legend of Wishbone Ash was hewn – "Live Dates" - with the wind in your hair, blowin' free. Enjoy...

"Pipedream" by ALAN HULL of LINDISFARNE - July 1973 UK Debut Album on Charisma Records (March 1974 USA on Elektra Records) featuring Members of Lindisfarne Ray Jackson, Ray Laidlaw and Ken Craddock along with John Turnbull and more (October 2005 UK EMI/Virgin/Charisma 'Expanded Edition' CD Reissue and Remaster with Six Bonus Tracks) - A Review by Mark Barry...

 

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"...Back On The Road..." 

 
I've always struggled big-time with the idea that Alan Hull's debut solo album after splitting from Lindisfarne is some kind of lost masterpiece - it just isn't. And re-listening to it nearly 50-years down the line - despite the gorgeous Remaster from Kathy Bryan from original tapes - I'm still largely unconvinced. Sure there are moments of melodic genius - three of the expert players are his muckers from Lindisfarne anyway (Ray Jackson, Ray Laidlaw and new boy Ken Craddock)...
 
But to the good - what gets me about this CD Reissue and Remaster is the six extras - two rare B-sides and four from Bob Harris' Radio 1 Sessions that offer Hull unadorned and raw and really well produced too - two of which could easily have replaced the more rowdy cack on the original LP. To the beers and wines and tequila and whatever else is at hand...

UK released 24 October 2005 - "Pipedream" by ALAN HULL of LINDISFARNE on EMI/Virgin/Charisma CASCDR 1069 (Barcode 094633695320) is an 'Expanded Edition' CD Reissue and Remaster with Six Bonus Tracks that plays out as follows (56:29 minutes):

1. Breakfast [Side 1]
2. Justanothersadsong 
3. Money Game 
4. STD 0632 
5. United States Of Mind 
6. Country Gentleman's Wife 
7. Numbers (Travelling Band) [Side 2]
8. For The Bairns
9. Drug Song 
10. Song For A Windmill 
11. Blue Murder 
12. I Hate To See You Cry
Tracks 1 to 12 are his debut solo album (after Lindisfarne disbanded) "Pipedream" - released July 1973 in the UK on Charisma CAS 1069, March 1974 USA on Elektra EKS-75075. Produced by MICKEY SWEENEY and ALAN HULL (mastered by KEN SCOTT) - it peaked on the UK LP charts at No. 29 (didn't chart USA).

BONUS TRACKS: 
13. Drinking Song 
14. One Off Pat 
Tracks 13 are 14 were the Non-LP Alan Hull original song B-sides of the album's first UK 45-single "Numbers (Travelling Band)" released 15 June 1973 on Charisma CB 208. 

15. Down On The Underground 
Track 15 is a Bob Harris Radio 1 Session for the BBC, first transmission 6 August 1973
 
16. Gin And Tonics All Round 
17. One More Bottle Of Wine
18. Dan The Plan
Tracks 16 to 18 are Bob Harris Radio 1 Sessions for the BBC, first transmission 14 January 1974
 
Musicians: 

ALAN HULL - Guitars, Piano, Harmonium and Lead Vocals
KEN CRADDOCK - Piano, Organ, Harmonium, Electric Piano and Guitars 
RAY JACKSON - Harp, Mandolin and Vocals 
JOHN (JON) TURNBULL - Guitars 
RAY LAIDLAW - Drums  
Guest: 
Dave Brooks - Saxophone on "For The Bairns"

The UK LP came in a gatefold sleeve with an elaborate 8-page booklet, but clearly neither Hull nor Lindisfarne were making much headway in the USA at that time. The US LP turned up as late as March 1974 on Elektra Records with a single sleeve and no insert. In fact, I suspect it sold so poorly that in 2022 you generally only ever see Promo-copies of the LP up on Auction sites - stock copies being the real rarity. I mention all of this because without saying so, the 12-page booklet reproduces most all of it (photos and lyrics) which in some ways makes up for the complete lack of new liner notes outside of reissue credits.

 

Fans have been down the digital rabbit-hole before with "Pipedream" - 1994 and 2000 on CD with no bonuses or Remaster - so the KATHY BRYAN audio on this 2005 sucker will blow them away (done at Abbey Road). Bowie's Ken Scott was the Engineer on the original sessions and clearly Charisma gave Hull enough room and money to produce this LP to buggery - it sounds alarmingly audiophile in most places. It's just sloppy to use the All-Pink Scroll Logo for Charisma Records on the CD label (that's 1970 to 1971) - it was the Mad Hatter Charisma label variant by 1972 and 1973 and that's what should be on here (Virgin is like this at times, slapdash when it's mid-price reissues). To the music...
 
Before the album hit the shops - Charisma picked what they clearly thought was the most commercially catchy of tunes on the forthcoming LP. "Numbers (Travelling Band)" was released 15 June 1973 in the UK on Charisma CB 208 with two Hull non-LP originals shoring up the B-side - "Drinking Song" and "One Off Pat". The first is awful, but that second is an acoustic winner in my book and one of the genuine highlights on this CD reissue. If you were looking for an example of great sound, you could also go to the out-of-place almost elevator-ish instrumental "STD 0632" from Side 1 - check out that Mandolin break half way through its four-minute duration. 
 
The LP opens with loveliness - "Breakfast" - but a heavy-handed Rock-Guitar break soon wrecks it for me. With the album having spent nearly a month on the UK LP charts, Charisma tried another 45 in early September 1973 (Charisma CB 211) with Track 2 on Side 1. But "Justanothersadsong" b/w "Waiting" did no business (despite being Non-LP at the time of release and therefore a shoe-in for a Bonus Track on this CD, "Waiting" would eventually show up on his second studio album "Squire" in 1975 - so its on the CD Remaster of that). I think their mistake was not to issue the gorgeous "United States Of Mind" as a 7" single - it's more suited to Radio and the one I play most in retrospect.  Despite the obvious wit in "Country Gentleman's Wife", I find it kind of insufferable game nowadays. 
 
You can hear why the guitar-boozing "Numbers (Travelling Band)" was picked as 45 number one - cool Production values - getting-drunker-by-the-minute harmonica punctuating the acoustic strums. But then that's followed by the unbearable jaunt of "For The Bairns" - awful stuff - itself flowing into crystal clear acoustics picking out misery in "Drug Song". Again great audio for "Song For A Windmill" - but they are all bettered by "Blue Murder" - fuzzed-up electric guitar siding with acoustic and layered voices in one Production wallop. The album ends on Hull vs. Piano on the unbearably sad "I Hate To See You Cry". The bonuses feature songs (not surprsingly) about boozing, but the admittedly short "One Off Pat", the beer-stained hurt in "Down On The Underground" and especially "Pat The Plan" are shockingly good acoustic ditties and elevate this CD up majorly in my books. 
Ray Jackson and Ray Laidlow made their presence felt on "Pipedream" while the multi-instrumentalist Ken Craddock had come up through Ginger Baker's Airforce and alongside John (Jon) Turnbull (also on "Pipedream") came via the obscure one-album band Bell + Arc who were also on Charisma Records. 
 
The bottom-line is that any Hull/Lindisfarne fan who has affection for the band or him will have to own this wonderful sounding EMI CD Remaster. And then whilst listening to Alan Hull's so-English melodies, raise a glass to their hero who's moved on to a better watering hole - bendy nose and all...