“Doris Troy” by DORIS TROY. A Review Of Her Sole Album For The Beatles Apple Label In 1970 – Now Reissued Onto A 2010 Extended CD.

This review is part of my "SOUNDS GOOD: Exceptional CD Remasters Soul, Funk & Jazz Fusion" Download Book available to buy on Amazon to either your PC or Mac (it will download the Kindle software to read the book for free to your toolbar). Click on the link below to go my Author's Page for this and other related publications:

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"…Every Time I See You…You Keep On Coming On Strong…"

Monday 25 October 2010 has seen 14 of the 'Apple' label albums remastered and reissued in the UK alongside "Come And Get It" - a first-time-ever label 'Best Of'. This reissue is one of them.

Apple 5099990824326 breaks down as follows (65:07 minutes):
Tracks 1 to 13 are the LP "Doris Troy" released 4 September 1970 in the UK on Apple SAPCOR 13 (Stereo only) and on Apple ST-3371 in the USA. It was her only solo album for The Beatles label, but she also sang and co-wrote many songs on Billy Preston's two Apple albums - "That's The Way God Planned It" (1969) and "Encouraging Words" (1970) - see separate reviews.

Tracks 14 to 18 are the 5 bonus tracks on the 1992 reissue:
"All That I've Got (I'm Gonna Give It To You)" (14) is co-written with Billy Preston. The song was his 3rd single on Apple in January 1970 (APPLE 21) - this is a different funkier take.
"Get Back" (15) is a soulful cover of The Beatles classic. It turned up as the non-album B-side to Doris Troy's 2nd single "Jacob's Ladder" issued 28 August 1970 on APPLE 28 in the UK.
"Dearest Darling" and "What You Will Blues" (16 and 17) are Doris Troy originals - outtakes from the sessions first issued as bonuses on the 1992 reissue. "What You Will Blues" is essentially an instrumental version of "Give Me Back My Dynamite" with some extra wordless ad-lib vocals.
"Vaya Con Dias" (18) is a mid-Fifties song first covered by Les Paul and Mary Ford, then Chuck Berry in the Sixties and others. It translates into "Go With God" and was the non-album B-side to her 1st single "Ain't That Cute" issued 13 February 1970 on APPLE 24 (co-produced be George Harrison).

Track 19 is a new bonus for this 2010 issue - a previously unreleased `Alternate Version' of "All That I've Got (I'm Gonna Give It To You)".

BOOKLET/PACKAGING:
Noted writer and music lover ANDY DAVIS does the new liner notes for the disappointingly weedy booklet (they all appear to be this generic length - 12 pages - EMI pushes the boat out again people). But with what little text he has been afforded, Davis does at least fill it with properly informative details - and it's peppered with some very tasty black and white photos of Doris, Stephen Stills and George all in the studio - with colour portraits of Doris solo and live with Billy Preston at the piano. It's cute, but you do wish there was more...

CONTENT:
Two are co-written with GEORGE HARRISON - "Ain't That Cute" and "Give Me Back My Dynamite" while "Gonna Get My Baby Back" and "You Give Me Joy Joy" are shared songwriting-credits with Harrison and two other famous fans of Doris - RINGO STARR and STEPHEN STILLS. Cover versions include "Special Care" (a Stephen Stills song from his Buffalo Springfield days), "Games People Play" (Joe South), "Exactly Like You" (a 1930's Jazz Standard written by Jimmy McHugh and Dorothy Fields and brought to fame by The Ames Brothers) and "Jacob's Ladder" (a Traditional air arranged by George Harrison & Doris). "You Tore Me Up Inside" and "Don't Call Me No More" are co-written with New York blues guitarist RAY SCHINNERY and "I've Got To Be Strong" is with fellow label mate JACKIE LOMAX. The last two collaborations are "Hurry" with GREGORY CARROLL and "So Far" with bassist KLAUS VOORMAN (appeared on "Revolver"). Doris produced the whole album except "Ain't That Cute" which was done by George.

PLAYERS:
Like so many of the sessions of the time, the recordings included some of The Beatles and many famous and talented friends - George played Guitar, Ringo on Drums, Klaus Voormann did the Bass with Stephen Stills, PETER FRAMPTON, ERIC CLAPTON and DELANEY BRAMLETT all on Guitar. BILLY PRESTON added keyboards - and although it doesn't say it - MADELINE BELL is probably on backing vocals too.

Unlike some of the other Apple issues, there are no extra tracks via download. But the really big news is the SOUND...

SOUND:
The same team that handled the much-praised 09/09/09 Beatles remasters have done this - GUY MASSEY, STEVE ROOKES, PHIL HICKS and SIMON GIBSON. The audio quality is BEAUTIFUL - a massive improvement. It also makes you reassess a lot of the songs and especially the musicianship involved.

The drums on "Give Me Back My Dynamite" (lyrics above) and the combined guitar licks on "You Tore Me Up Inside" (so Staple Singers on Stax) are nice and clear. The guitar and brass on "I've Got To Be Strong" are suddenly huge - great whack, but the strings on the orchestral "So Far" still seem too distant. Still, it's a lovely song and it features "you hurt me so" impassioned vocals. It's probably the nicest song on here and easy to see Doris wanted to work with Voormann more - a killer combination of his melodic rock with her Diva Soul. It all ends in the 'praise the Lord' bombast of "Jacob's Ladder" complete with spoken studio dialogue after the song finishes...

Issued 4 September 1970 - a week before Billy Preston's equally brilliant "Encouraging Words" on the 11th - both albums can be mentioned in the same breath because they were very confident soulful affairs - and must have made fans think that these white English guys at Apple were catalysts supreme. Two crackers in the same month...

But you could say that the best is kept until last - the new 'Alternate Version' of "All That I've Got (I'm Gonna Give It To You)" is a gem.
The version on Track 14 is a Piano led take (which is pretty), but this is a Funkier Guitar take and is a lot better for it. Like the previously unreleased from-the-vaults tunes on both Billy Preston CD reissues - this is that genuine rarity - a must-have bonus track.

Niggles - the gatefold card sleeve is nice to look at for sure, but the booklet and overall packaging feel lightweight (what EMI could get away with). The CD should have one of those gauze inner bags to protect it - a problem that no record company seems to want to acknowledge (scuffing and damage). They're minor points I know, but worth making...

To sum up - like the two Preston albums she was involved with in 1969 and 1970, I've loved rehearing this forgotten peach of an LP in this hugely improved sound quality - Seventies Soul lovers 'need' to discover this great record.

A brilliant reissue and recommended big time.

"James Taylor" by JAMES TAYLOR (2010 Apple 'Expanded Edition' CD Reissue and Remaster In Gatefold Card Repro Artwork) - A Review by Mark Barry...

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"…In My Mind…I'm Going To Carolina…"

In 2008 I reviewed a reissue CD on Rhino called "The Circle Game" by American singer-songwriter-catalyst TOM RUSH. The original LP was issued in the USA on Elektra Records in 1968 - and apart from two original compositions from Rush - the album subsequently became famous for introducing 3 new writers and their extraordinary songs to the world (all on the same album) - Jackson Browne, Joni Mitchell and JAMES TAYLOR.

Bolstered by his need to capitalise on this modest success - Taylor arrived in London in March 1968 - was signed to The Beatles 'Apple' label within weeks - recorded his songs between June and October 1968 and then saw his own self-titled debut LP released in December of that fateful year.

This UK CD is an 'Expanded Edition' of that 1968 "James Taylor" debut album - one of 14 Apple Label albums remastered and reissued on 25 October 2010. 

Apple 5099990581120 comes in a card digipak (Barcode is also 5099990581120) and breaks down as follows (51:09 minutes):

1. Don't Talk Now

2. Something's Wrong

3. Knocking 'Round The Zoo

4. Sunshine Sunshine

5. Taking It In

6. Something In The Way She Moves [Side 2]

7. Carolina In My Mind

8. Brighten Your Night With My Day

9. Night Owl

10. Rainy Day Man

11. Circle Around The Sun

12. The Blues Is Just A Bad Dream

Tracks 1 to 12 are the LP "James Taylor" released 6 December 1968 in the UK on Apple APCOR 3 (Mono)/SAPCOR 3 (Stereo) and on Apple SKAO-3352 in early 1969 in the USA (STEREO Mix Used on the CD).

Tracks 13 to 16 are FOUR PREVIOUSLY UNRELEASED DEMOS - bonus tracks new to this 2010 issue (there were none on the 1991 reissue):

13 and 14 - ”Sunny Skies" and "Let Me Ride" were recorded in Los Angeles in early 1969 with Danny Kortchmar on Guitars, Charlie Larkey on Bass and Bishop O'Brien on Drums.

15 and 16 - “Sunshine Sunshine" and "Carolina In My Mind" were recorded in London in the Summer of 1968 as MONO Solo Acoustic Demos.

"Sunshine Sunshine" was one of the tracks that appeared on the Tom Rush album - "Something In The Way She Moves" was the other. "Sunny Skies" was re-recorded for the "Sweet Baby James" album in 1970, while a longer version of "Let It Ride" turned on "Mud Slide Slim & The Blue Horizon" LP in 1971.

"Something In The Way She Moves" was covered by Matthews Southern Comfort on their "Second Spring" album in 1970 (a lovely version) - while Taylor famously returned to "Something..." and "Carolina..." with re-recorded versions on his 1976 "Greatest Hits" set for Columbia Records (these versions are truly beautiful and better known than the Apple originals).

BOOKLET/PACKAGING:

The liner notes are split in two - PETER ASHER explains Taylor's signing and how the album came about - while noted writer and music lover ANDY DAVIS follows this with very informational details on the songs and their history. Unfortunately, like all the other reissues in this series, the booklet is a disappointingly weedy 12-pages (EMI pushes the boat out again people). Having said that, both men do at least fill it with properly informative details, trade adverts, colour photos of a young Taylor and even an 'Internal Memo' from Asher to the US branch of Apple telling them to sign their new discovery. The playing credits are on the last page. Also - when the album was issued in the UK, it originally came with 'orange' lettering on the front cover which was then replaced with 'black' lettering on 1970 represses - the outer digipak has 'black' while the booklet 'orange' - a nice nod towards both issues. The MONO mix of the album is nowhere to be seen and not available as an extra download (nor are any other tracks).

SOUND:

The same team that handled the much-praised 09/09/09 Beatles remasters have done this - GUY MASSEY, STEVE ROOKES, PHIL HICKS and SIMON GIBSON. The audio quality is BEAUTIFUL - a massive improvement. I wish I could say the same of the music...

CONTENT:

As much as I love James Taylor's Warner Brothers albums (who doesn't), this 1968 debut is not great. First is the way it's presented - before each tune is a short musical ditty which flows into the song itself, but mostly it doesn't work - and worse - detracts from the music. Then the song itself is overdone. How to describe this - imagine someone taking one of the quieter acoustic songs off "Tea For A Tillerman" by Cat Stevens or Nick Drake's "Pink Moon" and preceding it with a English choral ditty that doesn't match the track (you can't cue up the beginning of the song because of it). Then it gets funked-up halfway through with brass and heavy-handed drum bits to make it a pop hit - you get the idea. They're not all like this of course ("Something's Wrong" is preceded by "Green Leaves" and is good), but most of the others are ruined with this lead-in gimmick and then an overloaded track.

It's easy of course to point the finger of blame 42 years after the event - Apple were trying to make a commercially viable album at the time (Asher mentions 'over-production' in the liner notes). But had Taylor been left alone or recorded in the States - how different things might have been. As it is, what we do get is a glimpse of that greatness in the shockingly good bonus tracks (two with a band, two alone) - especially the beautifully recorded acoustic demos of "Carolina In My Mind" and "Sunshine Sunshine". The tone of his voice is so sweet - and already he had his 'own' sound that is still recognizable to this day. A whole album of these pared-down band/solo numbers and Apple's belief in him as a 'major' songwriting force would have vindicated ten-fold.

To sum up - the improved sound quality will thrill fans and the bonus tracks are exactly that - bonuses. But "James Taylor" is on the way towards "Sweet Baby James" and "Mud Slide Slim..." and it would take a different country and label to get there...

A nice reissue then - but in a three-star kind of way.

PS: see also my reviews for other releases in this October 2010 series

"That's The Way God Planned It" (1969) and "Encouraging Words" (1970) by Billy Preston, "Doris Troy" (1970), "Is This What You Want?" (1969) by Jackie Lomax, "Magic Christian Music" (1969), "No Dice" (1970), "Straight Up" (1972) and "Ass" (1973) by Badfinger

“1967 – 1970” by THE BEATLES. A Review Of The 2010 2CD Reissue Of 1973’s Iconic “Blue” Album.

"…Mother Mary Comes To Me…Speaking Words Of Wisdom…"

Commonly known as the "Blue Album", the 2LP vinyl set "1967 - 1970" became an instant classic when it was first released in April 1973 (as did its "Red" counterpart "1962-1966"). When they were finally reissued onto the new CD format in 1993 however, they caused consternation because of their extortionate full price.

So is this newly remastered 2010 mid-priced 2CD reissue on EMI/Apple 5099990674723 any better - the answer is an emphatic 'yes'.

PACKAGING:
The first thing you notice is that the clunky double jewel-case of the 1993 reissue has been dumped for a three-way foldout card sleeve. The centre and right flaps picture the photograph on the inner gatefold of the original vinyl double album (St. Pancras Old Church in London, 27 July 1969, The Beatles with the public looking through the railings - it's the same photo on the "Red" album). It also houses the two CDs - CD1 has the full Apple label (14 tracks, 51:15 minutes) and the 2nd CD has the half Apple logo (14 tracks, 48:43 minutes). The vinyl set is yet to come, the Digital Download versions are available from 25 Oct 2010 and there's also an issue that lumps both the Blue & Red reissues together as one package in late November.

The left flap houses a new 32-page booklet. The lyrics are intact from the inner sleeves of the original album issue, there's new liner notes by BILL FLANAGAN the MTV Executive and author of "Evening's Empire" (a book on Rock in the Sixties) and there's plenty of superb colour photos from the period - it's impressively done. Downsides - some complained that the 09/09/09 card digipak sleeves for The Beatles reissues were easy to smudge once out of the shrinkwrap and worse - the inner flaps easy to tear as you removed the disc. I'm afraid these are the same. I suppose I would have been naïve of us to think that EMI would actually listen to the complaints of 2009 about packaging, but they haven't - the need for these issues to look the same as the preceding ones has overridden all considerations... Having said that, I still think they look great - substantial even...

PLAYING TIMES:
Unlike the "Red" issue which could easily have fitted onto 1CD (and even included bonus tracks), as you can see from the playing times provided above, it would not have been possible with this set. Anyway - EMI would of course argue that a single CD issue of this most `iconic' of double albums would fundamentally alter the aesthetic of the original release. At least this time, this 2CD reissue is at mid price, so we're not being charged for the privilege of separation.

TRACK CHOICES:
The compilation itself is basically the A-sides of all their UK 7" singles releases between 1967 and 1970 in chronological release date order with a few key album tracks thrown in for good measure. Eagle-eye fans would therefore note that up to and including "Get Back" - ALL Beatles UK 7" singles for that period were issued only in MONO ("The Ballad Of John & Yoko" was their 1st STEREO single in the UK). So the tracks on the album should reflect that - the MONO single mixes. But EMI did nothing of the sort. They're all in STEREO (there's 4 MONO on the "Red" set) and i would argue that accuracy's loss is the listener's gain, because the STEREO versions used here are awesome.

SOUND:
Although the compilation is copyrighted to 2010 (released Monday 18 Oct 2010 in the UK and 19 Oct 2010 in the USA), the liner notes don't try to hide that these are the 2009 remasters by the same team who did the much-praised Beatles catalogue of 09/09/09. The sound quality is fantastic - breathtaking clarity on instruments - the piano and guitars on "Lady Madonna", the jet screeching in at the opening of "Back In The U.S.S.R", the brass on "All You Need Is Love", Billy Preston's superb keyboard work on "Let It Be", the wonderfully loose live feel of "Don't Let Me Down" (best B-side ever?) - and so on.

CONTENT:
But what impresses most is the actual listen itself. Even now, it's truly shocking to hear just how accomplished The Beatles became during this ludicrously productive period.
And diversity of writers crept in too. There's the 3 Harrison gems "While My Guitar Gently Weeps", "Old Brown Shoe" and the magical "Something" while Ringo gets the witty "Octopus' Garden". Leaving the rest as Lennon-McCartney originals. And what an embarrassment of riches they are...

7" perfection comes twice - "Strawberry Fields Forever" b/w "Penny Lane" and arguably the greatest single ever released - "Hey Jude" b/w "Revolution" (melodious Paul on the A with rockin' blistering John on the B). Most bands would kill a close relative to get anywhere near this level of genius. And by the time you get to the ballads at the end of Disc 2 - "The Long And Winding Road" and "Across The Universe" - adjectives begin to fail you... Were The Beatles really 'this' good - the answer is yes - and always will be.

To sum up - the sound on these new reissues is fabulous; the packaging better than the 1993 versions and each is being sold at mid-price - available in most places for less than the price of a single new album. You can't help but think that millions of people globally will take one look at these beauties on a shelf somewhere and slap them straight into their shopping baskets. And rightly so...

I've loved re-hearing these classic Beatles songs in this beautiful sound quality - I really have - and despite some minor packaging quibbles - the 2010 version of the "Blue" album is wholeheartedly recommended.

See also my review for the "Red" album

"1962 – 1966" by THE BEATLES - April 1973 'Red Album' 2LP Set on Apple Records - Companion to "1967 - 1970" 2LP 'Blue' Album on Apple (October 2010 UK EMI/Apple 2CD Reissue in Gatefold Panel Card Sleeves Using 2009 STEREO Remasters) - A Review by Mark Barry...

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Commonly known as the "Red" and "Blue" albums - the 2LP vinyl sets "1962 - 1966" (Apple PCSP 717) and "1967-1970" (Apple PCSP 718) by THE BEATLES became instant classics when they were first released in April 1973 on both sides of the pond. Balls to the wall with chart hits, number ones and moments of undeniable album genius – both double-albums have been beloved by the globe ever since. Based on the A&B of singles worldwide, both doubles also finally gave an 'album' placing to many fantastic Non-LP tracks like "We Can Work It Out" and the unbelieveibly good "Don't Let Me Down".

 

And now in October 2010 - finally free of those cumbersome 1993 double jewel-cases and an extortionate full price tag – we get the pair of them again. But this time the "Red" and "Blue" 2CD sets are in natty looking three-way Foldout Card Digipaks, pitched at a much more reasonable 'mid-price' - and most important of all – come resplendent with the fabulous remasters the full catalogue received in 2009 (see photos). 1st Prize rosettes for both! Here are the details for all our Yesterdays on the Long and Winding Abbey Road…

 

Disc 1 of "1962-1966" (31:02 minutes):

1. Please Please Me

2. She Loves You

3. All My Loving

4. Love Me Do

5. From Me To You

6. I Want To Hold Your Hand

7. Can't Buy Me Love

8. A Hard Day's Night [Side 2]

9. Eight Days A Week

10. Ticket To Ride

11. And I Love Her

12. I Feel Fine

13. Yesterday

 

Disc 2 of "1962-1966" (31:45 minutes):

1. You've Got To Hide Your Love Away [Side 3]

2. Day Tripper

3. Norwegian Wood (This Bird Has Flown)

4. Help!

5. We Can Work It Out

6. Drive My Car

7. Nowhere Man [Side 4]

8. In My Life

9. Paperback Writer

10. Yellow Submarine

11. Michelle

12. Girl

13. Eleanor Rigby

2CD set released Oct 2010 on EMI/Apple 5099990675225

 

Disc 1 of "1966-1967" (51:15 minutes):

1. Strawberry Fields Forever

2. Sgt. Peppers Lonely Hearts Club Band

3. Lucy In The Sky With Diamonds

4. All You Need Is Love

5. Penny Lane

6. With A Little Help From My Friends

7. A Day In The Life

8. I Am The Walrus [Side 2]

9. The Fool On The Hill

10. Lady Madonna

11. Revolution

12. Hello Goodbye

13. Magical Mystery Tour

14. Hey Jude

 

 

 

Disc 2 of "1966-1970" (48:43 minutes):

1. Back In the U.S.S.R. [Side 3]

2. Ob-La-Di, Ob-La-Da

3. Don't Let Me Down

4. Old Brown Shoe

5. While My Guitar Gently Weeps

6. Get Back

7. The Ballad Of John And Yoko

8. Here Comes The Sun [Side 4]

9. Something

10. Let It Be

11. The Long And Winding Road

12. Come Together

13. Octopus's Garden

14. Across The Universe

2CD set released October 2010 on EMI/Apple 5099990674723

 

The left flap in each set houses a new 32-page booklet. The lyrics are intact from the red and blue inner sleeves of the original album issues, the photo of the Beatles at St. Pancras Old Church in London looking out through the railings at the public (taken 27 July 1969) is there in the centre flaps, there's new liner notes by BILL FLANAGAN the MTV Executive and author of "Evening's Empire" (a book on Rock in the Sixties) and there's plenty of superb colour photos from the period - it's impressively done.

 

It doesn't take a particular genius to work out from the playing times provided above (especially on the "Red" album) that the first set could easily have fitted onto 1CD and even included bonus tracks. But EMI would of course argue that this would fundamentally alter the aesthetic of the original 1973 double-vinyl release. At least this time – with the reissue being mid price - we're not being charged for the privilege.

 

The compilations are basically the A-sides of all their UK 7" singles releases between 1962 and 1970 in chronological release date order with a few key album tracks thrown in for good measure. Eagle-eye fans would therefore note that as ALL Beatles UK 7" singles for that period were issued only in MONO, so the tracks on the album should reflect that - the MONO single mixes. But EMI did nothing of the sort. In fact the original 1973 albums stated only STEREO on the labels and only the STEREO code was reflected in their catalogue numbers too. At least this time this new 2010 issue notes that Tracks 1 to 4 on Disc 1 are in MONO, while all other are in STEREO ("Love Me Do" is the album mix and not the single version). Bottom line - I would argue that accuracy's loss is the listener's gain because the STEREO versions used here are awesome.

 

The sound quality is fantastic - breathtaking clarity on instruments - George Harrison's sitar on "Norwegian Wood (This Bird Has Flown)" - the string quartet on "Eleanor Rigby" and so on. But what impresses most is the actual listen itself. Even now it's truly shocking to hear just how accomplished The Beatles were. Re-listening to each disc in straight order is a gobsmacking experience – from the mop-tops of "Love Me Do" and "She Loves You" to the accomplished polish of “Ticket To Ride", “Michelle” and "Yesterday" (the song that single-handled shut all the begrudgers up) – it's all so incredibly sweet a listen. "We Can Work It Out" and "Day Tripper" were a single for God's sake - not on any English album at the time of release. "Paperback Writer", "Girl", the harmonizing on "Nowhere Man" - track after track of brilliance. Were The Beatles really this good and so early on? The answer is yes - and always will be.

 

In fact the second volume ("Blue") more than the first shows the rapidity with which they had matured as songwriters and innovators of recording techniques. The piano and guitars on "Lady Madonna", the jet screeching in at the opening of "Back In The U.S.S.R", the brass on "All You Need Is Love", Billy Preston's superb keyboard work on "Let It Be", the wonderfully loose live feel of "Don't Let Me Down" (best B-side ever?)

 

There's the truly beautiful and evocative "Across The Universe", Ringo's "With A Little Help From My Friends", Harrison's 'Abbey Road' double-whammy of "Here Comes The Sun" and "Something" while the epic 'Sgt. Peppers' finisher "A Day In The Life" still astounds. And I haven't even touched on the flute loveliness of McCartney's "The Fool On The Hill" or the monster guitar on Lennon's "Revolution"…

 

To sum up - the sound on these new reissues is fabulous - the packaging better than the 1993 versions and each is being sold at mid-price - available in most places for less than the price of a single new album. You can't help but think that millions of people globally will take one look at these beauties on a shelf somewhere and slap them straight into their shopping baskets. The world’s most collectable and revered band - and on the evidence presented here in these one-two double sucker punches - rightly so...