"Ebony Woman/Going East/360 Degrees Of Billy Paul/War Of The Gods" by BILLY PAUL – Four US R&B and Soul Albums originally released July 1970 on Neptune Records and October 1971, November 1972 and November 1973 (June 1974 in the UK) on Philadelphia International Records (November 2025 UK Beat Goes On (BGO) Records Compilation – Four Albums On Two Discs Series – Andrew Thompson Remasters) - A Review by Mark Barry...

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RATINGS

Overall: **** (First Two are Iffy, But the Second Two Bring on the Brilliance)

Presentation: **** (Charles Waring 24-Page Booklet w All Art, Card Slipcase)

Audio: ***** (New 2025 Remasters by Andrew Thompson)

"…Got A Thing Going On…"

What a strange one – from only all right to slightly better to up, up and away and into the Soul stratosphere. The first two albums from 1970 and 1971 are iffy with sporadic moments of real brilliance (maybe five salvageable tunes out of 18) – but the second two Billy Paul albums from 1972 and 1973 bring on the BP brilliance like he finally realised all that earlier potential.

Philadelphia International Records leading light Billy Paul is of course mostly known for the "Me And Mrs. Jones" infidelity Soul classic from 1972 that topped both Pop and R&B charts in a global moment. As the superb Charles Waring liner notes ruminate – that kind of instant fame could become a pigeonhole too – and it nearly did. But fans like me find other vibes - those deep album cuts - and the maturity of music that CD2 offers. 

And so, here as part of their Four Albums On Two Discs Series (see list below) – November 2025 sees England's Beat Goes On Records offer us four US R&B LPs by the behatted Philly singer, remastered like a audio-goodun onto 2CDs. Beards and satin neckerchiefs at the ready - here be the City of Love details…

UK released Friday, 7 November 2025 - "Ebony Woman/Going East/360 Degrees Of Billy Paul/War Of The Gods" by BILLY PAUL on Beat Goes On BGOCD1561 (Barcode 5017261215611) is a Compilation that offers Four Albums Remastered On Two Discs (originally released Vinyl LPs on Neptune and Philadelphia International Records in the USA and UK in 1970, 1971, 1972, 1973 (1974 UK)) that plays out as follows:

CD1 (76:57 minutes, 18 Tracks):

1. Ebony Woman [Side 1]

2. Mrs. Robinson 

3. The Windmills Of Your Mind

4. Everyday People 

5. Let's Fall In Love All Over [Side 2]

6. Windy

7. Psychedelic Sally

8. Traces 

9. Proud Mary

Tracks 1 to 9 are Billy Paul's 2nd album "Ebony Woman" - released July 1970 in the USA on Neptune Records NLPS-201. Neptune was the record label started by the Soul songwriting and producing duo of Kenneth Gamble & Leon Huff. The LP received no UK release at this time. However - it was re-issued April 1973 on Philadelphia International Records KZ 32118 in the USA and on Philadelphia International PIR 65931 in the UK - but this time sporting a different front sleeve (also issued on Columbia SBP-234324 in the USA and on Epic S EPC 65456 in the UK sometime in 1973 with the Grace Jones sleeve).

10. East [Side 1]

11. (If You Let Me Make Love To You Then) Why Can't I Touch You?

12. This Is Your Life

13. Jesus Boy (You Only Look Like A Man)

14. Magic Carpet Ride [Side 2]

15. I Wish It Were Yesterday

16. Compared To What

17. Love Buddies

18. There's A Small Hotel

Tracks 10 to 17 are his third studio album "Going East" - originally released October 1971 in the USA on Philadelphia International Records Z 30580 (no UK issues)

CD2 (83:14 minutes, 14 Tracks):

1. Brown Baby [Side 1]

2. I'm Just A Prisoner

3. It's Too Late

4. Me And Mrs. Jones

5. Am I Black Enough For You? [Side 2]

6. Let's Stay Together

7. Your Song

8. I'm Gonna Make It This Time

Tracks 1 to 8 are his fourth studio album "360 Degrees Of Billy Paul" - originally released November 1972 in the USA on Philadelphia International Records KZ 31793 and Epic Records EPC 65351 in the UK (later re-issued on Philadelphia International S PIR 65930).

9. I See The Light [Side 1]

10. War Of The Gods

11. The Whole Town's Talking

12. I Was Married [Side 2]

13. Thanks For Saving My Life

14. Peace Holy Peace 

Tracks 1 to 6 are his fifth studio album "War Of The Gods" - released November 1973 in the USA on Philadelphia International KZ 32409 in a gatefold sleeve with an insert. Stateside it reached Number 12 on the R&B charts and Number 110 on the Pop charts. It was also belatedly issued in the UK on Philadelphia International S PIR 65861 in June 1974

The 24-page booklet with CHARLES WARING liner notes is crammed full of info preceded by the artwork for all four albums (front and rear) and personnel details. Waring uses interviews and deep level research to illuminate the relationships between Kenneth Gamble, Leon Huff and the slightly other-worldly voice of Billy Paul. While Paul took his time finding that stride - clearly Philly honchos Gamble & Huff believed in their boy and when that belief paid off with the "360 Degrees Of..." LP - man did it reap the rewards. Harold Melvin & The Blue Notes (with Teddy Pendergrass), The O'Jays, MFSB and The Three Degrees all gave the Philadelphia International record label goodies - but Paul's "Me And Mrs. Jones" put them on the chart-map early on and arguably broke the label worldwide. I've had the Big Break Records (BBR) CD Remasters for these individual albums released way back in 2009 and 2010 just to have the music - but BGO of England have excelled here. The punch off these Andrew Thompson Remasters is fantastic. This is a beautiful sounding double-CD set and seriously great value for money. It would have been icing on a very tasty cake had BGOCD1561 had enough room to include all those 7" 45-single edits that are on the BBR CDs - but alas time constraints. To music...

CD1: Just out of the Sixties - the "Ebony Woman" album is full of contemporary hits of the time - Simon & Garfunkel's "Mrs. Robinson", Sly & The Family Stone's "Everyday People" and Noel Harrison's "Windmills Of Your Mind" (theme from "The Thomas Crown Affair"). The single "Let's Fall In Love Again" was written by Bobby Martin - a friend of Gamble & Huff who would later become a huge thing at Philadelphia International Records and an integral part of The Manhattans vocal group - and the title track "Ebony Woman" harks way back to 1959 when Billy Paul first sang it jazz-style.

Unfortunately most of these tracks are terribly dated and I'll admit to only having time for three songs on "Ebony Woman" - a Swingin' 60t's cover of Horace Silver's "Psychedelic Sally" (you can see some hippy chick dancing on a podium in a TV studio on this one), a piano-funky take on Creedence Clearwater Revival's classic "Proud Mary" and a truly lovely turn on The Classic IV's "Traces".

Moving further into the early Seventies and Billy Paul seemed (momentarily anyway) to have learned his lesson with the "Going East"  album – leave those contemporary hitmakers alone and find something more edgy (but alas that was truly only on one track). So, ominous winds and chimes ping as Billy talks of no love and no peace and no shoes and riding in that better direction in the Tyrone Brown-penned "East" – a fantastically cool harem-tent groove that starts out slow and doomy only to build on a carry-me-on-the-wind shuffle (arranged by Lenny Pakula). And suddenly (unlike the "Ebony Woman" album) as it slinks past six minutes towards its 6:26 minute finishing time – you feel you are in the presence of a Gil Scott-Heron goody no one talks about. This is great Billy Paul – vibey and hip – and at 1:40 minutes in hitting you with that fantastic shuffling groove. Unfortunately, all that cool-groove goodwill goes promptly out the window with the Broadway false upbeat of the ludicrously titled "(If You Let Me Make Love To You Then) Why Can't I Touch You?" It is schlock and feels so wrong after what preceded it. Things get only marginally better with the Jimmy Webb-penned melody "This Is Your Life" - a very Bacharach David ballad given a Soul going over. If however "This Is Your Life" is your lovers bag, the Audio is fantastic – so clear and full - prepare for a treat.

The trend of Holy Roller message-tunes after the huge success of the October 1970 double-album "Jesus Christ Superstar" looms large with the awkwardly titled "Jesus Boy (You Only Look Like A Man)" – another oboes and strings clunker. At last things start to feel like they're picking up – Billy Paul doing the Steppenwolf feeling-alright classic "Magic Carpet Ride". Flutes and Organs do battle like Jethro Tull meets C.C.S. on his Soul Machine groove – cool but not nearly as great as the original. Bobby Martin of Philly and Manhattans fame provides a pleading ballad for Paul in the Nat King Cole bedroom crooner vibe of "I Wish It Were Yesterday". Strings and lounge-lizard piano and hi-hat shuffles amble on as he talks of how tomorrow will be a bust if his baby is not home for good (come and rescue me). Time to go Ramsey Lewis hip-swaying boogie on the organ – throw in some stop-and-start Ray Charles too on the Gene McDaniels classic "Compared To What". Again, Tony Williams gives it some breathy Flute while Eddie Green jabs at those wade-in-the-water piano keys and "Compared To What" becomes one of the better album cuts – all 5:20 minutes of it. Gamble and Huff finally show their songwriting faces with the slow and kissy vibe of "Love Buddies" – a kind of embarrassing Teddy Pendergrass lurve song that has great instrumentation but still feels too close to elevators. The patchy "Going East" album ends of an old crooner ballad laden with strings and 2am barfly vibes – the Hart & Rodgers song "There's A Small Chance".

CD2: With the help and helming of the dynamic songwriting duo Gamble & Huff - the "360 Degrees Of Billy Paul" album produced three notable 45-singles, albeit is edited form (the versions on these BGO CDs are all album cuts). His bona fide monster hit "Me And Mrs. Jones" b/w "Your Song" (the Elton John classic) hit the shops October 1972 in the USA on Philadelphia International ZS7 3521 and January 1973 in the UK on Epic EPC 1055. "Me And Mrs. Jones" was a monster and put Billy Paul on the number one spot in droves of countries around the world including the Billboard single and album Soul charts in his own USA. But how nice it is to hear the Full Album Version at 4:46 minutes as opposed to the more commonly used 45-single edit of 3:41 minutes. And it sounds amazing too on BGO twofer.

The on-the-money commentary of "Brown Baby" is a very strong socially aware opener – here in its full album cut of 4:36 minutes as opposed to the more commonly played 45-single edit of 3:41 minutes. "Brown Baby" was issued April 1973 in the UK on Epic Records S EPC 1313 with his cover of the Carole King song "It's Too Late" on the flipside. Perhaps because of its subject matter – it was not issued in the States. What was issued Stateside (not in the UK) came in the shape of "Am I Black Enough For You" with "I'm Gonna Make It This Time" on the B-side. Released March 1973, that 45-single on Philadelphia International ZS7 3526 stalled at No.29 R&B – a surprise since the Jones single had hit pole position on both R&B and Pop.

The "360 Degrees Of Billy Paul" LP also gives you three cleverly reworked cover versions - a jazzed-up take on Carole King's "It's Too Late" from her magisterial "Tapestry" album, a completely re-worked fast and funky go at Elton John's "Your Song" (which Elton loved) and a very slowed down love-song angle on Al Green's slinky classic "Let's Stay Together" with lovely Norman Harris arrangements. The album ends of what he admits should have been the follow up to "Jones" - "I'm Gonna Make It This Time" (written by Bunny Sigler and Jean Lang). It's as romantic-Philly as the label gets - all plinking piano, strings and heartache vocals.

But all of that for me is trumped by the magnificent 8-minutes of "I'm Just A Prisoner". Billy Paul's stepfather had done 5 years in prison but emerged to work his way up in business and then mentor the young hopeful in his musical ambitions. Paul never forgot this - so even though label stalwarts Kenneth Gamble, Bunny Sigler and Phillip Hurtt wrote the song - it contains some of Paul's most personal lyrics. The song feels like Marvin Gaye's "Right On" from his 1971 "What's Going On" masterpiece in its hypnotic groove and features brilliantly arranged strings by organist and orchestration maestro Lenny Pakula. There are touches of Donny Hathaway, Herbie Hancock and The Isley Brothers all in there too - and for me it's one of the highlights on this famous LP.

The "War Of The Gods" LP from 1973 was a huge leap forward and accompanied by MFSB as his backing band is remembered by Soul and Funk fans with probably more affection than "360 Degrees Of…" Between the USA and UK there were 4 x 7" singles issued around the album – three official and one rare American promo. Pre-empting the LP release, Philly were probably trying to poke DJs and Jocks by issuing a rarity nowadays – the promo-only Philadelphia International AE7 1080 (issued Nov 1973) breaks down the long LP cut into two parts – Part 1 on Side A etc. Soon after the official singles started – November 1973 in the States gave us "Thanks For Saving My Life" b/w "I Was Married" on Philadelphia International ZS7 3538 which made No. 7 on US Billboard R&B charts. Over in Blighty they changed it up a little by issuing "Thanks For Saving My Life" with "I See The Light" on the flipside - Philadelphia International S PIR 1928 issued in November 1973 making ??. Last was The Whole Town's Talking b/w I Was Married in April 1974 – another UK 7" single, this time on Philadelphia International S SPIR 2225.

The "War Of The Gods" album opens with a fabulous double-track sucker punch - two trippy-soulful cuts called "I See The Light" at 6-minutes and the epic 10-minute album version of "War Of The Gods" - very Isaac Hayes as it lingers and grooves. Combined with "Peace Holy Peace" (the last track on the LP) they give the whole LP a very mellow socially-conscious feel - more Marvin Gaye's "What's Going On" than The O'Jays "Backstabbers" if you know what I mean. Both "The Whole Town's Talking" and "I Was Married" are the more poppy Soul side of Philly and sound a little out of place here. But "Thanks For Saving My Life" is an excellent jaunty mid-tempo number. Shame there was no space for the sought-after Promo-Only 7" cut of "War Of The Gods" which edits the epic talking-song down to a more manageable 5:37 minutes. But what you get is more than enough. 

There are those who will say that Billy Paul's Philly album-output hasn't weathered well - especially most of the two first platters presented here from 1970 and 1971 - but "360 Degrees Of..." and "War Of The Gods" from 1972 and 1973 - combined with the better cuts on the first CD that contains the earlier two - then that's more than enough - especially in this toppermost Audio. And the presentation is cool too. 

Dig in and discover - another cool compilation from BGO...

Soul/Funk/Disco/Fusion and Jazz Titles in the 

Beat Goes On (BGO) Records 'Four Albums On Two Discs' Series

UK issued 2CD Compilations in a Card Slipcase with Remasters

1. GLADYS KNIGHT & THE PIPS - "Imagination/I Feel A Song/2nd Anniversary/The One And Only…"

Four US Albums originally issued on Buddah Records in 1973, 1974, 1975 and 1978

UK released 27 February 2026 on Beat Goes On BGOCD1567 (Barcode 5017261215673)

2. RAMSEY LEWIS - "Funky Serenity/Ramsey Lewis’ Newly Recorded, All-Time, Non-Stop Golden Hits [aka Golden Hits]/Solar Wind/Sun Goddess"

Four US Albums originally issued 1973 (two) and 1974 (two) on Columbia Records

UK released 18 May 2018 on Beat Goes On BGOCD1335 (Barcode 5017261213358)

3. RAMSEY LEWIS - "Legacy/Ramsey/Live At The Savoy/Chance Encounter"

Four US Albums originally issued 1978, 1979 and two in 1982 on Columbia Records

UK released 30 March 2018 on Beat Goes On BGOCD1330 (Barcode 5017261213303)

4. THE MANHATTANS - "There's No Me Without You/That's How Much I Love You/The Manhattans/It Feels So Good"

Four US Albums originally issued on Columbia Records in 1973, 1974, 1976 and 1977

UK released 21 November 2025, Beat Goes On BGOCD1557 (Barcode 5017261215574) 

5. HAROLD MELVIN & THE BLUE NOTES (featuring Teddy Pendergrass) – "Harold Melvin & The Blue Notes Featuring… (aka I Miss You)/Black And Blue/To Be True (Featuring Teddy Pendergrass)/Wake Up Everybody"

Four US Albums originally issued on Philadelphia International Records in 1972, 1973 and 1975 (Two)

UK released Friday, 8 May 2026, Beat Goes On BGOCD1572 (Barcode 5017261215727)

6. MFSB - "MFSB/TSOP The Sound Of Philadelphia (aka Love Is The Message)/Universal Love/Philadelphia Freedom"

Four US Albums originally issued on Philadelphia International Records in 1973 (Two), and 1975 (Two) – Philly Backing Band feat Dexter Wansel

UK released Friday, 22 May 2026, Beat Goes On BGOCD1575 (Barcode 5017261215758)

7. BUDDY MILES EXPRESS/BUDDY MILES

"Expressway To Your Skull/Electric Church/Them Changes/We Got To Live Together"

Four US Albums originally issued 1968, 1969 and Two in 1970 on Mercury Records

UK released 7 January 2022 (delayed from November 2021), Beat Goes On BGOCD1468 (Barcode 5017261214683)

8. THE O'JAYS - "Back Stabbers/Ship Ahoy/Survival/Family Reunion"

Four US Albums originally issued on Philadelphia International Records in 1972, 1973 and 1975

UK released 21 November 2025, Beat Goes On BGOCD1563 (Barcode 5017261215635)

9. BILLY PAUL – "Ebony Woman/Going East/360 Degrees Of Billy Paul/War Of The Gods"

Four US Albums originally issued on Neptune and Philadelphia International Records in 1970, 1971, 1972 and 1973

UK released 7 November 2025, Beat Goes On BGOCD1561 (Barcode 5017261215611)

10. TEDDY PENDERGRASS - "Teddy Pendergrass/Life Is A Song Worth Singing/Teddy/TP"

Four US Albums originally issued on Philadelphia International Records in 1977, 1978, 1979 and 1980 – Former Lead Vocalist in Harold Melvin & The Blue Notes

UK released Friday, 22 May 2026, Beat Goes On BGOCD1574 (Barcode 5017261215741)

11. LOU RAWLS - "All Things In Time/Unmistakably Lou/When You Hear Lou, You've Heard It All/Let Me Be Good To You"

Four US Albums originally issued on Philadelphia International Records in 1976, Two in 1977 and One in 1979

UK released 3 October 2025, Beat Goes on BGOCD1560 (Barcode 5017261215604)

12. DEXTER WANSEL - "Life On Mars/What The World Is Coming To/Voyager/Time Is Slipping Away"

Four US Albums originally issued on Philadelphia International Records in 1976, 1977, 1978 and 1979

UK released 10 March 2023, BGOCD1490 (Barcode 5017261214904)

"Back Stabbers/Ship Ahoy/Survival/Family Reunion" by THE O'JAYS – Four US R&B and Soul Albums originally released on Philadelphia International Records in August 1972, November 1973 and April and November 1975 – Featuring Eddie Levert, Walter Williams and William Powell with Production, Arrangements and Songwriting Contributions from Kenneth Gamble & Leon Huff, Thom Bell, Bobby Martin, Gene McFadden, John Whitehead, Bunny Sigler, Phil Hurst, Lenny Pakula, Norman Harris and Tony Bell (November 2025 UK Beat Goes On (BGO) Records Compilation – Four Albums On Two Discs Series - 20-Page Booklet with Charles Waring Liner Notes – Card Slipcase - Andrew Thompson Remasters) - A Review by Mark Barry...

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RATINGS: 

Overall: **** (First Three are Ace But Last Let's The Side Down Somewhat)

Presentation: **** (Charles Waring 20-Page Booklet, Card Slipcase)

Audio: **** to ***** (New 2025 Remasters by Andrew Thompson)

 

"…People, Get On Board The Love Train…"

What a winner. There are few Soul and R&B fans of my ancient demeanour who don't hold a place in their addled soft machine for Ohio's finest – The O'Jays – and who will always be associated with the City of Brotherly Love – Philadelphia.

And here as part of their Four Albums On Two Discs Series (see list below) – November 2025 sees England's Beat Goes On Records (BGO for short) offer us no less than three (count em baby) US No.1 R&B LPs (and a fourth that made No.3) by the get-on-board boys from 1972, 1973 and 1975. 

Well, stab me in the International dorsum humanum (never mind your family metatarsals) - but this journey is so sweet. Details folks - to the ships ahoy and the trains of lurve…

UK released Friday, 21 November 2025 - "Back Stabbers/Ship Ahoy/Survival/Family Reunion" by THE O'JAYS on Beat Goes On BGOCD1563 (Barcode 5017261215635) is a Compilation that offers Four Albums Remastered On Two Discs (originally on Philadelphia International Records and CBS Records in the USA and UK in 1972, 1973, 1975 and 1976) that plays out as follows:

CD1 (84:09 minutes, 17 Tracks):
1. When The World's At Peace [Side 1]
2. Back Stabbers
3. Who Am I
4. (They Call Me) Mr. Lucky
5. Time To Get Down
6. 992 Arguments [Side 2]
7. Listen To The Clock On The Wall
8. Shiftless, Shady, Jealous Kind Of People
9. Sunshine
10. Love Train
Tracks 1 to 10 are their sixth studio album "Back Stabbers" - originally released August 1972 in the USA on Philadelphia International KZ 31712 and October 1972 in the UK on CBS Records S 65257 (it peaked at Number 3 on the US R&B charts in October 1972). It was reissued March 1973 in the UK on Philadelphia International S PIR 65932. The album peaked at No.3 on the US Billboard R&B LP charts.

11. Put Your Hands Together [Side 1]
12. Ship Ahoy
13. This Air I Breathe
14. You Got Your Hooks In Me
15. For The Love Of Money
16. Now That We Found Love
17. Don't Call Me Brother
Tracks 1 to 7 on CD1 and Track 1 on CD2 are their seventh album "Ship Ahoy" - originally released November 1973 in the USA on Philadelphia International Records KZ 32408 and in the UK on Philadelphia International Records S PIR 65860. It was a No.1 LP on the US Billboard R&B charts.

CD2 (79:48 minutes, 16 Tracks):
1. People Keep Tellin' Me
Tracks 1 to 7 on CD1 and Track 1 on CD2 are their seventh album "Ship Ahoy" - originally released October 1973 in the USA on Philadelphia International Records KZ 32408 and June 1974 in the UK on Philadelphia International Records S PIR 65860. It was a No.1 LP on the US Billboard R&B charts (no UK chart)

2. Give The People What They Want [Side 1]
3. Let Me Make Love To You
4. Survival
5. Where Did We Do Wrong
6. Rich Get Richer [Side 2]
7. How Time Flies
8. What Am I Waiting For
9. Never Break Us Up
Tracks 2 to 9 are their eight-studio album "Survival" – originally released April 1975 in the USA on Philadelphia International Records KZ 33150 and April 1975 in the UK on Philadelphia International Records S PIR 80765 – it peaked at No.1 on the US Billboard R&B LP charts

10. Unity [Side 1]
11. Family Reunion 
12. You And Me 
13. She's Only A Woman
14. Living For The Weekend [Side 2]
15. Stairway To Heaven 
16. I Love Music
Tracks 10 to 16 are their ninth studio LP "Family Reunion" - released November 1975 in the USA on Philadelphia International Records PZ 33807 and January 1976 in the UK on Philadelphia International Records PIR 69196 – Produced by GAMBLE and HUFF – it peaked at No.1 on US Billboard R&B LP charts

The card slipcase looks well tasty and you cannot argue on the value-for-money front, considering that individual CDs of these albums have been deleted for years and regularly pass the £12 to £15 price-barrier per disc. Beat Goes On and resident Soul/Jazz liner-notes author CHARLES WARING (of Mojo and Record Collector) do their usual bang-up job of repro'ing the front and rear sleeve artwork in the chunky 20-page booklet (albeit much of it in black and white). Waring uses interviews from 2008 where Eddie Levert talks of his amazement about the sheer legs of tunes - "Back Stabbers" and "Love Train" amongst them. "Love Train" took The O'Jays to a superstar level of fame - Number 1 on both R&B and the Pop charts (a rare crossover tune) - to the point that Levert jokes - if he asks the crowd do they want to hear it again - they shout yes! The O'Jays can do "Love Train" two or three times and that's all right by the dancing punters who should be at home with a nice cup of cocoa and an Arrowroot biscuit. And - of course - best of all - kicking new Remasters from 2025 by ANDREW THOMPSON. Gamble and Huff produced their Philly boys well and there isn't a moment when hearing this great Soul music on BGOCD1563 doesn't seriously impress. Nice...to the four by the three...

CD1: Eddie Levert, Walter Williams and William Powell had been around for more than a decade as an extended five-piece (formed as far back as 1958 out of college). By the time they took their bruised and unchartable sorry selves to the two visionaries Kenneth Gamble and Leon Huff in 1972 - The O'Jay were ready for fame and found the label and teams for just that. For most people like me and even though "Back Stabbers" was on CBS Records in the UK, their seventh platter and first for the Philadelphia International Records label, "Back Stabbers" is the beginning of the Philly Sound - both on 7" single and LP. Now 50-plus years after the event - even its front sleeve portraying the 3 Canton Ohio Soul boys (Eddie Levert, Walter Williams and William Powell) has become iconic and instantly recognizable. Musically this LP was an embarrassment of riches too, featuring a lethal crew of staff writers penning all the ace dancers and ballads - Gene McFadden, John Whitehead, Bunny Sigler, Phil Hurst and of course the dynamic duo themselves - Kenneth Gamble and Leon Huff (who also produced). Loaded with hits, 8 of its 10 tracks made it onto 45s:

1. Back Stabbers b/w Sunshine (June 1972 USA, September 1972 UK)
2. 992 Arguments b/w Listen To The Clock On The Wall (October 1972 USA, November 1972 UK)
3. Love Train b/w Who Am I (December 1972 USA, February 1973 UK) 
4. Time To Get Down b/w Shiftless, Shady, Jealous Kind Of People (April 1973 USA, May 1973 UK)

Other highlights are the funky opener "When The World's At Peace" reflecting the political and social turmoil of the time and the vibes and strings mellowness of the lovely "Sunshine" - boasting an aching heartfelt vocal. But for me my Soul goes with that 45 I played to death in the spring of 1973 – both sides total vibing winners – the get-on-board "Love Train" on the A-side with the gorgeous searching "Who Am I" on the flipside. There are some Soul 45s that are just perfection both ways – A&B. I think of "Pick Up The Pieces" b/w "You Got It" by Average White Band on Atlantic Records UK or Marvin Gaye over on Motown asking, "What's Going On" with the Non-LP spiritually uplifting "God Is Love" on the flipside (and so many more). The "Back Stabbers" LP feels like an array of those and I have loved returning to its warm embrace once again.

Following the 1972 and early 1973 success of "Back Stabbers" – "Ship Ahoy" was a Soul consolidating LP monster. A US R&B No.1 album, the platter spawned five singles on both sides of a willing pond:

1. Put Your Hands Together b/w You Got Your Hooks In Me - November 1973 US 7" single on Philadelphia International ZS7 3535
2. For The Love Of Money b/w People Keep Telling Me - March 1974 US 7" single on ZS7 3744
3. Put Your Hands Together b/w This Air I Breathe - November 1973 UK 7" single on S PIR 1905
4. For The Love Of Money b/w People Keep Telling Me - March 1974 UK 7" single on S PIR 2186
5. Now That We Found Love b/w You Got Your Hooks In Me - August 1974 UK 7" single on S PIR 2577

Some of the above singles were 45-edits – so technically they are missing here – but as you can see from 84:09 and 79:48-minute playing times for CD1 and 2 – there simply wasn't room on this BGO compilation. 

Side 1 of their seventh studio album is pretty much flawless - and how good is it to hear the full LP version of "Ship Ahoy" stretch out to nearly nine-minutes with its bells and fog horns and spoken passages. "This Air I Breathe" is an uptempo dancer about suburban pollution that could easily have been another successful hit single while the truly lovely "You Got Your Hooks In Me" is the kind of Bunny Sigler hipsway that defined their lurve side - pull them close and feel that heat people!
Side 2 opens with the full album version of the fabulously perky "For The Love Of Money" - funkifying your speakers for over seven minutes (the remaster is so good on the bass and brass). "Don't Call Me Brother" apes Marvin Gaye's "What's Going On" for its opening seconds but then settles into a stunning smoochy vibe about 'getting yourself together' and 'respecting your woman'. A very cool and satisfying Soul LP - "Ship Ahoy" finishes on the almost disco-precursor "People Keep Telling Me" where someone is doing someone wrong - yet again – but somehow baby – it will be awl-right.

CD2: Gamble and Huff open proceedings for the "Survival" album with a thumping messenger - "Give The People What They Want". Huge-sounding drums with panned high-hats and Funky Bass lines start this crowd-pleaser that soon incorporates now-now vocal pyrotechnics accompanied by brass jabs. "Give The People What They Want" fades out its Funky ass at 4:10 minutes only to be replaced with some mid-tempo smooch - "Let Me Make Love To You" – our mainman promising to be ever so gentle – much like the oohs and the aahs of his agreeable compatriots. And when the morning comes – there may even be breakfast – if she makes his wish from last night come true (gorgeous production values). Time to tell it how it is – Huff and Gamble talking of what it is like to be broke in the wilfully funky "Survival" – a father needing to shoe his kids – one step away from the breadline – always at the behest of some other man with a line in less than honest financials. Soft Soul via an array of strings and voices ends Side 1 - "Where Did We Go Wrong" – our hero lonely and hurt inside – trying his best to figure out why separation took the place of togetherness (honestly not my fave on the LP).

Side 2 of "Survival" returns to ghetto struggles in the Huff and Gamble angry of "Rich Get Richer" – the boys wanting those sixteen families that control the whole world to share a little with those many other families that control nothing let alone where the next meal comes from. This Funky message song has punchy audio and they sing with real conviction. Time for lurve baby – yeah – loosen that blouse – while I tell you about how it was back then when we were wee bitty things without a care in the world. But "How Time Flies" and how responsibility replaces carefree (again, lovely audio on this sweet Soul ballad). Ronnie Tyson of the songwriting collective The Harris Machine team up with ace songsmith Bunny Sigler to provide my fave on the LP – the proper Soul Ballad of "What Am I Waiting For". The second last song on 1975's "Survival" album is a pleader that has fantastic vocals from the boys where the words of a woman who is not coming back seems to be genuinely getting to them. Leon Huff soon returns to jaunty Philly territory with the OK-sounding "Never Break Us Up" – rounding off a four-star outing.

"Family Reunion" was the Ohio Vocal Group's 6th studio LP for the famous soul label and along with 1973's "Ship Ahoy" and "Survival" from earlier in 1975 (April to be exact) – it also reached the coveted Number 1 spot on the US R 'n' B album charts. In fact - November and December 1975 were exceptional months for Philly Soul. "Family Reunion" by The O'Jays was immediately replaced at pole position only weeks later by another one of the label's gem albums - "Wake Up Everybody" by Harold Melvin and The Blue Notes). Number ones galore.

Label founders Kenneth Gamble and Leon Huff stumped up most of the "Family Reunion" album's seven songs (CD Tracks 10, 11, 14, 15 and 16) and along with Norman Harris and Tony Bell's arrangements, gave the whole record their lush TSOP production values. The other ace writing team of John Whitehead, Gene McFadden and Victor Carstarphen contributed "She's Only A Woman" while Bunny Sigler and Louise Bishop wrote "You And Me". Both "I Love Music" and the brilliantly infectious "Livin' For The Weekend" went to Number 1 on the R 'n' B singles chart too. I also like the big ballads - "Stairway To Heaven" and "She's Only A Woman". Not all great but still riding that chart glory train for The O'Jays.

For sure – "Family Reunion" does not finish this November 2025 Twofer BGO Compilation with another genre masterpiece and the feeling that the songwriting magic of old was on the wane is there. But I know so many Soul fans who consider even second-rate Philly to be better than a stab in the lower abdomen any day of the week.

Big Break Records of the UK did excellent Expanded CD Reissues and Remasters of these albums back in the 2009 and the 2010 day – but this BGO grouping of four quality albums onto two 2CDs with great annotation and toppermost Audio will be a must-own for most. I am emotionally yours - dig in and Travel At The Speed Of Thought brothers and sisters…

Soul/Funk/Disco/Fusion and Jazz Titles in the 

Beat Goes On (BGO) Records 'Four Albums On Two Discs' Series

UK issued 2CD Compilations in a Card Slipcase with Remasters

1. GLADYS KNIGHT & THE PIPS - "Imagination/I Feel A Song/2nd Anniversary/The One And Only…"
Four US Albums originally issued on Buddah Records in 1973, 1974, 1975 and 1978
UK released 27 February 2026 on Beat Goes On BGOCD1567 (Barcode 5017261215673)

2. RAMSEY LEWIS - "Funky Serenity/Ramsey Lewis’ Newly Recorded, All-Time, Non-Stop Golden Hits [aka Golden Hits]/Solar Wind/Sun Goddess"
Four US Albums originally issued 1973 (two) and 1974 (two) on Columbia Records
UK released 18 May 2018 on Beat Goes On BGOCD1335 (Barcode 5017261213358)

3. RAMSEY LEWIS - "Legacy/Ramsey/Live At The Savoy/Chance Encounter"
Four US Albums originally issued 1978, 1979 and two in 1982 on Columbia Records
UK released 30 March 2018 on Beat Goes On BGOCD1330 (Barcode 5017261213303)

4. THE MANHATTANS - "There's No Me Without You/That's How Much I Love You/The Manhattans/It Feels So Good"
Four US Albums originally issued on Columbia Records in 1973, 1974, 1976 and 1977
UK released 21 November 2025, Beat Goes On BGOCD1557 (Barcode 5017261215574) 

5. HAROLD MELVIN & THE BLUE NOTES (featuring Teddy Pendergrass) – "Harold Melvin & The Blue Notes Featuring… (aka I Miss You)/Black And Blue/To Be True (Featuring Teddy Pendergrass)/Wake Up Everybody"
Four US Albums originally issued on Philadelphia International Records in 1972, 1973 and 1975 (Two)
UK released Friday, 8 May 2026, Beat Goes On BGOCD1572 (Barcode 5017261215727)

6. MFSB - "MFSB/TSOP The Sound Of Philadelphia (aka Love Is The Message)/Universal Love/Philadelphia Freedom"
Four US Albums originally issued on Philadelphia International Records in 1973 (Two), and 1975 (Two) – Philly Backing Band feat Dexter Wansel
UK released Friday, 22 May 2026, Beat Goes On BGOCD1575 (Barcode 5017261215758)

7. BUDDY MILES EXPRESS/BUDDY MILES
"Expressway To Your Skull/Electric Church/Them Changes/We Got To Live Together"
Four US Albums originally issued 1968, 1969 and Two in 1970 on Mercury Records
UK released 7 January 2022 (delayed from November 2021), Beat Goes On BGOCD1468 (Barcode 5017261214683)

8. THE O'JAYS - "Back Stabbers/Ship Ahoy/Survival/Family Reunion"
Four US Albums originally issued on Philadelphia International Records in 1972, 1973 and 1975
UK released 21 November 2025, Beat Goes On BGOCD1563 (Barcode 5017261215635)

9. BILLY PAUL – "Ebony Woman/Going East/360 Degrees Of Billy Paul/War Of The Gods"
Four US Albums originally issued on Neptune and Philadelphia International Records in 1970, 1971, 1972 and 1973
UK released 7 November 2025, Beat Goes On BGOCD1561 (Barcode 5017261215611)

10. TEDDY PENDERGRASS - "Teddy Pendergrass/Life Is A Song Worth Singing/Teddy/TP"
Four US Albums originally issued on Philadelphia International Records in 1977, 1978, 1979 and 1980 – Former Lead Vocalist in Harold Melvin & The Blue Notes
UK released Friday, 22 May 2026, Beat Goes On BGOCD1574 (Barcode 5017261215741)

11. LOU RAWLS - "All Things In Time/Unmistakably Lou/When You Hear Lou, You've Heard It All/Let Me Be Good To You"
Four US Albums originally issued on Philadelphia International Records in 1976, Two in 1977 and One in 1979
UK released 3 October 2025, Beat Goes on BGOCD1560 (Barcode 5017261215604)

12. DEXTER WANSEL - "Life On Mars/What The World Is Coming To/Voyager/Time Is Slipping Away"
Four US Albums originally issued on Philadelphia International Records in 1976, 1977, 1978 and 1979
UK released 10 March 2023, BGOCD1490 (Barcode 5017261214904)

"I Heard That!!" by QUINCY JONES – September 1976 US 2LP Set on A&M Records (October 1976 in the UK) with One LP of New Material and the Second LP being an Anthology of Well-Known Soundtrack and Studio Album Tracks from 1969 to 1975 - Guests Include Vocalists The Brothers Johnson, Valerie Ashford, Leon Ware, Minnie Riperton, Al Jarreau, Bill Withers, The Wattsline and Stairsteps with Keyboardists Herbie Hancock, Bob James, Richard Tee, Billy Preston and Guitarists Phil Upchurch, David T. Walker, Dennis Coffey and Wah-Wah Watson, Trumpeters Snooky Young, Cat Anderson, Chuck Findley, Saxophonists Rahsaan Roland Kirk, Hubert Laws and Phil Woods, Harmonica by Toots Thielman and Stevie Wonder, Bassists Stanley Clarke, Chuck Rainey, Ray Brown and Alphonso Johnson, Drummers Bernard Purdie, Grady Tate and Harvey Mason and many more (April 2026 UK Beat Goes On (BGO) Compilation – 2LPs Digitally Remastered onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

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HIGHER GROUND 

70ts Soul, R'n'B, Funk, Jazz Fusion

Exceptional CD Reissues and Remasters  

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RATINGS:

Overall: ****

Presentation and Audio *****

"….Midnight Soul Patrol…"

By the time Producer, Arranger and Songwriter Quincy Jones did his "I Heard That!!" seventh album for Herb Alpert's A&M Records in 1976 – Jones was in his mid-40s and had worked since his 1957 debut with huge names in Jazz and Vocals – Ella Fitzgerald, Dinah Washington, Count Basie and of course the Capitol and Reprise Records Guvnor himself Frank Sinatra. But that was just the tip of a genuinely prolific iceberg.

Soundtrack themes and Soul-Funk-Fusion from 1969 to 1974 had kept his name on music-shaker lips too and quite often on the noticeable end of the US R&B charts. Quincy even scored a No.1 US R&B album of his own in 1974 with the Soul gem "Body Heat" – an album that featured the usual dreamboat of players – Guitarists Phil Upchurch, Eric Gale, Dennis Coffey, David T. Walker and Wah-Wah Watson with Keyboardists Herbie Hancock, Bob James, Richard Tee and Billly Preston not to mention such Rhythm Section legends as Chuck Findley, Bobbye Hall, Chuck Rainey, Bernard Purdie and Grady Tate.

I mention all this because as you listen to say CD2 (the Anthology LP in the 1976 double album that offers up eight slices of old Quincy from 1969 to 1974 alongside new stuff on Disc one) – the Production quality, the Bruce Swedien mixing and engineering, the playing, the sheer in-the-pocket feel of every track is stunning regardless of the time frame. This is Steely Dan Aja-good in terms of sheer class. So, it will come as no surprise to any Soul-Funk-Fusion fan that "I Heard That!!" (subtitled The Musical World of Quincy Jones) sounds utterly amazing on this 2026 Remastered Beat Goes On twofer CD package (Andrew Thompson does it again). 

Lot to discuss – to this Killer Joe in velvet pants over by the Soul Patrol…

UK released Friday, 10 April 2026 - "I Heard That!!" by QUINCY JONES on Beat Goes ON BGOCD1564 (Barcode 5017261215642) is a 2CD Reissue and Remaster of his 1976 Double-Album and plays out as follows:

CD1 (35:37 minutes, 8 Tracks):

1. I Heard That!! (2:12 minutes) [Side 1]

2. Things Could Be Worse For Me (4:27 minutes)

3. What Good Is A Song (7:28 minutes)

4. You Have To Do It Yourself (3:14 minutes)

5. There's A Train Leavin' (4:13 minutes) [Side 2]

6. Midnight Soul Patrol (5:11 minutes)

7. Brown Shoe Shuffle (4:44 minutes)

8. Superstition (3:54 minutes – A Stevie Wonder cover featuring Stevie Wonder)

Tracks 1 to 8 are Sides 1 and 2 of his 2LP set "I Heard That!!" – released September 1976 in the USA on A&M Records SP-3705 and October 1976 in the UK on A&M Records AMLM 63705. Produced by Quincy Jones – it peaked at No.16 on the US Billboard R&B Album charts and at No. 43 in the Rock Albums charts (did not chart UK)

CD2 (52:29 minutes, 8 Tracks):

1. Summer In The City (4:20 minutes) [Side 3 – Award Winning Side]

2. Is It Love That We're Missin' (3:53 minutes)

3. Body Heat (4:02 minutes)

4. If I Ever Lose This Heaven (4:45 minutes)

5. Killer Joe (5:09 minutes) [Side 4 – Grammy Winning Side]

6. Gula Matari (Lead Vocalist Valerie Simpson, Full LP Version at 12:57 minutes)

7. Theme From "The Anderson Tapes" (5:04 minutes, full version)

8. Walking In Space (12:04 minutes, Full Album Version)

Tracks 1 to 8 are Sides 3 and 4 of the 2LP set "I Heard That!!" – released September 1976 in the USA on A&M Records SP-3705 and October 1976 in the UK on A&M Records AMLM 63705. Produced by Quincy Jones – it peaked at No.16 on the US Billboard R&B Album charts and at No. 43 in the Rock Albums charts (did not chart UK)

NOTES: I have provided CD playing times because some of the tracks are Extended Versions on this CD as opposed to the original double-LP edits (see notes below) and the packaging does not state this.

The outer card slipcase lends that classy feel to all BGO reissues and the 24-page booklet (given the sheer number of players and references) has its work cut out for it – but Mojo contributor and long-long associate-writer for Beat Goes On CHARLES WARING eats up the details. The original double-vinyl has printed info inner sleeves – they are reproduced here, as are the photos of those famous session names. Waring goes into the tracks – pinpointing who is soloing where and why – a great deal of info put across in his usual enthusiastic and classy fashion. 

And then there is the fabulous Audio – ANDREW THOMPSON Remasters done in 2026 in the UK that lifts proceedings out of great stars beyond into the Audio multiverse. Renowned Engineer Bruce Swedien - who used to master and record all those fabulous Brunswick sides for Tyrone Davis, Barbara Acklin and The Chi-Lites in the late Sixties and early Seventies - is at hand – and with so much experience behind the desk as there was in front of it – it's no surprise then that this double-slice of Jazzy Funky Soulful paradise sounds the bomb. To the tunes…

Vocalists Mortonette Jenkins and Charles May of The Wattsline Vocal Group give it some quality duet booty on the very Disco "Things Could Be Worse For Me" – Keyboardist Dave Grusin joined by a preaching Reverend Charles May as the beat sashays on and on. Time to lurve baby – the sensual snail space ballad "What Good Is A Song" features The Wattsline Vocal Group five singers again working with Dave Grusin on Keys with Tom Scott providing the final flourish with his Saxophone after a Grusin synth solo (song penned by band leader Charles May). The four male and one lady singer in The Wattsline Vocal Group deserve a mention – Mortonette Jenkins, Charles May, David Prigden, Rodney Armstrong and Sherwood Sledge used by Quincy in 1976 and 1977. Charles May (their leader) either wrote or co-wrote much of the album and they hammer it - even if songs like the 3:14 minutes of "You Have To Do It Yourself" feel a bit forced – a song used on a TV show called Rebop. 

After a so-so Side one for me – Side two saves proceedings considerably. Touch of The Staple Singers doing Piano Funk to the vibe of the Side 2 opener "There's A Train Leavin'" – a get-on-board positive message song brought to by the talent of Billy Preston and The Brothers Johnson (Trumpeter Snooky Young who is on this track is pictured on Page 8 of the booklet). The irrepressibly chipper instrumental "Midnight Soul Patrol" is a 1976 template for every Brothers Johnson fun-a-thon to come. With huge names like Drummer Billy Cobham doing battle with Stanley Clarke on Bass and the Guitar of Louis Johnson - the Brass takes it out to 5:14 minutes fade beautifully with clever little runs. Toots Thieleman and his languid Harmonica dominates most of "Brown Soft Shoe" until Dave Grusin and Harvey Mason step up to the keyboard banks (did that so good Ray Brown bass playing anchoring everything allowing the others to shine). But then we get to the monster – a fantastic Soul-Funk cover of Stevie Wonder's "Superstition" which features some truly mind-blowing Vocal names let alone other musicians. The Wattsline Vocal Group soon succumbs to the gorgeous pipes of Bill Withers – Stanley Clarke is in there on the slap Bass – Billy Preston plays Keys – The Brothers Johnson join in – Phil Woods goes and if that is not enough – there is Stevie playing Harmonica alongside the Funk. The "I Heard That!!" version of "Superstition" is not new - it's the track that first showed on Quincy's 1973 LP "You Got It Bad, Girl". Whatever was you look it, "Superstition" gives the first LP a stunner to finish it - turns me to mush just thinking of Bill Withers sailing in like the class act he was. 

The second LP was split into two camps – Side 3 as the Award-Winning Side of four songs - while Side 4 gave us an industry accolades foursome with the Grammy-Winning Side. First up is his cover of The Lovin Spoonful 1966 John Sebastian-penned "Summer In The City" from his "You Got It Bad, Girl" LP of 1973 (same playing time as the original double-album). While the instrumental failed as an A&M 45-single back in the 1973 day – later Producers, Samplers and Hip-Hop dudes like Pharcyde and Massive Attack drew on it for their own interpretations. Future A&M Records Funk-Soul stars The Brothers Johnson now come into play with Track 2 - "Is It Love That We're Missin'". Taken from the QJ album of 1975 "Mellow Madness" – at least this 45 fared better with a peak of No.18 on the US R&B singles chart. This mid-tempo shuffler is the kind of sexy piano and synth song that people will groove to in their hood-down cars should it show up on some enlightened Oldies station. Co-writer George Johnson provides the smooth Lead Vocal while the guitars and back-beat neck jerk to breaking point – so commercial I know – but oh so good. 

Title track to the 1974 fifth A&M album "Body Heat" is up next – a slinky little number that feels more 1978 or 1979 than 1974. Our protagonist cannot control his passion – his love de-sire is on fy-er – if you know what I mean. Co-written with Leon Ware and nominated for Best Pop Vocal Performance – what I dig more is those clever synth notes soaring in the backdrop to the tighter-the-tight groove. Again, another great choice – but then we end Side 1 with a slick 4:45 minutes of "If I Ever Lose This Heaven" where songwriter Leon Ware sings with ex Rotary Connection alumni Minnie Riperton while Al Jarreau is amongst the backing vocalists. Scottish Soul boys Average White Band did a cover of "If I Ever Lose This Heaven" on their second album for Atlantic Records "Cut The Cake" in 1975. They even used it as a 45-single and it featured yet again on their live double "Person To Person" in 1976 where it was extended to a scintillating eight-minutes. The double bass sleaze of "Killer Joe" is presented as a 5:09 full version as opposed to the 4:06 minute edit on the original double-album. Another Creed Taylor production (this time from 1970) – you can just see the pimp entering the nightclub with molls on either arm – gold on his fat little fingers and a cigar that needs a light. Fabulous brass audio against the ladies breathing out the refrain Killer Joe – Don't You Go. What a winner.

The 12:57 minutes of "Gula Matari" is an Afro-Jazz-Fusion cinemascope beast of genre-busting proportions. Helmed by Creed Taylor of CTI Records – it is one of four lengthy workouts off Quincy’s 1970 album of the same name (his second for A&M Records) and is an amazing (if not testing) mix of Big Band, Jazz Cool and Funk all sneaking around a Mati Hari tent. "Gula Matari" is Zulu for "….Breaker Of Rocks…" and features Valerie Simpson of Ashford and Simpson on Lead Vocals with distinctive solos from a trio of super-players – Flautist Hubert Laws, Milk Jackson giving it some sexy Vibes while Soprano Saxophonist Jerome Richardson. Not surprisingly it was Grammy nominated in no less than three categories. Important to note that the "I Heard That!!" version of "Gula Matari" was a 6:54 minute edit on that 1976 2LP set – BGO have used the full LP cut and nearly 13-minutes as noted above. 

But as groundbreakingly good as "Gula Matari" is – it stands no chance against the Bullitt-like cinematic cool of "Theme From "The Anderson Tapes"" – the kind of Piano and Vibes and Harmonica butt-swaying sexpot of an Instrumental that's been driving Funksters wild for decades. Love it – love it- love it! CD2 comes to an end with a 1969 Hair song called "Walking In Space" – a piece written by Canadian Galt McDermott for that groundbreaking counter-culture musical. Here at a full album length 12:04 minutes instead of the 1976 edit of 7:12 minutes - it is once again helmed by Valerie Simpson on Vocals with Quincy faves getting to stretch out in the studio – first-time pairing of Bassist Ray Brown and Drummer Grady Tate creating what Quincy described as the first Jazz Fusion album. 

Despite staggering commercial solo successes and collaborations (especially in the Eighties with Michael Jackson) and being up to the proverbial wazoo with some 80 Grammy Nominations by the time he passed in November 2024 at the grand old age of 91 – Quincy Jones nonetheless never quite had that genre cool that say Donny Hathaway or Gil Scott-Heron pulled. It might go to explain how this broody little double-album gem from 1976 has been forgotten about – up to the point where it was only available on CD for years on an expensive Japanese import from 1993. 

OK – you would not call all the new stuff on Side and 2 the greatest Soul and Fusion masterpiece every made – but the good stuff (on Side 2 in particular) still thrills – and that second LP of prior re-visits is fabulous – especially as three of the tracks are now full-length versions and really hammer home because of it.

Beat Goes On (BGO of the UK) have pulled off a clever reissue here and are to be praised for the gorgeous audio quality and presentation of "I Heard That!!" by Quincy Jones - an unfairly forgotten double that needs your rediscovery – Andrew Thompson and Charles Waring once again delivering the Remastered goodies. Well done to all...

"Revelation/2 Ozs. Of Plastic With A Hole In The Middle" by MAN – January and September 1969 Debut and Second Studio Albums on Pye and Dawn R2128ecords in Stereo – Featuring Deke Leonard, Micky Jones, Clive John, Ray Williams and Jeff Jones with John Schroeder Production (July 2025 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...

This Review Along With 370 Others Is Available In My

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WHOLE LOTTA LOVE - 1969

Rock, Pop and Genres Thereabouts

Exceptional CD Reissues and Remasters  

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RATINGS:

Overall: ***

Presentation: ****

Audio: *****

"….The Future Hides Its Face…"

On the 25 of May 2009 (and as part of a huge catalogue-long reissue campaign) - Esoteric Recordings of the UK (part of Cherry Red) put out the first two studio albums by Welsh Rock/Psych Band MAN onto much-praised Ben Wiseman Remastered CDs as individual releases (the original vinyl was January and September 1969). The first "Revelation" came with four bonus tracks and the second "2 Ozs. Of Plastic With A Hole In The Middle" came with three (Esoteric Recordings ECLEC 2127 - Barcode 5013929722729 and Esoteric Recordings ECLEC 2128 - Barcode 5013929722828 respectively). But those earlier Remasters have been deleted for years and here in the late 2020s are expensive to locate (if you can find them).

 

I have never liked the debut album (insufferable listen complete with orgasmic oohs and aahs on the risible please-love-me 'Erotica') – but Beat Goes On (BGO of the UK) has deemed it cool (sixteen years down the line) to reissue both again minus the Bonuses in a July 2025 twofer CD package. 

But it must be said (and this may be a big draw for fans) - the Audio supplied here by new Andrew Thompson Remasters is truly exceptional – clear, punchy and in-yer-face. And as usual – you get that classy BGO presentation (outer card slipcase, 12-page booklet with MICHAEL HEATLEY liner notes etc). To the beginnings…

UK released Friday, 4 July 2025 (11 July 2025 in the USA) - "Revelation/2 Ozs. Of Plastic With A Hole In The Middle" by MAN on Beat Goes On Records BGOCD1551 (Barcode 5017261215512) is a compilation that offers their first two studio albums (January and September 1969) on Pye and Dawn Records UK in Stereo Remastered onto 2CDs and it plays out as follows:

CD1 (42:38 minutes):
1. And In The Beginning (4:21 minutes) [Side 1]
2. Sudden Life (4:40 minutes)
3. Empty Room (3:43 minutes)
4. Puella! Puella! (Woman! Woman!) (3:34 minutes)
5. Love (2:52 minutes)
6. Erotica (4;07 minutes)
7. Blind Man (4:17 minutes)
8. And Castles Rise In Children's Eyes (3:21 minutes)
9. Don't Just Stand There (Come In Out Of The Rain) (4:13 minutes)
10. The Missing Pieces (1:55 minutes)
11. The Future Hides Its Face (5:27 minutes)
Tracks 1 to 11 are their debut album "Revelation" – released January 1969 in the UK on Pye Records NPL 18275 (Mono) and NSPL 18275 (Stereo) and as "Manpower" in the USA (with the same tracks) on Philips PHS 600-313 in Stereo – the STEREO mix is used. Produced by JOHN SCHROEDER – Tracks 1, 5, 7 and 11 written by Roger (Deke) Leonard, Tracks 4, 8 and 9 written by Micky Jones, Track 2 by Clive John and Roger (Deke) Leonard, Track 3 by Clive John and Ray Williams, Tracks 6 by the whole band, Track 10 by Clive John, Clive Reynolds, Martin Ace and (Roger (Deke) Leonard.

CD2 (37:45 minutes):
1. Prelude/The Storm(12:20 minutes)  [Side 1]
2. It Is As It Must Be (8:27 minutes)
3. Spunk Box (5:48 minutes) [Side 2]
4. My Name Is Jesus Smith (4:03 minutes)
5. Parchment And Candles (1:52 minutes)
6. Brother Arnold's Red And White Striped Tent (5:02 minutes)
Tracks 1 to 6 are their second album "2 Ozs. Of Plastic With A Hole In The Middle" – released September 1969 on Dawn Records DNLS 3003 in Stereo (no US issue). Produced by JOHN SCHROEDER – Tracks 1 and 5 by Deke Leonard and Micky Jones, Track 2 by Clive John and Ray Williams, Track 3 by Micky Jones and Clive John and Track 4 by Deke Leonard and Jeff Jones and Track 6 by Deke Leonard and Micky Jones.

MAN was:
ROGER "Deke" LEONARD – Guitars, Harp, Piano, Percussion and Vocals
CLIVE JOHN – Organ, Paino, Guitar, Vocals
MICKY "Mike" JONES – Lead Guitar and Vocals
RAY WILLIAMS – Bass
JEFF JONES – Drums and Percussion

The card-slipcase lends the 2CD compilation a classy look and feel – the 12-page booklet features new liner notes by MICHEAL HEATLEY that wax lyrical about The Bystanders transmogrifying into MAN (a 23-year-old Deke Leonard was amazed) and going all Quicksilver Messenger Service with their first two Acid-Rock based LPs (both issued in 1969). The gatefold artwork is there too from those hard-to-find Pye and Dawn albums. The audio is amazing on both CDs – example: as you allow the crashing cymbals and strummed guitar meanderings of the instrumental opener "Prelude/The Storm" to unfold on the second LP – the Remaster is clear – powerful – steady – fade ins and fade outs - the music of the debut might test your patience – but this sounds the business. Beloved British Rock DJ and Tastemaker Alan FLUFF Freeman featured its plus-twelve-minutes of ethereal floating on his airwaves thus bringing on board that Steve Miller, Grateful Dead crowd. 

Fabulous audio or not, the "Revelation" Debut is awful to me – an album I have never wanted to own let alone listen to. Even great sounding guitar entries like "Don't Just Stand There..." are ruined by a plodding cheesy feel and the final cut "The Future Hides Its Face" is filled with Space Race sounds and UFO tapings - just not great music. But that second platter is an entirely different kettle of mushrooms. It was the direction MAN needed – heavier – tripper – almost like they had stumbled on a Hawkwind rehearsal. The opener two-parter "Prelude/The Storm" as mentioned earlier is a fabulous slice of hair-shaking-mama that stays just the right side of hallucinogenic. Its whig-out is followed by the equally period-cool second track - "It Is As It Must Be" that sees Micky Jones riff away to a relentless hard-driving groove like a Neanderthal who has been given a Gibson for his birthday. Ugga Glugga then boogies out when it reaches five-minutes in (of course he does, much I suspect to the delight of stoners everywhere) – only for the drone rhythm to return and take the bad politician lyrics to an 8:27 minute end. 

"Spunk Box" is harder to take but I dare say die-hard Man fans would disagree (they love it) – a marching chugger that builds with guitar riffage until its near six-minutes fade. Rock and Roll filler, dilly-dally-ditty, silly track with nice slide guitars – it is hard to describe "My Name Is Jesus Smith" as anything other than OK but out-of-place. The 1:50 minute instrumental "Parchment And Candles" does not fare much better – a prelude to the yeah-man LP finisher "Brother Arnolds Red And White Striped Tent" – an intense organ vs. guitar work-out that frantics its way out of your speakers like you need to listen or else. And yet, I like its mad 1969 expansive riffage-be-damned attitude as it fades out past five minutes.

For damn sure – this kind of Acid Rock mixed in with Head Trips and Grunge Guitars will be seen as an indulgence many can do without in 2025 and 2026. 

But for those who worship at the herbal root of such droner Sixties sound, this MAN Beat Goes On (BGO) twofer CD compilation will be worth checking out - all others however, I strongly advise a listen first…

"Michael Gibbs/Tanglewood 63" by MICHAEL GIBBS - April 1970 and August 1971 UK Debut and Second LP on Deram Records in Stereo - Guests include Chris Spedding, John Surman, Brian Ogders, Ray Warleigh, Alan Skidmore, Philip Lee, Kenny Wheeler, Barbara Thompson, Mick Pyne, Henry Lowther, Gordon Beck, Jack Bruce of Cream and many more (October 2025 UK Beat Goes On Compilation - 2LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...

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"….Some Echoes, Some Shadows…"

With four of the seven tracks on his April 1970 self-titled debut album dedicated to his Giants of Jazz – John Dankworth, Stan Getz, Bob Moses and Gary Burton – Rhodesian Trombonist, Composer, Arranger and Producer MICHAEL GIBBS was nailing his Avant Garde colours to the Prog-Fusion mast right out of the gate. Throw in a little New Orleans Big Band, Spacey Jazz-Funk, Acid-Rock flourishes and long noodling instrumental passages – and we are off to the Deram Records races.

Both his April 1970 "Michael Gibbs" starter and the August 1971 follow-up "Tanglewood 63" contained a huge list of contemporary contributions – any musician who was anyone in the Fusion fields of the day seemed to be on those albums (see Musician credits below). Gibbs would also go on to be a part of Brit Prog Rockers Uriah Heep (Orchestral Arrangements) as they started out on their Very Heavy Very Humble Vertigo and Bronze Records journey in 1970, 1971 and 1972. 

So up steps England's BGO (Beat Goes On Records) to give us panting punters a spivvy twofer that gathers both of those pricey originals into one presentational goody bag. While the music is absolutely an acquired taste and will make your daughter cringe at Daddy and his way-out Jazz choices – those grey-haired fooltards like me be thinking – yesterday's echoes and shadows – oh yummy. So, once more my pelicans of perinatal pleasure to the reissue breach - here are the Maidens of the Liturgies, Canticles and Throbs (and that's just their piccolo trumpets)…

UK released Friday, 3 October 2025 - "Michael Gibbs/Tanglewood 63" by MICHAEL GIBBS on Beat Goes On Records BGOCD1559 (Barcode 5017261215598) is a compilation that offers 2LPs from 1970 and 1971 on Deram Records in Stereo Remastered onto 2CDs and it plays out as follows:

CD1 (52:43 minutes):
1. Family Joy, Oh Boy! (8:53 minutes) [Side 1]
2. Some Echoes, Some Shadows (for John Dankworth) (9:01 minutes)
3. Liturgy/Feelings And Things (8:28 minutes)
4. Sweet Rain (for Stan Getz) (6:16 minutes) [Side 2]
5. Nowhere (for Bob Moses) (7:59 minutes)
6. Throb (3:55 minutes)
7. And On The Third Day (for Gary Burton) (8:04 minutes)
Tracks 1 to 7 are his debut album "Michael Gibbs" – released April 1970 in the UK on Deram DML 1063 in Mono and Deram SML 1063 in Stereo (Deram DS 18048 in Stereo only in the USA) – the STEREO Mix is used. 
Produced by PETER EDEN with all compositions by MICHAEL GIBBS – Guests Included Chris Spedding on Guitars and Bass, Ray Russell of Rock Workshop and Philip Lee of Gilgamesh on Guitars, Jack Bruce of Cream and Brian Odgers of Sweet Thursday on Basses, Mick Pine of Tubby Hayes Quartet and Bob Cornford of Alan Skidmore Quartet on Keyboards, Saxophonist and Flautist Barbara Thompson of Colosseum, John Surman of Chris McGregor's Brotherhood of Breath, Ray Warleigh of Soft Machine and Alan Skidmore on Saxophones with Kenny Wheeler, Henry Lowther of Keith Tippett's Ark and Ian Hamer of Ginger Baker & Friends on Trumpets and Flugelhorns, Bobby Lamb of Woody Herman's Band on Trombone, Brass by Derek Watkins, John Wilbraham of the BBC Orchestra on Trumpet, Tony Oxley on Drums with Frank Ricotti on Percussion (and many more).

CD2 (44:05 minutes):
1.Tanglewood 63 [Side 1]
2. Fanfare
3. Sojourn
4. Canticle [Side 2]
5. Five For England
Tracks 1 to 5 are his second album "Tanglewood 63" – released August 1971 on Deram Records SML 1087 in Stereo (no US issue). Produced by PETER EDEN with all compositions written by MICHAEL GIBBS – the musician line-up mimics the debut (Chris Spedding, Alan Skidmore, Henry Lowther, John Surman etc) as well as input from Pianist Gordon Beck of Nucleus and Keyboardist John Taylor of John Surman Quartet and Azimuth, Stan Sulzman on Soprano Saxophone, Frank Alexander and Allen Ford on Cello, Geff Wakefield on Violin, Frank Ricotti on Percussion, Tony Robbins on Tenor Saxophone - along with others.

The card-slipcase lends the 2CD compilation a classy look and feel – the 16-page booklet featuring new liner notes from Mojo Jazz Contributor CHARLES WARING (dated 2025). You get the rear artwork on the inner pages and a huge array of info on the Sailsbury born Rhodesian musician (now Harare in Zimbabwe). As an arranger and musical director, Michael Clement Gibbs has worked with artists as diverse as Joni Mitchell, Uriah Heep, Whitney Houston and not surprisingly (given his rather impish tendencies) British Comedians turned songsters – The Goodies. Waring is a Jazz buff and his deep knowledge/enthusiasm comes screaming off the story – Waring talks of the wild genre fluctuations that peep in and out of Free Jazz like this - Jazz Fusion, Jazz Rock, Big Band, Prog, Avant Garde, Percussion battles and so on. He waxes lyrical too about Trumpeters like Harry Beckett, Pianist John Taylor and the huge ensembles for long spacey workouts like "Canticle" on "Tanglewood 63" or the chanteuse-wooing grooves in "Liturgy" on the debut which features a solo from guitarist Philip Lee later to be with Charisma Records band Gilgamesh. The ANDREW THOMPSON Remasters are clean and clear and reflect the truly excellent production values laid down back in the 1970 Morgan Studios day. This music gets complicated and crowded in a lot of places and yet the Remaster handles the clarity magnificently – this is big, bold, brassy and free – and yet the transfers feel alive and not cluttered or dead. To the many fusion soundscapes…

Cited as a celebration in the liner notes by Gibbs, "Family Joy, Oh Boy!" features five separate solos alongside Brass arrangements led by Derek Watkins. Chris Spedding – on loan from Harvest Records and Pete Brown and his Battered Ornaments – plays Guitar, Kenny Wheeler gives it some Trumpet, Alan Skidmore goes at his Tenor Saxophone, John Wilbraham lays down a Piccolo Trumpet passage and finally Dick Hart has a bash at a Tuba solo (of all things). Although it opens as a Blood, Sweat & Tears brass blaster – Spedding is soon going Jazz improv guns. Clocking in at 8:50 minutes, "Family Joy, Oh Boy!" is a beast of pace and tone changes. Way cooler and almost Lounge Lizard is "Liturgy" – the slinky groove suits fuzzed up guitars abutting cop-show brass jabs – you could almost image this in a San Francisco late 60s early 70s private eye shuffle – a sort of White Shaft (oh dear). Solo heroes are Chris Pyne on Trombone and heavy, heavy riffage from guitarist Philip Lee and huge in-the-pocket drum clashing from Tony Oxley. Even though it changes mood and tempo gear at about six-minutes, it slinks back into have-a-Martini territory soon enough and does so to its 9:01 minute closing. After the first two cuts of Free Form, the almost straight-up barroom smooze of "Feelings And Things" feels kind of like naff beret-Jazz – guests including Mick Pyne on Piano while Brian Odgers and Tony Oxley supply the rhythm section (Bass and Drums respectively). 

Side 2 opens with a tribute to Stan Getz, "Sweet Rain" gives us up and down the scales (like raindrops) and mellow soloing from John Surman (Soprano Sax), Ray Warleigh on Alto Sax with Alan Skidmore on Trombone. "Nowhere" again gives us that B,S&T brass-blasting opening only to settle into a tinkling shimmer of cymbals and reed instruments for the Bob Moses tribute. In this almost eight-minute canter, you can hear Tubular Bells and Kevin Ayers and Terry Riley and even Santana three years after 1970 – all of it getting spacey before the big boys of brass come in to sort out the meandering. The shortest cut on the album is probably its most commercial – a pretty, melancholic cellos and guitar murmur calling itself "Throb" of all things. Fred Alexander and Alan Ford are on Cellos with gently strummed acoustics before Chris Spedding arrives just after two minutes with Electric Jazz Guitar licks. Continuing that strummed acoustic guitar bint, the 1979 debut LP ends with "And On The Third Day" for Gary Burton and features solos by Chris Pyne (Trombone), John Surman (Baritone Sax) with the trio of Alan Skidmore, Ray Warleigh and Mike Osbourne all joining in for the final melee. The sexy groove deviates as it meanders for its eight-minutes, pianos and brass puncturing the sashay (lovely John Surman solo at 4:02 minutes) - but always with cool musicianship that will entrance Jazz buffs and top quality production values brought to the fore by a quality Remaster.

Recorded in November and December 1970 (again in Morgan Studios in London) but not released until August 1971, Gibbs take his Trombone to Tanglewood U.S.A. for album number two (his last for Deram). Named after a music centre/musician learning facility in Lenox, Massachusetts where Gibbs had spent happy daze in 1963, you get more of the same spacey jams. Tipping its hat to a catchier (dare we say it) more commercially acceptable sound – the title track is piano-plinking Jazz mixed with Brass and Funky Rhythms. And again, gorgeous sound and clear instruments (dig that Bass run at 6:40 minutes before its goes into Chris Pyne, Henry Lowther and Tony Roberts on Trombones and Tenor Sax). Stan Sulzman blasts his Soprano Sax on the short but far too bombastic "Fanfare". Things become far more pleasant with the lazy drawn-out vibes of "Sojourn" – a shimmering piece that features Frank Alexander on Cello, John Surman on Soprano Saxophone with Alan Skidmore on Tenor Sax. The opening other-dimension majesty and ethereal musicality of "Canticle" is impressive and the audio - gorgeous. A lingering drone floats as Horns and Winds float in, out and over it – Tony Roberts guesting on Alto Flute, Alan Skidmore on Alto Flute and Soprano Sax, John Surman on Soprano Sax while Gordon Beck tinkers the Electric Piano. The problem is that at 13:04 minutes – it overstays its welcome (I still think it’s the coolest thing on the album). Finally, a guitar gets a chance to let rip on the LP closer "Five For England" – a free-wheeling vehicle for Chris Spedding and a huge array of Brass – not unlike Rumplestiltskin by Rumplestiltskin on Bell Records – another Funky-As-F instrumental you must check out. "Five For England" ends "Tanglewood 63" on an up-note – but more importantly – Spedding and his flicking wah-wah guitar make it cool. And you can so hear why this album appeals to Funksters more than the debut. 

For damn sure in 2025 and 2026 – this kind of Free Form Jazz Fusion mixed in with Funk and Space and Acid Head Trips will be seen as indulgence many can do without. But for those who worship at the tapping feet of such music, this Michael Gibbs BGO twofer will be bliss in a carbon-dated 2CD bottle. Beat Goes On pops out a cool one…

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