"Shaft (Music From The Soundtrack):2-CD Deluxe Edition" by ISAAC HAYES – 23 July 1971 US 2LP Set on Enterprise Records and November 1971 UK 2LP set on Stax Records – featuring Backing Bands The Bar-Kays, The Isaac Hayes Movement, The Memphis Strings and Horns with Arrangements by Johnny Allen and J.J. Johnson and backing Singers Pat Lewis, Rose Williams and Telma Hopkins (September 2019 US Craft Recordings/Enterprise Deluxe Edition 2-CD Reissue – A 2LP set Newly Remastered by Dave Cooley onto CD1 – CD2 With Original Film Score Album Version Available For The First Time Remixed and Remastered by Michael McDonald and Doug Schwartz) - A Review by Mark Barry...

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Rating: *****

"...Damn Right!"

There was industry discussion in the October 1971 issue of Billboard Magazine as Stax/Enterprise prepped for the release of Isaac Hayes' second double-album "Black Moses" in the same year (the double soundtrack album "Shaft" had been issued in July 1971). The article told all industry insiders that Stax had locked down all promotion of his new opus. This was because some DJ had reputedly been offered $300,000 for his Promo Copy of "Black Moses" with the aim of bootlegging it.

Why would someone offer an A&R employee such a huge amount of cash in 1971? Because his previous effort "Shaft" as a Movie, as a 2LP Blaxploitation Soul Music Soundtrack was MASSIVE – an absolute phenomenon and in a way that few had ever seen before. The handsome sex symbol lead actor Richard Roundtree, the bespectacled and impossibly cool musician Isaac Hayes with his beard and bling, the wah-wah guitar theme Hayes composed that just slaughtered all in its path worldwide - this bad mother was everywhere. Stax was even then claiming that such was the demand for Isaac's fourth release, that nearly 40% of all copies of "Shaft" in American circulation were bootlegs - gazillions of them.

Few now remember (or even know) that December 1971's "Black Moses" was going to be Isaac Hayes' fifth No. 1 US R&B LP in a row – a feat no one had ever achieved (he would achieve another 2 R&B number ones in 1974 with "Truck Turner" and the 1976 live double "Live At The Sahara Tahoe"). Seven No.1 R&B albums – wow!

But its the soundtrack to "Shaft" that has a special place in fan's hearts. Which brings us to this latest go-round – a twofer from September 2019 which replaces the Universal/Concord Music November 2009 US single-CD Remaster version. 

There were bitter diatribes about the BOB FISHER sound on the 2009 Concord Music Group single-disc Remaster – that is firmly kicked into touch here. The principal 1971 Double-Album Original Soundtrack has been Remastered by DAVE COOLEY at Elysian Mastering for this 2019 twofer and sounds amazing (CD1) - the Film Score on CD2 was Remixed by MICHAEL McDONALD at Private Island Trax while the Mastering was done by a name many will know - DOUG SCHWARTZ at Mulholland Music. For me (at least) CD1 is improved (clearer bass) and CD2 is even better somehow than CD1 – fabulous clarity-wise. I love what I'm hearing. And this reissue is also the first time that both versions have been available together as a 'Deluxe Edition'. DE 2019 has also wisely dropped the '2009 Mix' of the famous title song "Shaft" which was a supposed bonus at the end of the 2009 single-CD issue (74:32 total playing time because of it) - no great loss. And the film score on CD2 offers 22 cuts and not the 15 on CD1. I've also provided the playing times of tracks on both CDs for comparisons. Let's get to the details...

UK released 20 September 2019 - "Shaft: Deluxe Edition 2-CD Set" by ISAAC HAYES on Craft Recordings 00888072099012 (Barcode 888072099012) is Two-Disc Reissue and Remaster offering the full 15-Track 2LP 'Original Soundtrack' set Remastered onto CD1 with the 2-Track 'Film Score' Variant Also Newly Remastered onto CD2 (together for the first time). It plays out as follows:

CD1 Original Soundtrack (69:32 minutes):
1. Theme From Shaft (Vocal) – 4:40 minutes [Side 1]
2. Bumpy's Lament – 1:49 minutes
3. Walk From Regio's – 2:22 minutes
4. Ellie's Love Theme – 3:15 minutes
5. Shaft's Cab Ride – 1:07 minutes
7. Café Regio's – 6:09 minutes [Side 2]
8. Early Sunday Morning – 3:47 minutes
9. Be Yourself – 4:27 minutes
10. A Friend's Place – 3:21 minutes
11. Soulsville (Vocal) – 3:47 minutes [Side 3]
12. No Name Bar – 6:09 minutes
13. Bumpy's Blues – 4:01 minutes
14. Do Your Thing – 19:31 minutes [Side 4]
15. The End Theme – 1:56 minutes
Tracks 1 to 15 are the double-album "Shaft" - released 23 July 1971 in the USA on Enterprise ENS-2-5002 and November 1971 in the UK on Stax 2659 007. Produced by ISAAC HAYES and featuring THE BAR KAYS and THE MOVEMENT as the backing band – the Music From The Soundtrack 2LP set peaked at No.1 in both countries.

CD2 Film Score (62:07 minutes):
1. Theme From Shaft (Film Version) - 4:34 minutes
2. Shaft's First Fight - 1:45 minutes
3. Reel 2 Part 2 / Cat Oughta Be Here – 1:43 minutes
4. Bumpy's Lament (Film Version) – 1:44 minutes
5. Soulsville (Film Version) – 3:32 minutes
6. Ellie's Love Theme (Film Version) 1:45 minutes *
7. Shaft's Cab Ride (Film Version) / Shaft Enters Building – 1:38 minutes
8. I Can't Get Over Losin' You – 2:06 minutes
9. Reel 4 Part 6 – 1:37 minutes
10. Reel 5 Part 1 – 1:35 minutes
11. A Friend's Place (Film Version) – 1:44 minutes
12. Bumpy's Blues (Film Version) – 3:05 minutes
13. Bumpy's Lament (Reprise) (Film Version) – 1:32 minutes
14. Early Sunday Morning (Film Version) – 3:05 minutes)
15. Do Your Thing (Film Version) – 3:21 minutes
16. Be Yourself (Film Version) – 1:54 minutes
17. No Name Bar (Film Version) – 2:28 minutes
18. Shaft Strikes Again (Film Version) / Return Of Shaft – 1:36 minutes
19. Café Regio's (Film Version) – 4:23 minutes
20. Walk From Regio's (Film Version) – 2:27 minutes
21. Shaft's Pain – 3:03 minutes
22. Rescue / The End Theme (Film Version) – 10:44 minutes
* Track 6 is mistakenly credited as 3:23 minutes; it is 1:45 minutes

The single-disc jewel case of 2009 is replaced with a three-panel foldout card sleeve and stickered-outer-shrinkwrap (see photos) - CD1 in one pouch, CD2 in another and the booklet in the third flap. After reproducing the original album liner notes on Pages 2 and 3, from Page 4 on, the 20-page booklet is a pleasingly in-depth affair with new 2019 liner notes from AHMIR "Questlove" THOMPSON. 

Questlove takes the reader through the genesis of the music to its cultural explosion (24-hour screenings to meet the demand) and onto the "Big Score" and "Shaft In Africa" follow-up films/soundtracks and the WATTSTAX Concerts while talking about the groundbreaking 60-weeks the double-album spent on the charts. Although it didn't mean to start a sort of early BLM in 1971 - street hustling, drug addiction and cold-landlord slums were all part of the "Shaft" narrative/look and therefore brought these topics to the fore. Questlove sets that backdrop and is clearly enamoured at the big man Isaac Hayes - composer, producer, icon and above all - successful. 

Stills from the Blaxploitation Film pepper the text, actor Richard Roundtree looking like the Private Eye man of the moment while dodgy-looking inner-city dudes hold ladies and people hostage with round-barrel Thompson submachine guns. Towards the Credit Pages are various pictures of Isaac with backing musicians The Bar-Kays and members of his own band The Movement – Black and White snaps of Hayes with Gwen Mitchell (who was in the movie) by a framed poster of their phenomenon whilst another shows his Academy Award - all of it with the usual recording and reissue credits in the back pages. Cool, in-depth and "Shaft" now has that classy Craft Recordings look (they specialise in all things Stax and related - see my review for 'The Gospel Truth: The Complete Singles Collection'). To the music we have…

For an album that's so associated with the chicka-chicka wah-wah guitar of its theme song - "Shaft" the double-album is surprising mellow throughout. The near two-minutes of the sexy instrumental "Bumpy's Lament" is followed by the Funky Brass and Percussion 2:24 minutes of the superb "Walk From Regio's" where you can literally see our hero walking the dude streets with a pep in his step and a glide in his stride (oh stop it). There is gorgeous sound on the vibes smooch of "Ellie's Love Theme" - and those brass and strings melting on "Early Sunday Morning" as the high-hat taps time.

The brass pump-and-punch of "Be Yourself" sounds like a 1976 Disco anthem only five years before anyone knew the word (nice clarity on the Sax solo too). Back to yeah baby turn-out-the-lights smooch with "A Friend's Place" - the instrumentation being ever so slightly fragmented in the sound stage (one too up front, the other too far back) - but that's how I remember it was on the original vinyl. Now to one of my faves - the keyboard and vocal "Soulsville" talks about brothers getting high and strung out and finding out that they can get high but never touch the sky. The audio is gorgeous and makes you wish he sang more on the album (a bummer is that the three ladies who add so much to the backing vocals - Pat Lewis, Rose Williams and Telma Hopkins are not credited in the musicians list - a stupid oversight carried over again). There is that big chunky piano that opens the smooth "Bumpy's Blues" - lovely brass and drums - so clear now. And on it goes to the monster that is the 19:28 minutes of "Do Your Thing" - if the music makes you groove - love on baby (it is reduced to 3:21 on Cd2). Fantastic to hear it sound this good. Rap On. Which brings us to the radically different beast that is the Film Score.

Let's get specific. The playing times for "Theme From Shaft" on CD1 and CD2 are 4:30 and 4:34 minutes – so not much in timings – but the plays and mixes are wildly different. After all these years of Damn Right and Can You Dig It and Right On and Talking About John Shaft and Shut Your Mouth – it is wild to hear those subtle keyboard fills on the CD2 version. But when we would normally have gone straight into "Bumpy's Lament" as the next track – we now get four extra minutes of Tabla and Flute and Bass noodling in "Reel 2 Part 2 / Cat Oughta Be Here" that feels like you're eavesdropping on a long-lost John Barry gets Funky session. 

The clarity on "Reel 2 Part 2 / Cat Oughta Be Here" is gorgeous and even if it is only under two minutes, what a find for fans. But my jam is "Soulsville" which is moved forward in the Film Score version and features a great vocal/lyrics from Isaac – a little boy needs a pair of shoes. The vibes and flicked guitar of the gorgeous instrumental Soul ballad "Ellie's Love Theme" sounds amazing on CD2, but it is 1:45 minutes long on the Film Score version (therefore shorter) and not the extended 3:23 mix on the Soundtrack Album – so sort of winners and losers there. CD2 also mistakenly lists it as 3:23 minutes long when it isn't.

 
You can hear why the slightly Motown-out-of-place "I Can't Get Over Missing You" although Northern Soul dancers would dig it big time as a 45, they could spin. The very George Benson guitar-ish "Café Regio's" on the original ran to six minutes – on CD2 it's shortened to 4:23 minutes and is better for it in my opinion. But the final piece "Rescue/The End Theme" is a full-on 10:44-minute musical rollercoaster ride alternating between smooch and shimmy one moment (lone Vibes and Bass notes) to Black Private Dick funkiness the next where the wallop of orchestra and band kick in.

To sum up – after the single CD of 2009 - this supposed Hotter Than Bond and Cooler Than Bullitt 'Deluxe Edition' 2CD variant of 1971's "Shaft" makes a real effort. I think Craft Recordings should also have included those US Single Mixes either on CD1 or CD2 (there was room) and maybe a fold-out poster in that first flap too (the film poster is pictured on Pages 2 and 3 and its base sentences make for the backdrop on all three inner flaps as pictured). 

But as it is – the New Remaster on CD1 and those extras on CD2 make for a lethal combo. And "Shaft: Deluxe Edition 2-CD" does not come with an aircraft-carrier price tag either. 

I can indeed dig that the most my brothers and sisters and rappers and (oh do be quiet)…

"On Her Majesty's Secret Service - Original Motion Picture Soundtrack" by JOHN BARRY - November 1969 UK Soundtrack Album to the Sixth James Bond Film on United Artists featuring Louis Armstrong as Guest Vocalist on the Final Theme Song and a Christmas Song Sung by Nina Van Pallandt (February 2003 UK EMI/Capitol 'James Bond 007 Remasters' Expanded Edition CD Reissue with Four Extended Tracks and Ten Previously Unreleased Bonuses – Michael McDonald and Doug Schwartz Remixes and Remasters) - A Review by Mark Barry...

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"...This Never Happened To The Other Fella..."

 

In September 1969 - through their United Artists label - EMI UK prepped a hungry James Bond audience with a new compilation LP called "The Best Of Bond - The Original Soundtrack Themes" on United Artists UAS 29021. With the bulk of it by JOHN BARRY - it featured cuts from the first five 007 films from "Dr. No" in 1962 to "You Only Live Twice" in 1967. You can pick it up in 2024 for under two pounds on original vinyl and is a bit of a winner frankly. Which brings us to rusty door No. 6…

The sixth James Bond film "On Her Majesty's Secret Service" - and some would argue the best John Barry soundtrack of all the 007 outings - came to the UK public (in a vinyl gatefold sleeve) in late November 1969 on United Artists UAS 29020 (Stereo only). With newcomer George Lazenby in the lead role (replacing Sean Connery) - the movie itself premiered 18 December 1969 in the UK and 19 Dec 1969 in the States with Lazenby already stating that he would NOT do a second film. 

Perhaps just as well because as everyone knows, neither "On Her Majesty's Secret Service" or Lazenby was particularly well received - some even scathing of the new incarnation of Bond and his hammy weak-kneed portrayal of Dr. Hilary Bray. And this was despite the fact that OHMSS secured huge box-office takings worldwide - but because it was a lot less than both of its predecessors "Thunderball" and "You Only Live Twice" - it was technically considered to be a flop. 

Its John Barry melody-filled motion picture music (that included the first use of synths too) - initially anyway - did not make much of an impact either. It barely scraped into the US charts in February 1970 (again on United Artists) arriving at a lowly peak of No. 103 whilst not charting in the UK Top 40 at all. Jazz Vocalist legend Louis Armstrong would die two years later (it was last vocal performance and full of pathos for it – now a wedding standard) while not even Kojak Telly Savalas as arch-enemy Blofeld or the Emma Peel gorgeous Diana Rigg as Bond’s first wife Tracy Di Vicenzo could help save it in the public's eyes.

But time has proven a healer - especially amongst JOHN BARRY aficionados who have always adored its music. So, when the entire Bond catalogue turned up on 'James Bond 007 Remasters' CD in 2003 - many JOHN BARRY fans got whomped – and whomped good in this 1969-case. Not only is there ten tasty Soundtrack outtakes available for the first time (practically more than doubling the original music count of thirty-seven minutes to seventy-nine forty-six minutes) – but four crucial songs are now extended versions with original Barry music reinstated. Those four are "This Never Happens To The Other Fella" (extended from 4:25 to 5:06 minutes), "Ski Chase" (extended from 2:52 to 3:39 minutes), "Journey To Blofeld's Hideaway" (extended from 3:25 to 4:53 minutes) and "Over And Out" (extended from 2:40 to 3:11 minutes). As you can see from the playing times – some are maybe only some fifty-seconds longer – but "Journey To Blofeld's Hideaway" is so radically altered as to warrant a note in the booklet to say, 'Contains Previously Unreleased Music Within Cue'. The listen is so much better and deeper. 

Remastered with pure love from the original master tapes by top Engineer DOUG SCHWARTZ (assisted and remixed by Michael McDonald) – the audio is truly spectacular. Much like the actual films would be lifted-up into something glorious with the Lowry Process a few years later (frame-by-frame restoration) - here the revelations of how good Barry was comes at you on every track except of course the cloying Nina Van Pallandt Christmas trees schlock. To the details… 

Sir. Hilary Bray, my heraldry charts please...

UK released 11 February 2003 (UK/EUROPE reissued 2012 as EMI/Capitol 00724354141928) - "On Her Majesty's Secret Service - Original Motion Picture Soundtrack" by JOHN BARRY on EMI/MGM/Capitol 72435-41419-2-8 (Barcode 724354141928) breaks down as follows (79:46 minutes):

1. We Have All The Time In The World (Vocals by Louis Armstrong) – Side 1
2. This Never Happened To The Other Fella *
3. Try
4. Ski Chase *
5. Do You Know How Christmas Trees Are Grown? (Sung by Nina)
6. Main Title - On Her Majesty's Secret Service [Side 2
7. Journey To Blofeld's Hideaway *
8. We Have All The Time In The World (Instrumental)
9. Over And Out *
10. Battle At Piz Gloria
11. We Have All The Time In The World – James Bond Theme
Tracks 1 to 11 are the album "On Her Majesty's Secret Service - Original Motion Picture Soundtrack" - released November 1969 in the UK on United Artists UAS 29020 in Stereo and in the USA on United Artists UAS 5204.
NOTES: 
All music by JOHN BARRY - HAL DAVID wrote the Lyrics for Tracks 1 and 5. 
Tracks 2, 4, 7 and 9 are marked * because they are Extended Versions; timing differences to the original 1969 LP are noted in the paragraphs above. 

PREVIOUSLY UNRELEASED BONUS TRACKS:
12. Journey To Draco's Hideaway (3:41 minutes)
13. Bond And Draco (4:34 minutes)
14. Gumbold's Safe (4:49 minutes)
15. Bond Settles In (2:16 minutes)
16. Bond Meets The Girls (3:27 minutes)
17. Dusk At Piz Gloria (2:32 minutes)
18. Sir Hillary's Night Out (Who Will Buy My Yesterdays?) (4:46 minutes)
19. Blofeld's Plot (5:19 minutes)
20. Escape From Piz Gloria (4:53 minutes)
21. Bobsled Chase (2:03 minutes)

The 10-page booklet has affectionate, witty and informative liner notes from JEFF BOND (no relation) with Page 5 being a double foldout sporting an array of colour stills from the movie on one side – our own Emma Peel in her Spanish ensemble, the wedding ceremony with Diana Rigg as Teresa the only woman Bond marries, the famous silver Aston Martin, Ski Scenes, Blofeld's assassin woman Irma Bunt played by the decidedly creepy Ilsa Steppart (who died in real life only three days after the movie came out – 21 Dec 1969) – while the rear has George Lazenby as James Bond laughing (and why wouldn't he) with the bevvy of girls all living in the Swiss Alpine Retreat Piz Gloria – Blofeld’s Angels of Death. The last page has reissue credits and some discography info.

But the big news here is the SOUND - this CD sounds utterly glorious. Recorded in October 1969 by Barry at CTS Studios in London (Engineered by John Richards) - it was afforded all the luxury of modern recording facilities - and man does it show. The Louis Armstrong song was in fact sung at the end of the movie and not at the beginning – a first for Bond. Barry wrote the music; Hal David the Lyrics and an already ill Armstrong sang his warmest gravel-voice into the microphone with extraordinary tenderness – as if the married-to-the-job but never to be actually-married Bond had indeed fallen in love with Teresa Tracy Di Vicenzo. The swish and sway of the instruments and those plucked strings lend it real heart-wallop power. The first of three instrumentals elevate Side 1 of the album even more – that Extended "Ski Chase" sending your imagination right back to the slopes of the Alps and colour on the snow that would really please Count Dracula. 

The less said about the dreadfully twee Nina song about Christmas Trees the better – and thankfully the gorgeous instrumental melody in the Main Theme of "On Her Majesty's Secret Service" that opens Side 2 blasts that bad taste right out of your mouth. For most fans the different opening (cue in) to "Journey To Blofeld's Hideaway" but in a very nice way – one the best instrumentals on the Soundtrack now given room to breathe and relay its magic. And again, your mind goes to cable cars, bobsleds, fur around hoods and goggles the size of American and Australian satellite dishes covering the 1969 moon landing only five months before. I am ambivalent towards the use of the synth on the James Bond Theme – but I know others would be bereft if it was not there. Far better for me is the double whammy of "Over And Out" followed by "Battle At Piz Gloria" – bombs and babes depicted by the dapper gent. 

I kind of knew that the Bonus Tracks would be good – but they are surely the reason why this CD has garnished a bit of a price tag since 2003 issue in February of that year. The four and half minutes of "Bond And Draco" is unbelievably good – while "Dusk At Piz Gloria" evokes such a great Sixties all-things-are-possibly vibe. The bachelor pad sway of the strings too as Bond lays eye son all the girlies will probably make you laugh out loud – big cheesy grin – Barry in his smoker-jacket with Martini in hand. Fabulous stuff. 

Poor Lazenby never did recover as an actor and James Bond 007 would have to wait until 1973 for Roger Moore and "Live And Let Die" (the Wings single doing the business). But this is where the middle magic of JOHN BARRY lies – the unholy triumvirate of "You Only Live Twice" in 1967 and my personal fave, the 1971 gem "Diamonds Are Forever" bringing up the rear and pushing out the front. I can feel a magnetic zipper joke coming on – buy it and wallow...

"American Pie" by DON McLEAN (June 2003 Capitol 'Expanded Edition' CD Remaster in Gatefold Card Slv Repro Artwork with Two Bonus Tracks) - A Review by Mark Barry...

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"...Now I Understand What You Tried To Say To Me..." 

Some artists have a gift. Their songs are more than pretty or even beautiful - they somehow find their way into your very soul. New York's DON McLEAN is one of those singer-songwriters - and 1971's "American Pie" will forever be his acoustic-soulful rock-masterpiece.

Some backdrop first - his September 1970 debut album "Tapestry" was originally issued on Mediarts 41-4 in the USA and received hugely favourable reviews but precious little chart action. But akin to his monolithic second LP - his debut had tunes that were undeniably good. So when UA picked up the Mediarts back-catalogue they reissued "Tapestry" in August 1971 on United Artists UAS 5522. That version finally charted December 1972 in the USA on the back of the "American Pie" single and LP success peaking at No. 111. Over in Blighty however - "Tapestry" would not surface until May 1972 on United Artists UAS 29350 - 3 months after the also late British release of the "American Pie" LP in February 1972. “Tapestry" made no impact and UA Britain didn't even try a 45 from it. Which brings us to album No. 2...

Aged only 26 and dedicating his second outing to Buddy Holly (McLean was 13 when the plane that took his Rock 'n' Roll hero's life crashed in a snowy field in February 1959) - "American Pie" was released October 1971 on United Artists UAS 5535. Running to a whopping 8:32 minutes - the album's famous title track was split into two parts for a 45 in November 1971 by UA and given the luxury of a picture sleeve (the album artwork). United Artists 50856 made an immediate impact. So popular was the song that DJs even blanked the 'turn it over' hassle of the single and played the full LP version instead - unheard off for a tune of such length on American Radio. On the back of all this airwave plugging the "American Pie" album entered the US LP charts 13 November 1971 where it began an ascent all the way to Number 1 - staying on the LP charts a huge 48 weeks - almost an entire year.

The UK didn't see the "American Pie" 7" single until early December 1971 and then as a 4-minute edited A-side on United Artists UP 35323 with "Empty Chairs" on the B. It was reissued 21 January 1972 as a two-part single on United Artists UP 35325 – a month before the LP's release in February – and it was this reissued version that hit the charts immediately – eventually rising to No. 2. The albums only other UK 45 was of course "Vincent" with "Castles In The Air" on the flipside - released late March 1972 on United Artists UP 35359 in a picture sleeve. It famously became a UK No. 1 - a poignant ballad that is adored to this day and permanent feature on Oldies playlists.

Which brings by a circuitous route to this rather lovely CD reissue that unfortunately has audio issues on some important tracks. Here are the starry, starry details...

UK released 24 June 2003 - "American Pie" by DON McLEAN on Capitol 72435-84279-2-9 (Barcode 724358427929) is an 'Expanded Edition' CD Remaster with Two Bonus Tracks that plays out as follows (46:23 minutes):

1. American Pie [Side 1]

2. Till Tomorrow

3. Vincent

4. Crossroads

5. Winterwood [Side 2]

6. Empty Chairs

7. Everybody Loves Me, Baby

8. Sister Fatima

9. The Grave

10. Babylon

Tracks 1 to 10 are his 2nd studio album "American Pie" - released 15 October 1971 in the USA on United Artists UAS 5535 and February 1972 in the UK on United Artists UAS 29285. Recorded at The Record Plant Studios in New York in May and June 1971 and Produced by ED FREEMAN - it peaked at No. 1 in the USA and No.3 in the UK. All songs are Don McLean originals except the Traditional "Babylon".

BONUS TRACKS (Previously Unreleased):

11. Mother Nature

12. Aftermath

Original vinyl copies of the LP (artwork and photos by George Whiteman) came with an inner sleeve sporting a photo and dedication to the TV cowboy Hoppalong Cassidy astride his steed Hopper that is reproduced in the centre of the foldout card sleeve. The 12-page booklet in the left flap reproduces the lyrics for the first time and gives a track-by-track breakdown from new interviews with McLean in April 2003 by liner-notes writer PAUL GREIN. Amidst the telling is the recounting of Lori Lieberman's writing of "Killing Me Softly With His Song" - itself a No. 1 for Roberta Flack - a song Lieberman wrote after attending a Don McLean concert in the Troubadour in L.A. – moved to tears on hearing him play "Empty Chairs" from the American Pie LP. There's also a photo of DL on a bench with an old Blues Boy and his acoustic guitar (looks like The Village).

The CD Remaster by DOUG SCHWARTZ was done April 2003 at Mulholland Music in California with one of the Bonus Tracks "Aftermath" mixed by BILL SMITH at Capitol. The sound improvement is immediate when you play that famous opening cut – Paul Griffin's Piano – David Spinoza's guitar licks – much better for sure – clear and warm. But I'd add that there is some serious tape hiss on some of the quieter tracks and typically its on songs people adore like "Vincent" and "Empty Chairs". It’s a warm transfer overall for sure – full of life and air around the instruments - but I’d warn caution. This is a four-star audio listen for five-star material - something I suspect is inherent on the source tapes and couldn't be helped. On to the music and the words...

I’d forgotten about his lyrics – how good they are. "American Pie" – his tribute to the day the music died (3 February 1959) - hosts some great storytelling – the father, the son and the Holy Ghost who caught the last train to the coast – while good ole boys sit drinking whiskey and rye singing... But for me the real magic begins with the truly gorgeous "Till Tomorrow" – as beautiful and as simple a melody as you've ever heard. The album's other monster song is of course "Vincent" - a ballad to the doomed artist - but along with "Crossroads" - both are laden with hiss despite their sweet beauty.

Side 2 opens with a song I played to death back in the day - the uplifting jaunt of "Winterwood". Acoustic guitars and gentle vibes hold up lyrics like "...no one can take your place with me...there's no place I'd rather be...than it's your place for the night..." This is a song where birds sing hopeful songs on dismal days. I wonder how many men and women have shed a tear to the heartache inherent in "Empty Chairs" - McLean strumming your pain as the lady said ("...I never understood...that although you said you'd go...until you did...I never thought you would..."). Grein reckons that the bopper "Everybody Loves Me, Baby" would have made a great third 45 - I beg to differ - I've always thought it overbearing (although the Remaster is excellent). The trio of "Sister Fatima", the Acapella bareness of the lost marines song "The Grave" and the Traditional cover of "Babylon" take the LP to the finish line - beautiful stuff.

I hadn't expected much from the two bonus cuts - but I'm glad to say that both the upbeat "Mother Nature" (a band number) and the haunting "Aftermath" (an acoustic number that should have replaced "Everybody Loves Me, Baby") act as a perfect end game. "Aftermath" also has gorgeous audio – better than many of the more famous album cuts on Side 1.

"...My sorrow will take wings in the morning..." – Don McLean sings on the Soul touching "Till Tomorrow". Discover why they call this great album an American classic on this lovely and cheap-as-chips CD...

PS: I've also reviewed "Homeless Brother" and the double-live set "Solo"...

"Nuthin' Fancy" by LYNYRD SKYNYRD (1999 MCA 'Expanded Edition' CD - Doug Schwartz Remaster) - A Review by Mark Barry...

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"...Mister Saturday Night Special..."

I can recall that at the time Lynyrd Skynyrd's 3rd studio album "Nuthin' Fancy" was greeted with favourable press reviews all round (Billboard called it their best and most mature work) - but after the absolute Southern Rock 'Sounds Of The South' highs of "Pronounced" in 1973 and especially 1974's brilliant "Second Helping" - fans initially felt the new album was a let down.

On first listen it wasn't as immediate as the previous two - lacked that first-flush sparkle (years honing the material) and had that very obvious hurried done-on-the-hoof feel with an equally humdrum front sleeve and screw you message on the rear (Keyboard Player Billy Powell giving two fingers to the camera). A body might have gotten the impression that Alabama's finest triple-guitar band really didn't give a skunk's turd for what was on the record and were already showing signs of being burnt out after years of relentless touring. As Ron O'Brien's superb liner notes tell us - "Nuthin' Fancy" initially charted big at No. 9 with a bullet (went Gold) but had no legs and left the charts a mere 20 weeks later. After the top-ten 7" single peak of "Sweet Home Alabama" at No. 8 the year prior - the album's lone 45 "Saturday Night Special" stalled at No. 23 Stateside in July and didn't chart at all in the UK. By autumn 1975 the LP was all but forgotten and only years later became a permanent bargain bin fodder item in secondhand record shops everywhere…

But time and fans have warmed to this 'unadorned' little gem – this simple man and his stories LP - and I personally prefer it to the over-praised debut with "Freebird" (a sacrilegious and scurrilous statement I know). It also helps that Doug Schwartz's 1999 CD Remaster is just right - punchy and alive – and beautifully clear without ever being overdone or over trebled. Here are the Made In The Shade details...

UK released November 1999 (August 1999 in the USA) - "Nuthin' Fancy" by LYNYRD SKYNYRD on MCA 112 024-2 (Barcode 008811202422) is an 'Expanded Edition' CD Remaster of their 3rd album from 1975 with Two Bonus Tracks that plays out as follows (49:12 minutes):

1. Saturday Night Special

2. Cheatin' Woman

3. Railroad Song

4. I'm A Country Boy

5. On The Hunt [Side 2]

6. Am I Losin'

7. Made In The Shade

8. Whiskey Rock-A Roller

Tracks 1 to 8 are their 3rd studio album "Nuthin' Fancy" - released 24 March 1975 in the USA on MCA Records MCA-2137 and May 1975 in the UK on MCA Records MCF 2700. Produced by AL KOOPER - the LP peaked at No. 9 and No. 43 in the US and UK album charts.

BONUS TRACKS:

9. Railroad Song (Live)

10. On The Hunt (Live)

Tracks 9 and 10 are Previously Unreleased - recorded 27 April 1975 live at Bill Graham's Winterland in San Francisco, California

LYNYRD SKYNYRD were:

RONNIE VAN ZANT - Lead Vocals, Lyrics and More

ED KING - Lead Guitars (Fender Stratocaster and Gibson SG)

ALLEN COLLINS - Guitars (Gibson Firebird) and Backing Vocals

GARY ROSSINGTON - Lead Guitar (Gibson Les Paul)

BILLY POWELL - Keyboards

LEON WILKESON - Bass (Fender) and Backing Vocals on "Saturday Night Special", "Railroad Song" and "I'm A Country Boy"

ARTIMUS PYLE - Drums and Percussion

GUESTS:

AL KOOPER - Keyboards, Backing Vocals and Percussion

Moog Synths on "Saturday Night Special", Organ on "Cheatin' Woman" and Piano on "Made In The Shade"

Backing Vocals on "Railroad Song", "Am I Losin' and "Whiskey Rock-A Roller"

Percussion on "I'm A Country Boy"

JIMMY HALL - Harmonica on "Railroad Song" and "Made In The Shade"

BARRY HARWOOD - Mandolins & Dobro on "Made In The Shade"

DAVID FOSTER - Backing Vocals on "Whiskey Rock-A Roller"

The 12-page booklet is nicely laid out - very in-depth and accurate liner notes and photo contributions from RON O'BRIEN - the usual reissue credits (good names like Andy McKaie and Beth Stempel coordinated the reissue) - but it drops the ball just a little. Fans will know that American copies of the LP had an inner sleeve with a photo-collage on one side and lyrics/credits on the other (British issues had an insert with the same). The photos turn up on Page 3 but the lyrics are AWOL - a bit of a dumb oversight really and especially on an album where the songs are so Van Zant personal. And frankly the two supposed Bonus Tracks feel very substandard to me in audio quality despite being recorded literally one month after the LP's release and Ronnie's praise of the Bill Graham audience. But all of that goes out the window when you return to the music of the album proper - now fitted out with wickedly good new audio courtesy of restoration and transfer from DOUG SCHWARTZ (he did two of the huge Stax Box Sets and a lot of work for Capitol Records).

"Saturday Night Special" was recorded April 1974 and was the only song in the can for the new LP – so the other seven had to be written as the band arrived in the studio in January 1975 – only days after a near yearlong touring gruel. "Saturday..." kicks off the album in high boozy bar-brawlin' style – a hooky riff with that distinctive Lynyrd Skynyrd sound. "Cheatin' Woman" is the first of the new stuff and is the kind of LP nugget that gets overlooked – a fabulous slinky guitar groove anchored but a superb Al Kooper keyboard funk as Ronnie gets all angst-in-his-pants about his woman's less than angelic ways. Jimmy Hall gives it some Harmonica as "Railroad Song" chugs into life like a freight train carrying our hero – cold, tired and dirty – a hobo being run out of town by the hoi polloi of Hicksville who want their town respectable. Ronnie rages against concrete in "I'm A Country Boy" song - and as he sings "...Big city town don't bother me...don't like smoke chokin' up my head..." - it goes into a very cool middle eight.

Side 2 opens with another rocker - the attacking guitar riffage of "On The Hunt" - and again the Remaster is amazing - the band sounding like Free at their Seventies best. The Acoustic Rock of "Am I Losin'" is a 'drinking wine with one of my friends' song and feels very "Mardi Gras" Creedence in its style and longing. The coke-crates Jug Band Americana sound to "Made In The Shade" is deliberate and works so well. "Whiskey Rock-A Roller" is just a good old boys raunch - the kind of 'suitcase by my side' boogie tune Lynyrd Skynyrd gargled for breakfast.

It's funny how some albums grow into something great despite the circumstance that surrounded their making. It's said the band thought "Nuthin' Fancy" only 'ok' - lacklustre even compared to what had gone before. But fans have taken its warm-hearted personality and simplicity to heart and over the decades it’s become the fave for many. And on this cool sounding Remaster - it's easy to hear why...

"Thunderball - Original Soundtrack Album" by JOHN BARRY (2003 EMI/Capitol CD – Doug Schwartz Remasters) - A Review by Mark Barry...

"...Mister Kiss Kiss...Bang Bang..."

When the entire James Bond musical catalogue turned up on remastered CD in 2003 - many fans got excited under their immaculately groomed tuxedos - quietly pawing their wallets in Soundtrack glee. I was one of those nerds and was/still am - giddily proud of it. I immediately ran out and purchased 1964's "Goldfinger", 1967's "You Only Live Twice" and 1971's "Diamonds Are Forever" - all so brilliantly scored by the mighty JOHN BARRY.

With those under my belt - I started hoovering up the rest of these brilliant discs - and 1965's "Thunderball" was the next obvious purchase. Also laden with a heap of primo previously unreleased material made available for the first time here (most of it better than what was released) - it's all remastered to perfection by DOUG SCHWARTZ at Mulholland Music from original tapes (79 minutes playing time). Bit of a no brainer really. Here are the jet packs...

UK released March 2003 (February 2003 in the USA) - "Thunderball (Original Motion Picture Soundtrack)" by JOHN BARRY on EMI Capitol 00724358058925 (Barcode 724358058925) breaks down as follows (79:06 minutes):

1. Thunderball – Main Title (Vocal Tom Jones)

2. Chateau Flight

3. The Spa

4. Switching The Body

5. The Bomb

6. Café Martinique

7. Thunderball [Side 2]

8. Death of Fiona

9. Bond Below Disco Volante

10. Search For Vulcan

11. 007

12. Mr. Kiss Kiss Bang Bang

Tracks 1 to 12 are the album "Thunderball: Original Motion Picture Soundtrack" - released December 1965 in the UK on United Artists ULP 1110 (Mono) and United Artists SULP 1171 (Stereo) and in the USA on United Artists UAL 4132 (Mono) and United Artists UAS 5132(Stereo). The Stereo mix is used throughout.

PREVIOUSLY UNRELEASED BONUS TRACKS:

13. Gunbarrel/Traction Table/Gassing The Plane/Car Chase

14. Bond Meets Domino/Shark Tank/Lights Out For Paula/For King And Country

15. Street Chase

16. Finding The Plane/Underwater Ballet/Bond With Spectre Frogmen/Letter To The Rescue/Bond Joins Underwater Battle

17. Underwater Mayhem/Death Of Largo/End Titles

18. Mr. Kiss Kiss Bang Bang (Mono)

The 10-page booklet has affectionate, witty and informative liner notes from JEFF BOND (no relation) with Page 5 being a double foldout sporting an array of colour stills from the movie. We get former Miss France – the beautiful Claudia Auger in varying swimsuits (what a nice surprise for James), Italian actress Luciana Paluzzi as Fiona and Martine Beswick as Paula (oddly enough also in a bikini) with the eye-patched Adolfo Celi as the evil Spectre head-honcho lording it over a bevvy of lovelies and hungry sharks on board his super yacht – the Disco Volante.

But the big news here is the SOUND. Like all the other 007 remasters in this full-on series – the AUDIO on this CD is utterly glorious. When the Tom Jones theme comes blasting in on that huge clump of brass instruments and thumping kettledrums – your speakers may want to run for cover. Don’t get me wrong. The music isn’t amped up or trebled for effect – its just 'there' – clear and powerful and dripping with that John Barry 60ts magic. "So he strikes! Like Thunderball!" roars the Welsh boyo with a set of lungs designed to level housing blocks. But from that you get Barry's beautifully atmosphere "Chateau Flight" – all those plucked strings where you can just see the creeping double-agents and the fisticuffs that will ensue.

“Café Martinique” is silky and smooth land immaculate like Sean Connery’s Saville Row tailoring – shimmying along on its beautifully orchestrated string arrangements. The almost boppy “Death Of Fiona” makes you think of the scene at the restaurant when he deposits a dead body in a chair. Better is the fab four-minutes of “Bond Below Disco Volante” – slinky strings building to that moment of danger. And the Audio is awesome...

As if the Soundtrack itself isn't the Georgie Best - you're hit with a wad of Previously Unreleased material from the original film that's been in the can for 40 years too long. The four-part "Gunbarrel etc" lasts just over four minutes and includes that cool 007 refrain bookended by brass and frantic strings as Bond scraps his way out death’s clutches. The second extra "Bond Meets Domino etc." is twice as long at 8:18 minutes and will thrill aficionados with its interwoven Bahamas-rhythms - quickly followed by all that under-watery strong music as James goes snooping round someone’s shellfish. Real 007 freaks will love the fact that "Street Chase" contains what many consider to be Barry's most magnificent moment - often simply called '007' - it's incorporated into the song to great effect. The near 10-minutes "Finding The Plane etc" is the same - gorgeous music that will make you swoon and sway and drag out that fully restored BLU RAY and sit there in your tuxedo and martini (yeah baby).

You remember when Bond was fun, fruity and full of fab gadgets you wanted to stab the school-bully with - well then 1965’s "Thunderball" on CD is your jet-propelled poison. Barry would go on to his two masterpieces - 1967's "You Only Live Twice" and 1969's "On Her Majesty's Secret Service" - and I can't be rational about either.

“Thunderball” is a fabulous CD Remaster and presently priced at less than five post-Brexit bent pound coins. You go James...

"You Only Live Twice - Original Soundtrack Album" by JOHN BARRY (2003 EMI/Capitol CD – Doug Schwartz Remasters) - A Review by Mark Barry...

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"...Improper Advances..."

When the entire James Bond musical catalogue turned up on remastered CD in 2003 - many fans got excited under their immaculately groomed tuxedos - quietly pawing their wallets in Soundtrack glee. I was one of those nerds and was/still am - giddily proud of it. I immediately ran out and purchased 1964’s “Goldfinger” and 1971’s “Diamonds Are Forever” on 2003 CDs - and this – for me the big daddy of them all – 1967’s “You Only Live Twice” – so brilliantly scored by the mighty JOHN BARRY.

Dugout volcanic lairs, cars being dropped into the ocean from helicopter magnets, capsules being gobbled up in space by a man with a dodgy eye and a purring cat, the self-assembly gyrocopter Little Nellie in four suitcases and Japanese babes Kung-Fu-ing their way through a dozen ugly bad guys before their lentil breakfast. What’s not to love? “You Only Live Twice” began the template for Bond that we’ve known and loved for more than 40 years and its music hasn’t aged – only grown in stature.

Not only that – but there’s also a huge haul of primo previously unreleased material made available for the first time here (most of it better than what was released). And like the other titles in this massive catalogue reissue series – DOUG SCHWARTZ has remastered the original master tapes for  “You Only Live Twice” with real skill. Everything about the stunning Audio Quality on this CD rocks. Here are the Bond Sab details...

UK released March 2003 (February 2003 in the USA) - "You Only Live Twice (Original Motion Picture Soundtrack)" by JOHN BARRY on EMI Capitol 72435-41418-2-9 (Barcode 724354141829) breaks down as follows (72:45 minutes):

1. You Only Live Twice (Title Song) - Sung by Nancy Sinatra

2. Capsule In Space

3. Fight At Kobi Dock - Helga

4. Tanaka’s World

5. A Drop In The Ocean

6. The Death Of Aki

7. Mountains And Sunsets [Side 2]

8. The Wedding

9. James Bond – Astronaut?

10. Countdown For Blofeld

11. Bond Averts World War Three

12. You Only Live Twice (End Title) – Vocal Sung by Nancy Sinatra

Tracks 1 to 12 are the album "You Only Live Twice: Original Motion Picture Soundtrack" - released July 1967 in the UK on United Artists ULP 1171 (Mono) and SULP 1171 (Stereo) and in the USA on United Artists UAL 4155 (mono) and UAS 5155 (Stereo). The Stereo mix is used throughout.

PREVIOUSLY UNRELEASED BONUS TRACKS:

13. James Bond In Japan

14. Aki, Tiger and Osato

15. Little Nellie

16. Soviet Capsule

17. Spectre And Village

18. James Bond - Ninja

19. Twice Is The Only Way

The 10-page booklet has affectionate, witty and informative liner notes from JEFF BOND (no relation) with Page 5 being a double foldout sporting an array of colour stills from the movie (Donald Pleasance as Blofeld, the Toyota 2000GT, Connery in Little Nellie etc).

But the big news here is the SOUND - this CD sounds utterly glorious. It opens with the ominous creep of “Capsule In Space” where Barry builds the music to a swirling climax – strings, wind instruments, the kettle drums – it all comes at you with such power and majesty as to be positively off-putting. It’s followed by the wicked “Fight At Kobe Docks – Helga” where Bond encounters baddies on the ground and rooftops of warehouses. It starts out warm but then the bass and keys kick in and that brass refrain as Connery punches his way out of trouble (unbelievable clarity). “The Death Of Aki” is merely the theme music played in a Japanese style and again there’s incredible depth in both the music and the transfer. Then you’re clobbered with true cinematic genius – Barry’s instrumental “Mountains And Sunsets” which literally conjures up the magic and glamour of Bond in your living room. Pure 007 comes in with “Bond Averts World War III” where all the themes we know and love about James come together in one climatic piece. Utterly brilliant...

As if the Soundtrack itself isn't the Georgie Best - you're hit with a wad of Previously Unreleased material from the original film that's been in the can for 40 years too long. "James Bond And Japan” lasts a fulsome 10:41 minutes and brings together all the best incidental music the movie has in a sort of mini Bond fest - menace and intrigue – warmth and beauty – danger looming - back to triumph - its just brilliant. But thrill of thrills is the brilliant 3:45 minutes of "Little Nellie" which will surely reduce most Bond devotees to a quivering wreck of nostalgia. As those plucked strings leads to big brass – it slinks along until you can see our Gyrocopter hurtling through the air being attacked – then you’re hit with the “007” theme which is too brill for mere words – wow is the only response...

BLOFELD: "We are now impregnable!

Goodbye Mister Bond!”

Well he wasn’t impregnable and James didn’t go bye-byes. Open your heart to your inner 007 and get this Ernst Stavro of a CD into your Little Nellie. Improper advances indeed...

"Diamonds Are Forever - Original Soundtrack Album" by JOHN BARRY (2003 EMI/Capitol CD – Doug Schwartz Remasters) - A Review by Mark Barry...

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"...Bitten By The Bug..." 

When the entire Bond catalogue turned up on remastered CD in 2003 - many JOHN BARRY fans got fidgety - quietly pawing their wallets in Soundtrack glee (from 1962's "Dr. No" through to "Diamonds Are Forever" in 1972 and beyond). And having mitched from school six times in 1971 to see "Diamonds Are Forever" at Dublin's Savoy Cinema on O'Connell Street (which I thought was the coolest thing in the world) - this little beauty was always going to be my first port of call when it reappeared in decent remastered form. And what a winner it is...

Not only is there a huge haul of previously unreleased material made available for the first time here (most of it better than what was released) - it's tastefully presented and has been remastered with pure love from the original master tapes by top Engineer DOUG SCHWARTZ (assisted and remixed by Michael McDonald) to truly spectacular effect - much like the films would be with the Lowry Process a few years later (frame-by-frame restoration). Here is the Dastardly Blofeld and comely Tiffany Case details...

UK and USA released March 2003 - "Diamonds Are Forever (Original Motion Picture Soundtrack)" by JOHN BARRY on EMI Capitol 72435-41420-2-4 (Barcode 724354142024) breaks down as follows (75:48 minutes):

1. Diamonds Are Forever (Main Title) - Sung by Shirley Bassey

2. Bond Meets Bambi And Thumper

3. Moon Buggy Ride

4. Circus, Circus

5. Death At The Whyte House

6. Diamonds Are Forever (Source Instrumental)

7. Diamonds Are Forever (Bond and Tiffany)

8. Bond Smells A Rat

9. Tiffany Case

10. 007 And Counting

11. Q's Trick

12. To Hell With Blofeld

Tracks 1 to 12 are the album "Diamonds Are Forever: Original Motion Picture Soundtrack" - released December 1971 in the UK on United Artists UAS 29216 and in the USA on United Artists UAS 5220.

PREVIOUSLY UNRELEASED BONUS TRACKS:

13. Gunbarrel And Manhunt

14. Mr. Wint And Mr. Kidd/Bond To Holland

15. Peter Franks

16. Airport Source/On The Road

17. Slumber, Inc

18. The Whyte House

19. Plenty, Then Tiffany

20. Following The Diamonds

21. Additional And Alternate Cues

The 10-page booklet has affectionate, witty and informative liner notes from JEFF BOND (no relation) with Page 5 being a double foldout sporting an array of colour stills from the movie - Sean Connery as James Bond swinging from pulleys outside the penthouse apartment of Willard Whyte's Vegas skyscraper, Jill St. John as Tiffany Case in a bath washing 007's hairy chest (I'm glad someone is), Charles Grey as Blofeld posing with a sword and a menacing look, Lana Wood as Plenty O'Toole at the crap tables (posing with as little as possible) and a brief glimpse of the wonderfully camp killer couple Putter Smith and Bruce Glover (as Mr. Wint and Mr. Kidd) trying to dispense with our James via a Bomba Supreme and some flaming kebab skewers (nice). Alas there are no photos of Lola Larson and Trina Parks as the acrobatic Bambi and Thumper kicking the crap out of 007 like he deserved it. The last page has reissue credits and some discography info (United Artists released the theme song as a 7" single in the UK and USA where it charted at 38 and 57 respectively).

But the big news here is the SOUND - this CD sounds utterly glorious. Recorded in October 1971 by Barry at CTS Studios in London (Engineered by John Richards) - it was afforded all the luxury of modern recording facilities - and man does it show. The moment the brass of "Diamonds Are Forever" hits you followed by Shirley Bassey's superb vocal - you know you're in for a thrill. The brilliantly scored "Moon Buggy Ride" is pure Bond - all blasting brass and strings building until it goes into that strings only centrepiece - the audio is truly fabulous. The slinky lounge piano of "Source Material" is gorgeous too but the absolute bees knees is surely "007 And Counting" where Bond is wrestling to stop the laser satellite from space starting World War III - it's just magisterial - beautifully recorded and transferred.

As if the Soundtrack itself isn't the Georgie Best - you're hit with a wad of Previously Unreleased material from the original film that's been in the can for 40 years too long. "Gunbarrel And Manhunt" is like a mini Bond fest all rolled up into one - first you get the Sixties 007 theme we know and love - then blasting brass - then smooching strings - then menace and intrigue - back to triumph - its just brilliant. But thrill of thrills is the brilliant 4 minutes of "Mr. Wint And Mr. Kidd/Bond To Holland" where the "bitten by the bug" duo of scorpion killers are gingerly dispensing with anyone who gave them diamonds. It's masterful John Barry - slinking along - adding so much to the film (you see the thing in your mind's eye).

"If God had wanted man to fly Mister Wint...

He would have given him wings Mister Kidd!"

Well now the dapper chap has been given wings. Open your heart to your inner 007 and get this fabulous CD in your Bath-O-Sub. La Bomba Supreme indeed...