"'74 Jailbreak" by AC/DC (2003 Epic/Albert Productions 'ConnecteD Technology' Digipak CD - George Marino Remaster) - A Review by Mark Barry...

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"...A Bullet In His Back..."

In truth the 5-track mini LP "'74 Jailbreak" released October 1984 in the USA on Atlantic Records should more accurately be called "Australian AC/DC 1975 and 1976" because that’s what you’re actually getting.

This Bon Scott era compilation was sandwiched between 1983’s "Flick Of The Switch" and 1984’s "Fly On The Wall" to satiate the hunger by fans for more of the biggest (and loudest) Rock band in the world - AC/DC – fronted of course at that time by Brian Johnson who'd come on board for 1981's groundbreaking "Back In Black" album.

But don't be under any illusion just because it has only five 'old' songs – one of which is a Big Joe Williams R&B cover – don't think that this is isn't primo stuff. With Scott's crushing loss still in living memory - to me at the time "'74 Jailbreak" was kind of a magical little number – a timely reminder as to why I fell in love with the Australian Hard Rock band in the first place. Let's get to the CD details first before we go into the song origins..

UK released May 2003 - "'74 Jailbreak" by AC/DC on Epic/Albert Productions 510758 2 (Barcode 5099751075820) is a 5-Track CD reissue and new remaster of the 1984 US compilation LP and plays out as follows (24:23 minutes):

1. Jailbreak

2. You Ain't Got A Hold On Me

3. Show Business

4. Soul Stripper

5. Baby, Please Don't Go

Tracks 1 to 5 are the album "'74 Jailbreak" – released 19 October 1984 in the USA on Atlantic A1-80178. It was first issued in the UK and Europe on CD in 1990.

Some explanation about the song make-up of this compilation... When the first two AC/DC albums were released on Albert Productions in Australia - "High Voltage" in February 1975 (Albert Productions APLP.009) and "T.N.T." in December 1975 (Albert Productions APLPA.016) – they had radically different track lists to their UK, USA and International issues (and different artwork too). Four of the five tracks from "'74 Jailbreak" come from the Ozzy incarnation of the "High Voltage" album - "You Ain't Got A Hold On Me", "Baby, Please Don't Go", "Soul Stripper" and "Show Business". The fifth track "Jailbreak" and its B-side "Fling Thing" were recorded in Australia in January 1976 and released as a stand-alone 7" single in 1976 in various territories.

If you want to sequence the first two Australian LPs and both sides of the stand-alone "Jailbreak" single - you’ll actually need three of these 2003 CD reissues - "'74 Jailbreak", "High Voltage" and "Dirty Deeds Done Dirt Cheap" and two Box Sets - "Bonfire" from 2003 and "Backtracks" from 2009...

Their 8-track Oz original of "High Voltage" looked like this...

Side 1:

1. Baby Please Don't Go (on "'74 Jailbreak" 2003 CD)

2. She's Got Balls (on "High Voltage" 2003 CD)

3. Little Lover (on "High Voltage" 2003 CD)

4. Stick Around (on "Backtracks" 2009 Box Set)

Side 2:

1. Soul Stripper (on "'74 Jailbreak" 2003 CD)

2. You Ain't Got A Hold On Me (on "'74 Jailbreak" 2003 CD)

3. Love Song (on "Backtracks" 2009 Box Set)

4. Show Business (on "'74 Jailbreak" 2003 CD)

While the 9-track original of "T.N.T." looked like this...

Side 1:

1. It's A Long Way To The Top (If You Wanna Rock 'n' Roll) (on "Backtracks" 2009 Box Set)

2. The Rock 'n' Roll Singer (on "High Voltage" 2003 CD)

3. The Jack (on "High Voltage" 2003 CD)

4. Live Wire (on "High Voltage" 2003 CD)

Side 2:

1. T.N.T. (on "High Voltage" 2003 CD)

2. Rocker (on "Dirty Deeds Done Dirt Cheap" 2003 CD)

3. Can I Sit Next To You Girl (on "High Voltage" 2003 CD)

4. High Voltage (on "High Voltage" 2003 CD)

5. School Days (on "Backtracks" 2009 Box Set)

"Jailbreak" b/w "Fling Thing"

June 1976 Australian 7" Single on Albert Productions AP-11135 in label bag

August 1976 UK 7" single on Atlantic K 10805 in label bag

March 1980 UK reissued 7" single on Atlantic K 10805 in picture sleeve

A-side on "'74 Jailbreak" 2003 CD – B-side on "Backtracks" 2009 Box Set

AC/DC was:

BON SCOTT – Vocals

ANGUS YOUNG – Lead Guitar

MALCOLM YOUNG – Rhythm Guitar

MARK EVANS - Bass

PHIL RUDD – Drums

So what do you get here? This Epic CD 5-track reissue has what they call 'ConnecteD Technology' which allows you to access online content via your computer but I'm buggered if I've ever bothered. The card digipak is the same for all of these reissues - very tasty and tactile. There’s a picture CD to the right (the cover art of Angus) and a 12-page booklet housed on the left in a pocket pouch. The booklet It's crammed full of period colour photos - a stunner of the boys up beside a derelict house wall and a gatefold spread of Angus in full schoolboy glory holding a pint of milk! They miss a trick by repeating the US picture sleeve of "Jailbreak" with "Soul Stripper" on its B-side twice when they could have used the UK sleeve -

 or even the rare UK original label. There are other great unpublished live shots too of Bon and Angus. MURRAY ENGLEHEART provides the informative and and enthusiastic liner notes. There is another photo of the band in full denims and teeshirt mode (Angus with his velvet suit and 'A' hat) on the inner gatefold and a solo shot of Bon looking suitable leery beneath the see-through CD tray (great fun the lot of it). The GEORGE MARINO Remaster (done in the USA) is from 'original master tapes' and sounds HUGE - fuller than the 1990 remaster I've had for years. Despite their age - tracks like "Soul Stripper" and "Jailbreak" have lost none of their Rock 'n' Roll power.

I’m always amazed that the truly barnstorming "Jailbreak" (a Young, Young and Scott composition) never did the business as a single in the UK – a country that adores it hooky Rock Classics. Admittedly I can't actually remember seeing the first 1976 pressing of Atlantic K 10805 in its distinctive orange and yellow label – I bought the 1980 picture sleeve reissue with Angus dashing across some stage somewhere semi-naked and sweating like a politician at a tax audit. You could argue that they should have stuck the B-side "Fling Thing” on this compilation – but it’s a Scottish Traditional air instrumental of two minutes that is probably the most throwaway track in their entire cannon – so no real loss there (you take the low road and I'll be in Scotland before you have to hear this). The remaster brings out that fantastic riffage though of "Jailbreak" – the rakish Bon singing the praises of a non-PC mate of his whose doing 16-years in Hell for murder - breaking rocks on the chain gang. He makes it out all right - but with a treacherous bullet in his back (an ideal dinner guest I'm thinking). 

After the sheer pulse-increasing blinder of "Jailbreak" - the ever-so slightly weedy "You Ain't Got A Hold On You" comes as a minor disappointment. But that's immediately wiped away by the Thin Lizzy-sounding rocker "Show Business" - a raucous tirade at robbers in their chosen profession. It's typically leery, fun and Rock 'n' Rolls like a goodun. "Soul Stripper" has a very "High Voltage" vibe in its similar riff - great back beat as Bon regales his tale of a lady tingling his spine who then produces a knife and makes him say things he didn't want to say (oh yeah Bon). They miscredited the Big Joe Williams classic "Baby, Please Don't Go" to Big Bill Broonzy on first pressings of their Australian debut album "High Voltage" - but that doesn't stop this being another rocking fave of mine - the band sounding like Budgie who also covered this slide tune on their 1973 album "Never Turn Your Back On A Friend" (Metallica would return the cover favour years later too). I love that Bon/Angus guitar/voice battle that romps the R&B dancer home.   

"'74 Jailbreak" is short I know and not all undiluted AC/DC riffing genius - but for me it was so sweet to hear Bon again - letting rip with that sense of humour of his and the best rock band on the planet backing him up.

It was a long to the top if you wanted to Rock 'n' Roll - but man their climb was filled with magnificence. Break some rocks with the original chain gang folks and bring this saucy little bust-out into your home...

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"Let There Be Rock" by AC/DC (2003 Epic/Albert Productions 'ConnecteD Technology' Digipak CD - George Marino Remaster) - A Review by Mark Barry...

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"...Whole Lotta Rosie..."

Shock and Awe – it's a clichéd phrase I know in this wide-bottomed business we call reviewing. But the truth is simple – little will prepare you (or any listener for that matter) for the sheer sonic assault of 1977's "Let There Be Rock" – AC/DC's angriest and loudest album – a platter that strips reinforced paint off walls from a hundred paces and then urinates on the ragged results...

There had already been indications of their Rock greatness in the first two British released LPs – "High Voltage" and "Dirty Deeds Done Dirt Cheap" – fabulous hooky riffs like "It's A Long Way To The Top (If You Wanna Rock 'n' Roll)" and "Problem Child" – both recorded in 1975 and 1976. But 1977 saw them produce a studio beast to rival Deep Purple or Humble Pie at their 'live' barnstorming best – a not inconsiderable feat - and in a year when Rock was supposed to be dead or busy dying in a ditch somewhere...

First the Production values went through the roof. Amped-up and jacked-up to 13 on a scale of 10 – AC/DC were essentially live in the studio and in possession of a lethal combo of new power riffs. Out went the 9 or 10 songs – in came 8. They were lengthier but they were also more convincing and undeniably brilliant. To this day Australia's finest play half of the album in every show (fans would probably feel cheated if they didn't). And the title track "Let There Be Rock" has of course turned into something of a 20-minute live marathon for Angus Young – their guitarist and core of the band – a crowd-pleasing solo fest of scorched-earth wildness that few who see it ever forget (it has me grinning from ear to ear just thinking about it). Which brings us to this messed-about CD reissue and its rejiggered track list that requires some eggsplanation (as Mister Ayers would say). Here is the 'Crabsody In Blue'...

UK released May 2003 - "Let There Be Rock" by AC/DC on Epic/Albert Productions 510761 2 (Barcode 5099751076124) is an 8-Track CD variant of the 1977 American LP and plays out as follows (41:01 minutes):

1. Go Down
2. Dog Eat Dog
3. Let There Be Rock
4. Bad Boy Boogie
5. Problem Child [Side 2]
6. Overdose
7. Hell Ain't A Bad Place To Be
8. Whole Lotta Rosie
Tracks 1 to 9 are their fourth studio album (3rd in the UK) "Let There Be Rock" - released March 1977 in Australia on Albert Productions APLP.022 -  June 1977 in the USA on Atco SD 36-151 and October 1977 in the UK on Atlantic K 50366.

AC/DC was:
BON SCOTT – Vocals
ANGUS YOUNG – Lead Guitar
MALCOLM YOUNG – Rhythm Guitar
MARK EVANS - Bass
PHIL RUDD – Drums

Some explanation is needed about the CD Reissue and its track-list that for many fans outside of America is not how they bought the original vinyl LP. Both the Australian and British LPs had different tracks and placements on Side 2. The Australian LP was the first issue in March 1977 (its different black and white guitar-photo artwork is on the last page of the booklet) while the British LP arrived last in October 1977 with the US artwork of June 1977 (the live photo of the band). However both the OZ and UK LPs had a Side 2 that ran as "Overdose", "Crabsody In Blue", "Hell Ain't A Bad Place To Be" and "Whole Lotta Rosie".

But as this CD is a US release it follows the American Track List/Artwork – so as you can see above for Side 2 it uses "Problem Child" as Track 1 (originally on their "Dirty Deeds Done Dirt Cheap" LP from 1976) with "Overdose" as Track 2 instead of "Crabsody In Blue". If you want the absent "Crabsody In Blue" track in order to configure the OZ and UK LPs - it's available on the "Backtracks: Studio Rarities" 2CD/1DVD Box Set of Remasters from November 2009 (another AC/DC release worth seeking out).

So what do you get here? This Epic CD 8-track reissue has what they call 'ConnecteD Technology' which allows you to access online content via your computer but I'm buggered if I've ever bothered. The card digipak is the same for all of these reissues - very tasty and tactile. There’s a picture CD to the right and a 16-page booklet housed on the left in a pocket pouch. It's crammed full of colour photos behind the text, press reviews (good and bad), a ticket to the 24 Oct 1977 show at Manchester’s Free Trade Hall, buttons, stage passes and Angus, Bon and the Gang in various manic live poses (MURRAY ENGLEHEART does the superb liner notes). There are more photos of the band on the inner gatefold and beneath the see-through CD tray. The GEORGE MARINO Remaster (done in the USA) is from 'original master tapes' and sounds HUGE - rocking like the beast that it is.

The albums that followed 1977's "Let There Be Rock" ("Powerage" in 1978 and "Highway To Hell" in 1979) sported a crisp clean radio-friendly sound care of Mutt Lange – not here my good friends. With amps humming and a spoken count-in - the sheer volume at the beginning of the very unsubtle "Go Down" is like a mission statement. Within seconds you get the biblical reference – a huge riff threatens to level your living room - the Aussies are indeed here to ROCK and those with nervous dispositions should run for the Exit sign. I cannot overstate the sheer force of this track and the riff it has – a huge mother of an opener as Bon once again makes "Ruby Lips" famous for services above and below the call of duty. "Dog Eat Dog" (eat cat too) does the same and legend has it that midway through the recording of the epic "Let There Be Rock" - Angus’ amplifier literally went on fire from the heat - yet Producer George Vanda told him to continue – which the mighty imp did. Wow! Now there's a story you want to tell your kids. "...Did you bleed daddy for this track? Well son..there I was making Rock history...when all of a sudden..." And Side 1 ends on the ballsy AC/DC Blues-Rock of "Bad Boy Boogie" – four sucker-punches in a row and a Side of Rock Classics most bands would nobble a close relative to achieve.

Whilst "Problem Child" is utterly brilliant – a short sharp kick in the kangaroo pouch – its Production values differ wildly to the other Jan/Feb 1977 recordings – so it feels automatically out of place. Others may disagree. The slow Blues of "Crabsody In Blue" - a track about appointments and ointments and critters nibbling at Bon's favourite appendage - is typically funny stuff from the brill Scotsman and so un-PC as to be cherishable. And again it followed perfectly after "Overdose" – a grimy and grubby slow starter that builds into the most monster riff you have ever heard as Bon sings his salacious tale of innocence corrupted (it's all booze and cigarettes now – her fault apparently). And at this point we have to talk of Angus' guitar playing – solo after solo exploding with a ferocity that makes Led Zeppelin-in-full-flow seem like a weedy school prefect with a Ukulele (and that takes some doing). And then the LP gives us two massive slices of primal Rock – "Hell Ain't A Bad Place To Be" and the awesome "Whole Lotta Rosie". Even now that solo in the middle of "Whole Lotta Rosie" is beyond description – a kick in the chest by a mule with serious mommy issues.

Unbelievably - March 2017 will see the album's 40th Anniversary. And in absolute present-day truth – if Metallica produced even three songs in 2017 as good as the original eight on "Let There Be Rock" – the Net would melt, ice caps would get up and do a Scottish jig and Donald Trump would gain a conscience (well maybe two of those things). AC/DC did it 40 years ago man. Step aside pretenders - best Rock Band on the planet bar none.

Shock and Awe indeed...

"Highway To Hell" by AC/DC (2003 Epic/Albert Productions 'ConnecteD Technology' CD Remaster) - A Review To Mark Barry...

"...Going Down...Party Time..." 

"...Paid my dues...playing in a rocking band...hey mama...look at me...I'm on my way to the promised-land..." Bon Scott sang with sly gusto on the amazing title track to "Highway To Hell" – their genuine breakthrough album from August 1979. But come February 1980 he was gone – lost to a dumb drinking binge - and I for one was miserable at his loss.

Luckily enough I did at least get to see the Bon Scott line-up of AC/DC on that tour in Dublin – a wow that still tingles my weary bones nearly 40 years after the event. Cocky, self-knowing and lecherous towards anything in a skirt (pencil or otherwise) – he was also possessed of a set of rasping pipes and a rapier wit – the kind of lead singer that made your mama worry and your daddy reach for the garden hatchet - ready to tame that excited appendage should to come looking for some post gig jiggery-pokery. 

Bon Scott was one of the best front men I've ever seen. Up there with Phil Lynott and Johnny Rotten - the man was impossible to ignore and impossible not to like - and their hour of adrenalin-fuelled Aussie Hard Rock on that cold Monday night was some of the most amazing Rock 'n' Roll I've ever seen. AC/DC had it all at that moment - a genuinely awesome thing to behold live - and then only a few months later - it was gone... 

After the blistering no-holes barred "Let There Be Rock" set in 1977 and the lukewarm reception to the excellent but more muted "Powerage" in 1978 – it was do or die for the Australian hard rockers – and time for a change. That smart move turned out to be a Producer – ROBERT 'MUTT' LANG – who gave AC/DC and their sensational new material the spit and polish it needed for American radio. Suddenly the world went nuts for the Pop-Rock of "Girls Got Rhythm" and "Get It Hot". In fact "Highway To Hell" could be called a 'classy' AC/DC album - if I can say such a thing about a bunch of misogynistic Hades-loving reprobates. Here are the horn 'n' tail details...

UK released May 2003 - "Highway To Hell" by AC/DC on Epic/Albert Productions EPC 510764 2 (Barcode 5099751076421) is a 10-Track CD Remaster of the 1979 US LP and plays out as follows (41:42 minutes):

1. Highway To Hell

2. Girls Got Rhythm

3. Walk All Over You

4. Touch Too Much

5. Beating Around The Bush

6. Shot Down In Flames [Side 2]

7. Get It Hot

8. If You Want Blood (You've Got It)

9. Love Hungry Man

10. Night Prowler

Tracks 1 to 10 are their sixth studio album (5th in the UK) "Highway To Hell" - released 3 August 1979 in the USA on Atlantic SD 19244 and in the UK on Atlantic K 50628. Produced by ROBERT JOHN LANG (aka 'Mutt' Lang) – it peaked at No. 8 in the UK and No. 17 in the USA.

Unlike "Let There Be Rock" and "Powerage" that have track anomalies requiring pages of explanation – "Highway To Hell" was a globally synchronised release – same 10 songs everywhere. This Epic 2003 CD reissue has what they call 'ConnecteD Technology' that allows you to access online content via your computer but I'm buggered if I've ever bothered. The card digipak is the same for all of these reissues - very tasty and tactile - picture CD - a 16-page booklet crammed full of colour photos, press adverts, picture sleeves of 7” singles, stage passes and Angus and Bon in various manic live poses (ERNIE WELCH liner notes). They’ve reproduced handwritten lyrics for "Highway To Hell" and "Shot Down In Flames" and the unique Australian artwork for Albert Productions APLP-040 is on the back cover. The inner pouch has Angus chucking a bucket of paint at something while the others giggle.

The GEORGE MARINO Remaster (done in the USA) is from 'original master tapes' and sounds sharp - rocking like the beast it is (aided by MIKE FRASER and AL QUAGLIEREI in the transfers). Some have complained there's too much treble but I'm thinking Lang put that polish on the finished product on purpose. This CD rocks and you can feel it on every song.

What I love about "Highway" is that everything clicks – the whole damn album is brilliant. Each track comes in – does the business – and leaves. The pace changes fast to slow – and at the centre of it – there's Angus riffing away like a loon while Bon finally has his vocals clearer than ever. And unlike 1980’s "Back In Black" which I found cold and uninviting – "Highway" is full of fun – Bon’s mischievous and downright un-PC lyrics making you giggle (and occasionally wince). As you navigate killer riff number one hundred and ten – you can just see him at the microphone – that twinkle in his eye and bulge in his pants. This guy has been there - drunk from the fountain of Rock 'n' Roll and set up camp in its life-replenishing waters (possibly wee-wee’d on its outer walls). Album tracks like "Get It Hot" and the fantastic slow riffage of "Night Prowler" still impress - while "Beating About The Bush" and "Shot Down In Flames" are anthems that fans get tearful about to this day.

Best Rock Band on the planet then and many would argue (in 2016) not a lot has changed. Genius...and I miss him...

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"Powerage" by AC/DC (2003 Epic/Albert Productions 'ConnecteD Technology' Digipak CD Remaster) - A Review by Mark Barry...

"...Riff Raff...Having A Laugh..."

Back in the day - I was lucky enough to witness the sheer 'shock and awe' of the Bon Scott line-up of AC/DC on a cold Monday night in Dublin's 'Camden Ballroom'.

The venue was one of those small balconied rectangular halls that holds maybe 400 bodies - so Angus and Bon were able to do their Guitarist on my Shoulder routine as they made their way round the overlooking balcony area to the other end of the hall. Hanging precariously over the edge (now facing the stage) - they stopped moving to allow the spotlight to hit Angus as Bon held him aloft. Angus riffing away – sweat and schoolboy short pants - Bon’s cheeky grin as Angus laid into yet another hair-raising guitar solo on the 'long version' of "Let There Be Rock".

They opened with "Live Wire" - then went into the new "Sin City" and by the time that huge stop/start riff in "Kicked In The Teeth" was threatening the old hall's rafters – the audience was worshipping at their Aussie feet. To this day the memory of it turns me on – like an old rocker turned to mush. They only did about an hour but they were utterly incredible – and like Thin Lizzy and Dire Straits in 1978 – they were toured into the ground – tight like a well-oiled machine that knew what it could do – slaughter all in front of them. I swear but at that moment – AC/DC were the greatest hard-rocking band in the world bar none (an accolade many feel hasn’t changed a jot in 2016).

As someone who has spent over 20 years working in record shops - it's a tale I never tire of re-telling. Which brings me to another high - the 'fans' AC/DC album – the "Empire Strikes Back" of their vast catalogue - 1978's "Powerage". But let's get the sweaty underarms and kicked in the teeth details out of the way first...

UK released May 2003 - "Powerage" by AC/DC on Epic/Albert Productions 510762 2 (Barcode 5099751076223) is a 9-Track CD variant of the 1978 Australian and US LP in a gatefold card digipak with 'ConnecteD Technology' and plays out as follows (39:54 minutes):

1. Rock 'n' Roll Damnation

2. Down Payment Blues

3. Gimme A Bullet

4. Riff Raff

5. Sin City [Side 2]

6. What's Next To The Moon

7. Gone Shootin'

8. Up To My Neck In You

9. Kicked In The Teeth

Tracks 1 to 9 are their fifth studio album (4th in the UK) "Powerage" - released June 1978 in Australia on Albert Productions APLP.030 and Atlantic SD 19180 in the USA.

Some explanation is needed with regard to the track lists for British, Irish and European fans. It was their fourth studio album released in the UK – rush-released May 1978 on Atlantic K 54036. But bizarrely K 54036 turned up in two variants with certain tracks rejiggered. The 10-track version looked like this...

1. Rock 'n' Roll Damnation

2. Gimme A Bullet

3. Down Payment Blues

4. Cold Hearted Man

5. Riff Raff

6. Sin City [Side 2]

7. What's Next To The Moon

8. Gone Shootin'

9. Up To My Neck In You

10. Kicked In The Teeth

While the 9-track variant dropped "Rock 'n' Roll Damnation" and moved "Cold Hearted Man" over to Side 2 and "Gone Shootin'" to Side 1

1. Gimme A Bullet

2. Down Payment Blues

3. Gone Shootin'

4. Riff Raff

5. Sin City [Side 2]

6. Up To My Neck In You

7. What's Next To The Moon

8. Cold Hearted Man

9. Kicked In The Teeth

In other words for British and many European fans the "Powerage" album we grew up with always had "Cold Hearted Man" on it somewhere and some copies came with or without "Rock 'n' Roll Damnation" which was initially a single-only release in the UK on Atlantic K 11142 in May 1978 (with "Sin City" on its B-side). There's also talk of the mixes being different in subtle ways on the UK release on many tracks especially for "Down Payment Blues". The current internationally available CD is based on a remixed Australian and US configuration of the LP and is likely to remain that way. Like "Let There Be Rock" before it - we grew up with "Crabsody In Blue" on Side 2 and not "Problem Child" from "Dirty Deeds Done Dirt Cheap" and a different version of "Go Down" as is presently how the CD reissue plays - and if you're a Blighty Headbanger and you actually want to configure both "Powerage" and "Let There Be Rock" on CD - you'll have to locate the "Backtracks" Box Set of 2009 which contains all three 'anomalies'...

So what do you get here? This Epic CD 9-track reissue has what they call 'ConnecteD Technology' which allows you to access online content via your computer but I'm buggered if I've ever bothered. The card digipak is the same for all of these reissues - very tasty and tactile - picture CD - a 16-page booklet crammed full of colour photos, press adverts, picture sleeves, stage passes and Angus and Bon in various manic live poses (ERNIE WELCH liner notes). The GEORGE MARINO Remaster (done in the USA) is from 'original master tapes' and sounds HUGE - rocking like the beast it is.

The critics called "Powerage" all manner of things on release - 'uneven' amongst them - but that hasn't stopped fans from loving its brilliance and simplicity. The production was also slicker that its 'crank everything' predecessor "Let There Be Rock" - a total beast of an album that still leaves me speechless with admiration to this day. "Powerage" was cooled down by comparison but somehow where they needed to be - sharper and leaner. It's decidedly odd for me to hear "Rock 'n' Roll Damnation" open the album - I have vivid memories of watching Top Of The Pops as AC/DC made leery eyes at the ladies in the audience who must have wished they'd listened to their mother's advice about sensible shoes and nice boys in the choir. It's a fantastic opener whatever you look it - comes in - does the business - exits. "Down Payment Blues" is a great builder - a mean and menacing chugger that grows and grows and those witty lyrics about 'sitting in my Cadillac' and 'doing nothing means a lot to me'. Both "Gimme A Bullet" (to bite on) and "Riff Raff" (having a laugh) end Side 1 on a huge high - the wild guitar introduction of "Riff Raff" later opening the live LP "If You Want Blood...You Got It" to huge audience chants.

I can still feel the power of "Sin City" when they played it live - a truly great 'diamonds and dust' AC/DC rocker. I've always loved to the simplicity of "What's Next To The Moon" - with Bon singing 'it's your love that I want' as that razor-sharp guitar blasts away. At first "Gone Shootin'" seems like a tame little beastie but it soon builds into a winner as the hook gets into you. It ends on an awesome double-whammy - "Up To My Neck In You" and "Kicked In The Teeth" - both of which hark back to the sheer aggressiveness of the "Let There Be Rock" album. "Cold-Hearted Man" is a typical Bon Scott tale of an icy Leroy Kincade - a delightful chappy immortalised in that fantastic guitar part towards the end.

The "Powerage" album isn't as immediate as the sheer pulverise-all-in-its-path power of 1977's "Let There Be Rock" - or the slick but brilliant Mutt Lange produced AC/DC chart rock of 1979's "Highway To Hell" - it's somewhere in-between. And I for one am so down with that...

Best Rock Band on the planet and baby's gone shootin' again...

"Electric Ladyland" by THE JIMI HENDRIX EXPERIENCE (2010 Experience Hendrix/Legacy CD and DVD Remaster) - A Review by Mark Barry...

"...The Moon Turned Fire Red..."

I suppose in truth it's probably impossible in 2015 to properly assess or even be rational about something as iconic as "Electric Ladyland". And yet for dudes like me who saw older teenage boys grooving to its wild guitar-scapes (I was 10 when it was released in 1968) – I joined in the head-shaking and tennis racket guitar hero shapes they were throwing in sitting rooms with large mahogany Stereograms because I instinctively knew something awesome was unfolding before me - I just didn't know what. Besides - even if I didn't 'get' the cool soundscapes sexy Jimi was laying down - there was always that awesome 'Nude Women' cover to gawk at (didn't understand that either but I was getting there). Well here we are again with another Reissue - but is "Electric Ladyland" really the masterpiece they all say it is? Damn right man – and relistening to this meticulous Remaster – you're only going to love and appreciate it even more. Here are the Slight Returns...

UK released March 2010 – "Electric Ladyland" by THE JIMI HENDRIX EXPERIENCE on Experience Hendrix/Sony Legacy 88697 62164 2 (Barcode 886976216429) is a CD and DVD in a three-way card digipak and breaks down as follows:

CD (75:27 minutes):

1. ...And The Gods Made Love [Side 1]

2. Have You Ever Been (To Electric Ladyland)

3. Crosstown Traffic

4. Voodoo Chile

5. Little Miss Strange [Side 2]

6. Long Hot Summer Night

7. Come On (Let The Good Times Roll)

8. Gypsy Eyes

9. Burning Of The Midnight Lamp

10. Rainy Day, Dream Away [Side 3]

11. 1983...(A Merman I Should Turn To Be)

12. Moon, Turn The Tides...gently gently away

13. Still Raining, Still Dreaming [Side 4]

14. House Burning Down

15. All Along The Watchtower

16. Voodoo Child (Slight Return)

Tracks 1 to 16 are the double-album "Electric Ladyland" – released October 1968 in Stereo in the USA on Reprise 2RS 6307 and November 1968 in the UK on Track Records 613008/9.

CD - the artwork was famously different for both countries – the UK produced the naughty 'nude ladies' gatefold sleeve on the outside as opposed to the side-profile face shot of the US album (which is what’s been used for every CD reissue ever since). The only CD to have the UK artwork is one that was produced in the early days of the format in a clunky double jewel case (probably pressed in Germany around the mid 80s) – and the only acknowledgement of that artwork is a two-page spread on Pages 24 and 25 of the booklet that shows an Alternate shot of all the women who took part in the photo-shoot. The gorgeous 36-page booklet that accompanies this digipak edition has pages of reminiscences from Derek Taylor (quotes from those who were there) as well as repros of handwritten notes on Newhouse Hotel paper by Jimi on the track runs and how he wanted the credits on the sleeve to look. It also includes a facsimile of his ‘Letter To A Room Full Of Mirrors’ and loads of fantastic colour photos of The Experience Live, Noel Redding and Mitch Mitchell (including the cover shot Linda McCartney). Although the British inner gatefold isn’t reproduced here (which seems odd – the American inners are all over the inner digipak flaps and picture CDs) – you have to say that for such a classic album it’s all very tastefully done and informative at the same time. There's also online content from the Experience Hendrix website available via the CD...

DVD - after the Experience Hendrix Logo appears - the non-regional DVD offers a Menu with a 'Film' broken into four chapters most of which are discussions by Original Producer Eddie Kramer on "Crosstown Traffic", "Gypsy Eyes", "Voodoo Chile" and "1983...(A Merman I Should Turn To Be)". The downside is that although it’s hugely entertaining and informative - duration is only 25 minutes or so and you crave more. What you do get is Kramer sat at a mixing desk isolating Jimi’s vocals – talking about the musical connection Steve Winwood and Jack Casady had with Hendrix when they did the Blues jam "Voodoo Chile" (much appreciation all around) and confirmation that Dave Mason of Traffic sings uncredited backing vocals on "Crosstown Traffic". Chas Chandler talks briefly of the crazy way the album was effectively recorded in the studio (too many hangers on and 50 takes of songs so Jimi could get it right – much to the chagrin of both Mitchell and Redding) while that’s followed by live footage and short interviews of old with Noel Redding. The quality of the print is fantastic given the vintage - but as I say - you wish there was more because its over too soon and this double-album deserved twice the input. Subtitles include English, French, Spanish, Dutch, German, Italian and None...

The Remasters have been handled by original album Producer EDDIE KRAMER (who also features heavily on the DVD) and Sound Engineer GEORGE MARINO with Supervision by Janie Hendrix (Jimi’s stepsister and CEO of Experience Hendrix which handles his musical legacy) along with Sound Engineer John McDermott whose been involved in quite a few of the Experience Hendrix CD reissues.

Recorded at the Record Plant in New York with Producers Chas Chandler, Eddie Kramer and Gary Kellgren - the core band was Hendrix on Guitars and Vocals with NOEL REDDING on Bass and MITCH MITCHELL on Drums. Guests included STEVE WINWOOD of The Spencer Davis Group and Traffic on Organ with JACK CASADY of Jefferson Airplane on Bass for the 15-minute Blues jam of "Voodoo Chile" while DAVE MASON of Traffic is confirmed by Producer Eddie Kramer to have sang uncredited backing vocals on "Crosstown Traffic". AL KOOPER plays Piano on "Long Hot Summer Night" while the Jazzy combo of Mike Finnigan (Organ), Freddie Smith (Horns), Larry Faucette (Congas) and Buddy Miles (Drums) played on two tracks – "Rainy Day, Dream Away" and "Still Raining, Still Dreaming". Excepting "Little Miss Strange" which is a Noel Redding credit - all songs are Hendrix originals except for "All Along The Watchtower" and "Come On (Let The Good Times Roll)" which are Bob Dylan and Earl King cover versions respectively.

The opening one and half minutes of noodle that is "And The Gods Made Love" gives way to a sensual vocal on "Have You Ever Been (To Electric Ladyland)" – but its when "Crosstown Traffic" kicks in that the hairs on your arms rise. I mean just how cool is this tune – and how uber cool was he – "...the sexiest man that's walked the planet..." as Neneh Cherry says in the booklet – hell yes. You can't help be but blown away – all that noise and all those guitars and all that those off-the-cuff vocals - yet it makes a coherent whole that rocks. "Crosstown Traffic" is only two and half minutes long yet it seems HUGE and other-worldly. Then of course we get the Side 1 monster "Voodoo Chile" - Blues done through the filter of Jimi Hendrix. 15 minutes of Steve Winwood and Jack Casady trading licks on Organ and Bass with Jimi opening up and showing his stunning feel for the genre and his axe. It begins with that lingering organ and feedback and Wow is the only appropriate response...

Noel Redding's poppy contribution "Little Miss Strange" has always seemed 'old' musically compared to what Jimi was doing on the rest of the record – but his edgy guitar contribution brings it into play (I’ve always liked it). The audio on "Long Hot Summer Night" is wicked – hissy for sure in certain places – but the presence is wonderful – swirling around your speakers with life and balls. It's followed by a much-needed boogie and rock out - his kicking version of Earl King's "Come On (Let The Good Times Roll)" and I'm reminded instantly of that other stunning Guitar God Stevie Ray Vaughan who must surely have based a lot of his output on this (that solo sounds fabulous). I cannot be rational about "Gypsy Eyes" – I've adored it for 4-plus decades. It was the first Hendrix 7" single I bought in a now rare UK Picture Sleeve (I've even included it in a screenplay I've written – but that's another hairyman story). The remaster really brings out that amazing phasing of the guitars. "Burning Of The Midnight Lamp" shows his songwriting expanding – that strange mix he settled on where the sound seems from another world – his vocals and those treated backing voices – brilliant.

Bolstered by the Horns of Freddie Smith, the Organ of Mike Finnigan and the backbeat drums of Buddy Miles – the Jazz-Blues of "Rainy Day, Dream Away" is not what you expect and yet the song fits here so perfectly. We then get the second album monster – the near 14-minute trippy genius of "1983..." According to original producer Eddie Kramer Jimi wanted to stretch out musically and sonically – so he tries effects on everything – guitars and voices – structure – it ends up feeling almost Prog Rock before such a thing even existed. There's a lot of hiss in certain parts of it for sure – but the Audio on those Drums and Bass is awesome throughout – a great job done in the transfer. Perhaps everybody's fave boogie on the album “Still Raining, Still Dreaming” remains amazing to me and of course "All Along The Watchtower" redefined into something altogether more potent – but even those are kicked in the proverbial nuts by the sheer wallpo of the album finisher "Voodoo Child (Slight Return)" – quite probably the most unlikely Number 1 single in the entire Universe. This is surely his most magnificent moment and one that still sends chills up my arms a full 45 years after the event.

"...Stand up next to a mountain...and chop it down with the side of my hand..." 

And didn’t he just...WOW!