"Desire" by BOB DYLAN (September 2003 and March 2004 Sony CD Reissues - Greg Calbi Remasters) - A Review by Mark Barry...

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"...One More Cup Of Coffee..."

Following the artistic triumph and musically magisterial "Blood On The Tracks" LP from early February 1975 was always going to be a tough one (never had love and pain been so articulate). Yet January's "Desire" began the new Bob Dylan year in more comeback-kid style – even rounding out 1976 with the obligatory live set "Hard Rain" - an album that admittedly few remember or care about now.

To the reissue - running to over 56 minutes on original vinyl - the much-loved "Desire" has always been a pretty Columbia/CBS Records LP to look at but a crushed compromise on the Audio front. Until the advent of CD... The first 1980s variant was good (better than the LP for sure) but this re-constructed Stereo CD Remaster from 2003 carried out by the mighty GREG CALBI – a name synonymous with transfer greatness for me – is an altogether different beast. The transformation here is amazing. Let's get details out of the way first before we delve into the songs...

UK re-released March 2004 – "Desire" by BOB DYLAN on Sony/Columbia 512345 2 (Barcode 5099751234524) is a straightforward CD Remaster of his 1976 9-Track LP. 

It was initially reissued September 2003 as a CD/SACD Hybrid Dual Format release in a gatefold card digipak/repro artwork (Columbia 512345 6 – Barcode 5099751234562) - but that was quickly deleted and replaced in 2004 with a standard jewel case issue using the same 2003 Remaster (itself repressed in 2009 and 2016). "Desire" plays out as follows (56:15 minutes):

1. Hurricane [Side 1]

2. Isis

3. Mozambique

4. One More Cup Of Coffee

5. Oh, Sister

6. Joey [Side 2]

7. Romance In Durango

8. Black Diamond Bay

9. Sara

Tracks 1 to 9 are the album "Desire" - released January 1976 in the USA on Columbia PC 33893 and January 1976 in the UK on CBS Records S 86003. Produced by DON DeVITO - it peaked at No. 1 in the USA and No. 3 in the UK.

The 8-page inlay reproduces the "Songs Of Redemption" notes from Allen Ginsberg – a stream of consciousness writing that has always been unreadable piffle to me. The disc uses the red Columbia label and there's an inlay with a profile photo of Bob live on some distant stage underneath the see-through CD tray. Overall it's merely good rather than being great or properly celebratory as it should be. But all of that goes out the window once you clap ears on the stunning GREG CALBI Remaster - a man whose had his mitts on McCartney's "Band On The Run", Paul Simon's "Graceland", Supertramp's "Crime Of The Century" and "Breakfast In America" and even John Mayer's Remastered catalogue. Calbi has lifted the 'mysterious and dark' musical cups of coffee out of the murkiness – those huge drums on "Joey" - a job well done it has to be said.

For "Desire" – Dylan once again reconstructed his musical sound. Every track features the even-present electric violin of Scarlett Rivera giving most tunes a weary dusty castanets-at-dawn almost Mexican vibe. Add to that are the endless words – brilliant rhymes done in conjunction with Broadway Theatre director Jacques Levy – Dylan unusually relinquishing control over the writing (Levy is co-credited as songwriter on all except "One More Cup Of Coffee" and "Sara" which are credited to Dylan alone). Country giant Emmylou Harris also lends her vocals to brilliant cuts like "One More Cup Of Coffee",  "Oh, Sister" and "Black Diamond Bay" - while Ronee Blakley adds to the wall of lady voices that became something of a signature style for BD (Steven Soles is the duet vocalist on "Hurricane"). The rhythm section is Rambling Jack Elliott's Bass player Ron Stoner (gorgeous work on "Isis" and "Sara") - while England's Howard Werth from Folk-Prog rock band Audience provides the huge drums heard to such effect on "Joey" and the soft-shoe shuffle on "Black Diamond Bay".

Setting aside the overly cryptic and frankly pretentious Allen Ginsberg liner notes - long and wordy tunes prevailed for "Desire" – like BD could not stop penning rhyming couplets. The full album cut for "Hurricane" ran to eight and half minutes – "Isis" clocks in a few seconds under seven minutes - while the prison/civilian mobster life story "Joey" over on Side 2 is king of the streets at eleven minutes. "Black Diamond Bay" punches past seven and half and even the confessional love song "Sara" at five and half minutes feels twice as long emotionally. There's an epic feel to many of the songs reflected in the huge story themes...

Culled from the Autobiography "The Sixteenth Round" about Rubin 'Hurricane' Carter who was famously jailed for murder in 1967 and locked up in a tiny steel cage in New Jersey – "Hurricane" was the Bob Dylan of protest songs – Dylan angry at social injustice and not just bemoaning his own love life. I can remember hearing lyrics like "...the man the authorities came to blame for something he never done..." or "...if you're black...you might as well not show up on the streets unless you want to die in the heat..." and thinking – never mind calling the cops – call the lawyers. "Isis" is a weary marital song in all but name. A backbone piano jab plinks away throughout like a tired soldier walking home from battle – complimented occasionally with passionate Harmonica interludes as he sings about the world's biggest necklace and bodies in Pyramids and Isis in the meadow – the woman he loves that will somehow – inexplicably – do him in.

That Acoustic and Bass opening for "Mozambique" is gorgeous – Emmylou's voice ad-libbing in the background as Rivera strokes the electric violin. One of the best and almost unknown Dylan cover versions is by A&M artists NUTZ who did a take of the funereal "One More Cup Of Coffee" on their 3rd album "Hard Nutz" in 1977. I've always thought it one of his undiscovered jewels – and again Emmylou adding so much with her duet vocals. Side 1 ends on the sad "Oh, Sister" – Dylan hoping that she won't treat him like a stranger – that trademark Harmonica of his wailing in pain.

Side 2's "Joey" is a monster and one would think that at over eleven minutes it's a song that overstays its welcome. But Dylan pours on the factoids in the story of Joey Gallo – the American Government's one-time Public Enemy Number 1. Gunned down like a rabid dog at a Clam House in Little Italy in 1972 – typically rebel Bob sides with the street punk even as he relays the Mobster's less-than-angelic gambling habits and retribution tactics for his rivals. Lyrically it's a tour-de-force – bullets fly – war breaks out – the streets fill with blood and empty out – and through it all are the men in blue unfairly gunning for the 'king of the street' according to Dylan. The shadow of Ry Cooder and Tijuana lingers over "Romance In Durango" - mariachi trumpets and violin notes getting drunk in the throat-parched cantina of life. Panama hats in gambling rooms watch the last ship sail away in "Romance In Durango" – while the truly touching "Sara" is about as relationship personal as Bob Dylan gets (his wife).

Re-listening to the album on this wicked CD only reconfirms his legend. OK I still don’t think "Desire" is Part 2 of "Blood On The Tracks" (what could be) nor is "Street Legal" the poor third son of its two predecessors. I always see the three albums as some kind of golden Dylan period. And for sure with a little presentation and sequencing imagination - this CD reissue could have been better if it included the Quadrophonic mixes done in 1975 (altered versions and instruments) or even the "Catfish" outtake with Eric Clapton on Slide Dobro that turned up on 1991's stunning first volume of "The Bootleg Series – Rare And Unreleased 1961-1991". "Abandoned Love" and "Rita Mae" are other songs done as the sessions too – in fact a Legacy Deluxe Edition 2CD set anyone? But there is genius in them dar grooves/digital bits.

"...Nobody can throw the ball like Catfish can...a million dollar man... " – Bob Dylan sang on the "Desire" outtake "Catfish".

And when it comes to the enigma that is Mister Zimmerman – ain’t that the musical truth...

"New Morning" by BOB DYLAN (2009 Columbia CD Reissue - Greg Calbi Remaster) - A Review by Mark Barry...

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"...Sign On The Window..."

Following on from June 1970's self-indulgent and often derided "Self Portrait" double album (funnily enough hindsight has many loving it to pieces) - critics and the public alike went nuts for the supposed 'return to form' of October's "New Morning". The British pummelled it into the No. 1 slot when it was issued slightly later in November of 1970 - and no self-respecting Bob Dylan "Greatest Hits" or "Anthology" is complete without "If Not For You".

Some have even said that "New Morning" is as good as 1975's meisterwork "Blood On The Tracks" - which in my mind is stretching credulity and the obvious audio truth way past its limit. "New Morning" is a solid Dylan album only with some moments of greatness. And re-listening to it in 2017 on this fabulous Remaster hasn't changed my opinion on that. Here are the Winterludes...

UK released May 2009 - "New Morning" by BOB DYLAN on Columbia 88697347002 (Barcode 886973470022) is a straightforward CD Remaster of the 12-track 1970 album and plays out as follows (35:50 minutes):

1. If Not For You

2. Day Of The Locusts

3. Time Passes Slowly

4. Went To See The Gypsy

5. Winterlude

6. If The Dogs Run Free

7. New Morning [Side 2]

8. Sign On The Window

9. One More Weekend

10. The Man In Me

11. Three Angels

12. Father Of Night

Tracks 1 to 12 are the album "New Morning" - released 21 October 1970 in the USA on Columbia KC 30290 and November 1970 in the UK on CBS Records S 69001. Produced by BOB JOHNSTON - it peaked at No. 7 in the USA and No. 1 in the UK.

Given that the original single-sleeve LP was so staggeringly boring to look at - the new 8-page inlay comes as a blessed relief. It's made up mostly of in-studio photos - Bob at the microphones - reading lyric sheets - the boys in the band discussing what to do next with Producer Bob Johnston. There's no new liner notes per say.

Al Kooper plays Keyboards, Guitar and French Horn - David Bromberg plays Electric Guitar and Dobro - Buzzy Feiten plays Electric Guitar - Russ Kunkel is on Drums with Maeretha Stewart guesting on "If Dogs Run Free" on Background Vocals. 

But at least we get that stunning GREG CALBI Remaster - a man whose had his mitts on McCartney's "Band On The Run", Paul Simon's "Graceland", Supertramp's "Crime Of The Century" and "Breakfast In America" and even John Mayer's Remastered catalogue. Calbi has turned in another winner - these Dylan remasters are all jobs well done it has to be said.

The photograph on the rear cover is a youthful Bob in early 1962 with one of his Blues heroes – the barnstorming big-lunged Victoria Spivey – famous for misery raunchy tunes like "Furniture Man Blues" and troublesome fools like "Dope Head Blues" (see my review for the 20CD Box Set "Roots & Blues"). Though in hindsight – it's an odd photo to feature here with precious little on the album resembling Blues Music except maybe some of "One More Weekend". Word has it that the "New Morning" project was going to be another double set – a sort of Part 2 to "Self Portrait" combining covers that moved him in his youth with new material (some of those outtakes have turned up on the "Bootleg Series" of CD reissues) - but perhaps because of the backlash to "Self Portrait" that idea was paired down to the single LP we now have made up entirely of BD originals.

The album opens with "If Not For You" – a hooky-as-Hell love song Beatle George Harrison had debuted to the world only weeks earlier on his 3LP Box Set "All Things Must Pass" on Apple Records (the opening song). People love this song to Dylan's wife of the time - perhaps because that weird organ sound Al Kooper gets harks back to his 60ts sound on "Highway 61 Revisited" and that thinny Harmonica back even further to "Freewheelin' Bob Dylan". And despite it’s rather slight feel BD sings - "...without your love I'd be nowhere at all..." and you can't help but think he actually means it this time (Olivia Newton John would lodge her first chart hit in February 1971 with "If Not For You" on Uni Records – No. 25 USA). "Day Of The Locust" feels like a great Bob Dylan song - while "Time Passes Slowly" was reputedly amongst the first three tunes recorded for an abandoned musical version of "The Devil And Daniel Webster" called "Scratch" (the other two were "New Morning" and "Father Of Night"). I have a very sweet cover of "Winterlude" by England's Steve Gibbons which he did for his 1998 CD "Bob Dylan Project" – Gibbons doesn't change its strangely casual nature and "...this dude thinks you're grand..." lyrics. We go early-morning smoky barroom Jazz for the spoken "If Dogs Run Free" that features scat vocals from Maeretha Stewart. As he'd veered away from 'Bob Dylan' – fans naturally went nuts and slagged off the song as derisory and all things unholy – but I've always thought it kind of brill. One man's heaven is...

Side 2 opens with the very Van Morrison sound of "New Morning" – acoustic guitars and lingering organ – marital bliss clearly keeping him happy (skies of blue – so happy just to see you smile). The album’s other biggie for me is "Sign On The Window" – a ballad with lyrics that I still can’t figure out – three’s a crowd – down on Mean Street – a cabin in Utah – catch rainbow trout. Whatever you read into the forlorn sad words – I love his piano playing while the band plays catch up and that impassioned vocal is the strongest on the whole record. "One More Weekend" is a slippin' and slidin' Bluesy trollop of a song – the band finally sounding like a cohesive unit as they boogie in that Bob Dylan way (great Remaster). Some people enjoy "The Man In Me" but those girly vocals feel forced to me - I much prefer the simpler almost Gospel spoken song "Three Angels" with its 'concrete world full of souls'. The album finishes on the piano and voices rumble of "Father Of Night" - a sound Cat Stevens would tap on his "Foreigner" album in 1973. The one-and-half-minute song is also an indication of his emerging beliefs - gorgeous audio as he sings of "...father of air and father of trees...that grows in our hearts and our memories..." 

Good - great - ordinary - different - the same – I love it – I don’t love it - it's Bob Dylan. Even now his enigma eludes me...and would we have it any other way...

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"Street-Legal" by BOB DYLAN (September 2003 and March 2004 Sony CD Reissue - Greg Calbi Remaster) - A Review by Mark Barry...

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"...True Love Tends To Forget..."

You never can pin Bob Dylan down. Take the artwork for 1978’s "Street- Legal" (itself apparently a phrase for a modified hoodlum’s car or a dodgy hot rod). He stands there all elusive-like outside the entrance to the makeshift Rundown Studios (as he called it) – looking to his left down a street from the safety of some steps and a layback. Dylan looks cool – alluding to something – seeing the bigger picture we mere fan-schmucks cannot see. He is after all the spokesperson for a generation – and a renewed one too since 1975 and the magisterial "Blood On The Tracks" LP that took the whole world by storm.

But then you turn over the cover to read the credits on the rear sleeve – and you’re presented with something truly garish and staggeringly unflattering – Dylan in what appears to be a white clown's outfit with mascara running down his face looking like he’s auditioning as an extra for the Alice Cooper Travelling Horror Show. It's a really crappy and unbecoming photo that no other artist would have let pass. But this is Bob Dylan - cool one moment - a putz and a let-down the next - a legend within a mystery within an enigma (and that's just the left leg)...

And in some ways that 'who gives a crap' attitude permeates everything about this much anticipated and yet (at the time) much derided LP. As one insider put it - "Street-Legal" was recorded in a week, mixed the week after and released regardless the week after that. The inference was of course that the new record was a rushed half-assed effort. And in some ways – recording-wise anyway – it is. His band entourage were supposed to be using Rundown Studios (in Santa Monica, California) as a rehearsal space for the Japanese Tour – so the material was recorded in a haphazard ad-hoc way (missed cues, vocals panning in and out etc) with the perceived idea that they’d return to the songs and the sessions and record them properly somewhere else. But Dylan liked what he had – describing it as "the closest to where I am" – and released the unwieldy poorly-recorded beast anyway (all 50 cramped-on-vinyl minutes of it).

The backlash also came from waiting. After the career highs of "Blood On The Tracks" in 1975 and "Desire" in 1976 and the filler live album "Hard Rain" in late 1976 – by June 1978 anticipation for more studio goodies was at fever pitch. As I recall the public liked/disliked "Street Legal" in equal measure - but critics were less kind – especially the famous Greil Marcus review which once again dragged out the 'crap' word whilst throwing in 'fake' and 'sexist' too for good measure (lyrics in "New Pony" stood accused). Dylan reacted angrily saying that even if the Production values weren't exactly Steely Dan – the music was good and his lyrics had meaning and were not just convenient quotes taken from the rhyming-couplets dictionary sat alongside his Woody Guthrie songbook and recent divorce papers in whatever place the Rambler called home.

Which brings us to this re-constructed Stereo CD Remaster from 2003 – carried out by the mighty GREG CALBI – a name synonymous with transfer greatness for me. Given what they had to work with and knowing how bad my initial 1980s CBS CD sounded – the transformation here is amazing and I for one feel should lead to a reappraisal of this slice of lyrical haphazard Bobness. Here is the changing of the guards...

UK re-released March 2004 – "Street-Legal" by BOB DYLAN on Sony /Columbia 512355 2 (Barcode 5099751235521) is a straightforward CD Remaster of his 1978 9-Track LP. 

It was initially reissued September 2003 as a CD/SACD Hybrid Dual Format release in a gatefold card digipak (Columbia 512335 6 – Barcode 5099751235569) but that quickly deleted and replaced with a standard jewel case issue. The 2003 Remaster has been used on this Reissue (repressed in 2009 and 2016). It plays out as follows (50:26 minutes):

1. Changing Of The Guards

2. New Pony

3. No Time To Think

4. Baby Stop Crying

5. Is Your Love In Vain?

6. Senor (Tales Of Yankee Power)

7. True Love Tends To Forget

8. We Better Talk This Over

9. Where Are You Tonight? (Journey Through Dark Heat)

Tracks 1 to 9 are the album "Street-Legal" - released July 1978 in the USA on Columbia JC 35453 and June 1978 in the UK on CBS Records CBS 86067. Produced by DON DeVITO - it peaked at No. 11 in the USA and No. 2 in the UK.

You'd have to say that the gatefold slip of paper that laughably calls itself an insert is a huge disappointment - especially on a reissued Remaster. As the original had no lyrics, this was a perfect opportunity to finally provide them - words being a tad important when it comes to Bob Dylan. But at least we get that stunning GREG CALBI Remaster - a man whose had his mitts on McCartney's "Band On The Run", Paul Simon's "Graceland", Supertramp's "Crime Of The Century" and "Breakfast In America" and even John Mayer's Remastered catalogue. Calbi has turned a pig's ear into something prettier than a sow's rump...a job well done it has to be said.

A quick glance at the original LP playing time for the Side 1 opener "Changing Of The Guards" shows a 6:34 minute duration – but the 2003 remaster and remix has the ‘endless road’ song extended to 7:04 minutes - suddenly packing a live-in-the-studio Band punch it never had. Now you can actually hear David Manfield’s Mandolin and the three ladies crooning after every line – Carolyn Dennis, Joanne Harris and Helena Springs on backing vocals. And the guitar on "New Pony" is now more menacing and in your face as are the drums (its also increased from 4:28 to 4:39 minutes - how much longer indeed).

I always thought "No Time To Think" had a great hook (as you slowly sink) - the clever rhymes come fast and furious and that rolling piano is now more to the fore in the mix even if it is overly long at 8:20 minutes. Side 1 ends with the first single "Baby Stop Crying". Released July 1978 on CBS Records S CBS 6499 and unlike most BD 45s "Baby Stop Crying" actually charted - peaking at No. 13 and enjoying an 11-week run and the wild luxury in 1978 of a 12" single issue in a picture sleeve (not sure why). With the guitar chug of "New Pony" as the flipside on all formats - it was an excellent double-header.

Side 2 opens with the cheery "Senor (Tales Of Yankee Power)" as Bob asks "...can you tell me where we're heading...Lincoln County Road or Armageddon..." and at 5:42 minutes it remains the same but the clarity of that strummed acoustic guitar and the sax solo is better than before. "Is Your Love In Vain?" was the second single lifted from the LP in Blighty (CBS Records S CBS 6718 in September 1978 with "We Better Talk This Over" on the B-side) and its whiny theme made an impression at the time even if it did feel like some dismissive 60ts outtake ("...alright...I'll fall in love with you..."). But my fave-rave on the album is "True Love Tends To Forget" which feels like a great Bob Dylan song complete with actual emotion and not just snide observation.

The musical arrangement of "We Better Talk This Over" signals what is to come with "Slow Train Coming" and its lyrics are so emotion-confessional they can at times become uncomfortable. Speaking of which - were the lyrics "...if you don't believe there's a Christ...and sweet Paradise...just remind to show you the stars..." in the album's final cut "Where Are You Tonight (Journey Through Dark Heat)" about his lost 10-year marriage or leaning into the religious trio of albums that began with "Slow Train Coming" in August 1979 - probably both. And that "Like A Rolling Stone" organ sound – wow - a good end to a really good album.

Not as heart-wrenching as "Blood On The Tracks" or as lyrically hard-hitting as "Desire" - nonetheless 1978's "Street-Legal" is a winner on re-listen – it’s an all-good Bob Dylan album when such things were something you hoped for in the later decades but rarely got. "Street Legal" deserves another go-round and this superb 2003 Remaster has finally given the LP the aural oomph it always needed.

"...Missing her so much..." - Bob Dylan sang on "Where Are You Tonight..." - I felt the same re-playing this street hoodlum of a record...

“Marquee Moon” by TELEVISION (2003 Rhino 'Expanded Edition' CD - Greg Calbi Remaster) - A Review by Mark Barry…

"…Talk To The Mountain…"

When you think of the staggering influence America's TELEVISION has exerted over so many budding bands and songwriters - it's strange now in the glaring hindsight of 2014 to know that in the eye of the Punk and New Wave hurricane they were largely a British phenomenon. The New York band's 1977 debut LP barely scraped the lower 200 in the USA album charts but stood proudly at 28 in the UK. Both singles off the album - "Marquee Moon" (March 1977 on K 12251) and "Prove It" (July 1977 on K 12262) charted well in Blighty too (30 and 25). Their 2nd album "Adventure" from 1978 even went to No. 7.  But none of it seemed to mean zip in the no-chart action States...

Whatever way chart-history judges them - I stare at this LP's rather dull artwork now and still get a sheer tingle of excitement. I've loved this record for nearly 40 years and it still sounds so ludicrously fresh to me when so many others have gone by the wayside. And dare I use that most clichéd of words - this album and their sound as a band is as influential now as The Clash, The Jam and even The Sex Pistols. So it's cool to see this superb expanded and remastered CD do that legacy proud. Here are the green-coloured vinyl details...

Released October 2003 on Rhino R2 73920 (Barcode 081227392024) - "Marquee Moon" by TELEVISION comes in a card digipak with an extra flap and this 'Extended Edition' CD pans out as follows (77:27 minutes):

1. See No Evil

2. Venus

3. Friction

4. Marquee Moon

5. Elevation

6. Guiding Light

7. Prove It

8. Torn Curtain

Tracks 1 to 8 are their debut album "Marquee Moon" - released February 1977 in the USA on Elektra Records 7E-1098 and K 52046 in the UK.

Tracks 9 to 13 are BONUSES new to CD:

Track 9 is "Little Johnny Jewel (Part 1 & 2)" - the A&B sides of their rare debut 7" single in the USA only on Ork Records 81975.

Tracks 10, 11 and 12 are 'Alternate' Versions of album tracks "See No Evil", "Friction" and "Marquee Moon"

Track 13 is called "Untitled Instrumental"

The 20-page colour booklet has liner notes by noted New York writer ALAN LICHT (even picturing that Ork Records 45 on Page 18) with snaps of Tom Verlaine, Richard Lloyd, Fred Smith and Billy Ficca and the CBGB's nightclub. The CD repros the Butterfly label of the original Elektra records America LP while the quality-remaster has been carried out by one of my favourite tape engineers GREG CALBI (assisted by Lee Hulko). For more of Calbi's fabulous work see reviews for Supertramp's "Breakfast In America" and Paul Simon's "Graceland". He's also done Bob Dylan (the SACD remasters), John Mayer, Paul McCartney and hundreds more. The audio is fabulous - full of muscle and presence without ever being overdone.

Neither Rock nor Punk - TELEVISION (like Talking Heads) were the very epitome of NEW WAVE and that jagged Yank edge they had seemed exotic to me then and still does. It some respects it's a perfect album - 8 great tracks that all work. It opens with the killer "See No Evil" (lyrics above) emblazoning that Television sound and melody into your heart. "Friction" still has that angry edge while the near eleven-minutes of "Marquee Moon" is stunning. The album finisher "Torn Curtain" has a melodrama that reminds me of Patti Smith's "Easter".

I had though the extras would be filler - but no. The alternate of "Friction" has more guitar work but it's sloppy and not as tight as the finished article - and you can hear why it was dropped for the more polished version. Fans will know that the title track was put out on 7" and especially 12" single in the UK on Elektra K 12252 with a MONO variant of "Marquee Moon" on the B-side (the STEREO album version is on the A). But it's not on here. Rhino have obviously decided to exclude that in favour of the Previously Unreleased Alternate Version (and a good choice it is too). The "Untitled Instrumental" would have made a great B-side - especially if some lyrics had been drummed up for it. Their next platter "Adventure" was good too but just lacked that edge of greatness the debut had.

So there you have it - what a band and what an album.

"...Face to face with a world so alive..." - Verlaine sings on "Venus". 

Get this slice of New Wave Americana in your life pronto...

“Graceland 25th Anniversary CD/DVD Edition” by PAUL SIMON. A Review Of The 2012 Reissue.

PAUL SIMON and artists like him are part of my Series "SOUNDS GOOD: Exceptional CD Remasters 1970s Rock And Pop" Download Book available to buy on Amazon to either your PC or Mac (it will download the Kindle software to read the book for free to your toolbar). Click on the link below to go my Author's Page for this and other related publications:

                       http://www.amazon.co.uk/-/e/B00LQKMC6I

"...Shining Like A National Guitar..."

I'd like to add my penny's worth to the chorus of approval this superb reissue is receiving. But would also like to point out that the fantastic sounding CD is no fluke - it's a GREG CALBI remaster from 2011 (an upgrade on his 2004 version).

Calbi has a staggering 2,300 mastering, remastering, audio restoration credits to his name across decades - so he knows his way around a tape or two. He was responsible for the audiophile quality of Supertramp's revered 1970's output (recently reviewed "Breakfast In America") and received unanimous praise for his work on the Bob Dylan SACD digipak reissues of 2004 and Paul McCartney's "Band On The Run" 25th Anniversary issue from 1999 (for my money better than the Deluxe reissue). Jim White, Whiskytown, Tom Petty, Chris Whitley, Patti Smith, Colin Linden, The Allman Brothers, Willie Nile, John Mayer, Cassandra Wilson, Lizz Wright - no matter who the artist is - he has the deftest of touches when it comes to getting the best out of the tapes.

Add in the stunning "Under African Skies" DVD (perfectly complimenting the audio CD), the lovely 3-way card packaging (slightly oversized) and the reasonable price (£10 on some sites for a 2-disc set) - and you're on a winner.

A beautifully handled reissue of a classic and groundbreaking album (I saw the tour at The Royal Albert Hall in London - a cherished memory).

"...Shining Like A National Guitar..." Indeed it is.

“Breakfast In America” by SUPERTRAMP. A Review Of The 2010 Single CD Remaster (Also Released As A 2CD Deluxe Edition).

This review is part of my Series "SOUNDS GOOD: Exceptional CD Remasters 1970s Rock And Pop" Download Book available to buy on Amazon to either your PC or Mac (it will download the Kindle software to read the book for free to your toolbar). Click on the link below to go my Author's Page for this and other related publications:

                       http://www.amazon.co.uk/-/e/B00LQKMC6I

"...I Really Have Enjoyed My Stay..."

When the 2CD Deluxe Edition of Supertramp’s mega-hit album "Breakfast In America" appeared in early October 2010 with a sticker on its front packaging declaring that it contained a superb new remaster by GREG CALBI within – I must admit I was tempted. 

But I thought to myself - I don’t really want (nor need) a bunch of superfluous live tracks on Disc 2 – and pay for the privilege of it too. So I left it be…

But I recently noticed the cheaper 'single' CD version (released at the same time) of "Breakfast In America" by SUPERTRAMP on A&M/Universal 0600753304372 (Barcode 600753304372) retailing in some places for as little as a fiver (a few more bucks in the USA). And it’s a bit of a bargain frankly. 

The 8-page booklet is the same as the previous basic issue (lyrics, a few photos) - but the 'sound' is a brilliantly realised August 2010 remaster that really makes you sit up and take notice (46:21 minutes).

1. Gone Hollywood

2. The Logical Song

3. Goodbye Stranger

4. Breakfast In America

5. Oh Darling

6. Take The Long Way Home [Side 2]

7. Lord Is It Mine

8. Just Another Nervous Wreck

9. Casual Conversations

10. Child Of Vision

GREG CALBI is important to Supertramp’s highly polished audiophile sound because he mastered the original 1979 A&M Records LP (as well as their “Crime Of The Century” gem from 1974) – and therefore has an intimate knowledge of the tapes. And with a staggering 2,300 mastering and remastering credits to his name across four decades – he knows his way around a console and a tape box or two.

The sound quality is just fantastic - standout tracks like “Goodbye Stranger” (lyrics above), the lesser heard “Oh Darling” and the stunning album finisher “Child Of Vision” with its extended keyboard workouts now sound huge – but without being overblown or over trebled. They’re warmer and clearer – and the layers of the original meticulous production unravel on almost every track. I can even forgive the truly dreadful “Logical Song” and its cringing lyrics. “Gone Hollywood” and “Just Another Nervous Wreck” are good too – top-notch audio.

If you’ve been on the fence about this album - then this dirt-cheap brilliant sounding remaster is where to dive in…