"It's Alive" by THE OZARK MOUNTAIN DAREDEVILS – September 1978 US and UK Sixth Album, First Live Double Album on A&M Records featuring John Dillon, Steve Cash, Larry Lee, Mike Granda. Steve Canaday, Ruell Chappell and Rune Walla (February 2024 UK Beat Goes On Records (BGO) Reissue – 2LPs onto 1CD – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Its-Alive-Ozark-Mountain-Daredevils/dp/B0CQ4MX4J6?crid=1XNXH9PAMXUJN&dib=eyJ2IjoiMSJ9.M0uWozpZW5ZivIitBS0H6g.0J94IQ0_TdYefAu7RFZOl7sCdTDnDDLbDSdi5sQ99qo&dib_tag=se&keywords=5017261215116&qid=1715354609&sprefix=5017261215116%2Caps%2C80&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=5ea4b68c5a954ed76a4d99c2ced75e81&language=en_GB&ref_=as_li_ss_tl

RATING:

Material: ***

Audio: *** to ****

Presentation: **** to *****

"…Fly Away Home…"

The live double-album in the Seventies was always an event – a way for a band to take those great studio efforts before it and explode them on stage. Artists usually threw in a few tasty cover versions maybe, a new song or two perhaps to satiate loyal fans while individual musicianship had the room not just to spread out - but seriously impress. So it is with a heavy heart that I inform my beloved readers that after five studio sets with their natural home – A&M Records – The Ozark Mountain Daredevils' first live double from September 1978 (finishing their tenure with A&M) was a downer-ending to their Country Rock journey - and as I recall at the time for devotees like me - a major damp squid.

Complete with retro B-movie style artwork front and rear "It's Alive" was also rather dated and at just over sixty-minutes – not particularly generous either. While the self-titled studio debut from 1973 and its even better 1974 follow-up "It'll Shine When It Shines" felt fresh, melodic, and delivered serious fun (5 of the 16 come from those albums) – by the time you cut to four and five years later – a malaise had crept into their weaker songs and a harder musical landscape made The Ozarks sound lame even silly. Worse – I believe "It's Alive" was recorded on tour with Fleetwood Mac (April 1978) who were "Rumours" monstrous at the time so could only play stadiums. So, instead of intimacy which would have served their homegrown acoustic instruments and yee-haw sound well – you get that horrible huge crowd noise – an in the distance vibe - where the sound is smothered by miles of dead air and any lack of real punch.

The new Remaster here carried out by the experienced Audio Engineer ANDREW THOMPSON of England's Beat Goes On Records (aka BGO Records) tries its best with what is on offer – but only some songs feel fuller while others just sound slightly better and strangely (please forgive the pun) un-alive. I think it was the venues because although the singers try repartee with the audience – it feels like they are in another state. At least the 2024 presentation is top notch – card slipcase – 16-page booklet with new JOHN O'REGAN liner notes – the inner gatefold artwork reproduced etc. Let's get to the Chicken Trains…

UK released Friday, 23 February 2024 - "It's Alive" by THE OZARK MOUNTAIN DAREDEVILS on Beat Goes On Records (BGO) BGOCD1511 (Barcode 5017261215116) is a straightforward reissue and remaster of a Double Live Album from 1978 onto 1CD and plays out as follows (60:09 minutes):

1. Walkin' Down The Road [Side 1]
2. Black Sky
3. You Know Like I Know
4. River To The Sun
5. Satisfied Mind [Side 2]
6. Fly Away Home
7. Horse Trader
8. Followin' The Way That I Feel
9. Chicken Train [Side 3]
10. Ooh Boys (It's Hot)
11. Homemade Wine
12. Commercial Success
13. Jackie Blue [Side 4]
14. Noah
15. If You Wanna Get To Heaven
16. It's All Over Now
Tracks 1 to 16 are their sixth album (and first live) "It's Alive" – a Live Double-Album released September 1978 in the USA on A&M Records SP-6006 and September 1978 in the UK on A&M Records AMLM 66006. Produced by THE OZARK MOUNTAIN DAREDEVILS - it peaked at No.176 on the US Billboard album charts (didn't chart UK)

THE OZARK MOUNTAIN DAREDEVILS were:
LARRY LEE – Drums, Piano, Guitar
JOHN DILLON -Guitars, piano, Fiddle and Mouthbow
MIKE GRANDA – Bass and Guitar
STEVE CASH – Harmonica
RUNE WALLA – Guitar and Banjo
STEVE CANADAY – Guitar, Bass and Drums
RUELL CHAPPELL – Keyboards
JERRY MILLS - Mandolin

The outer card slipcase and glossy 16-page booklet lend the release a classy look and come resplendent with new liner notes from JOHN O'REGAN (dated December 2023). O'Regan is good at these releases and gives a detailed overview not just of the five studio efforts that preceded "It's Alive" - but the Live Double itself, their departure from A&M Records to Columbia Records in 1980 and beyond into the present day and failed/successful solo efforts and even personal loses. The inner gatefold artwork is reproduced in the centre page spread and the valiant Remaster is care of ANDREW THOMPSON which to my ears has improved most of it and even made a fist of that distance that deadend the original issue. To the music…

Of the sixteen-track set – five were new – three originals and two covers. The cover versions consisted of an almost Acapella go at "Satisfied Mind" – the 1963 Porter Wagoner song from his RCA Camden LP "A Satisfied Mind". Written by Guitarist Jack Rhodes and Fiddle Player Red Hayes – it has become something of a Country standard ever since first touched upon by Glen Campbell in 1968 on Capitol Records. While the other fifteen songs are Live – their cover version of "Satisfied Mind" was recorded at "…the men’s shower, McDonald Arena, Springfield, Missouri…" so it (funny enough) feels like a studio outtake and is a bit of a hoot and reminder of their collective vocal power. Far better is the 2LP finisher – the other cover version – a take on the Bobby Womack classic "It's All Over Now" (also made famous by The Rolling Stones) where the electric guitar side of the band gets to Rock out and have some long-needed fun. The three newbies are a Steve Canady song called "Horse Trader" alongside "Commercial Success" (Steve Cash) and "Ooh Boys (It's Hot)" by Mike Granda. They are good-ish but never rise to great - the not-so subtle jab at the record industry in "Commercial Success" addressing A&M constantly begging them for another "Jackie Blue" radio-friendly jangle hit and the band not reciprocating (their drunken performance on a TV show the month of the live double's release seen by a Company man led to their contract not being renewed). 

The self-titled December 1973 debut is represented by three – the get in the Country Mood sway of "Black Sky" and the clucking and mouthbow-ing "Chicken Train" (both by Steve Cash) and the more melodic ballad "If You Wanna Get To Heaven" – a co-write between Cash and John Dillon. Platter number two "It'll Shine When It Shines" from December 1974 strangely only gets two – the big hit that truly put them and their Country Rock sound on the map "Jackie Blue" and the double-album's opener "Walkin' Down The Road". I would have liked 2nd LP nuggets like "E.E. Lawson", "You Make It Right" or even "Look Away". Their third studio set "The Car Over The Lake Album" from September 1975 is ignored entirely but the fourth "Men From Earth" from September 1976 is flush with four - "Fly Away Home" and "Noah" (John Dillon songs) with "You Know Like I Know" and "Homemade Wine" (Larry Lee songs). The final studio set "Don't Look Down" from October 1977 gets a couplet – the Larry Lee penned "Followin' The Way That I Feel" and the Dillon/Cash co-written "River To The Sun".

Ozark Mountain Daredevil fans will love the fact that "It's Alive" is at last out there on CD again and in proper style, but all others should go back to their sexier and more melodic studio basics – BGOCD648 that has the self-titled debut and "It'll Shine When It Shines" on 1CD - while BGOCD737 gives you three and four "The Car Over The Lake Album" and "Men From Earth" also on 1CD – both sets with great Audio. 

Maybe in the future England's Beat Goes On Records (aka BGO Records) will reissue the lone catalogue hole from the A&M years - "Don't Look Down" with some of those rare B-sides from the early years or any other straggler goodies. We shall Fly Away Home then…

"Born To Be/Melanie/Candles In The Rain/Leftover Wine" by MELANIE – November 1968 USA Debut Album [February 1969 UK], October 1969 US Second Studio LP as "Melanie" in the USA but Issued December 1969 in the UK as "Affectionately Melanie", May 1970 US Third Studio Album [August 1970 in the UK] and September 1970 Live Album "Leftover Wine" [December 1970 in the UK] (June 2022 UK Beat Goes On Records (BGO) Compilation – 4LP Plus One Bonus Track onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Born-Affectionately-Melanie-Candles-Leftover/dp/B09QJ4C4TK?crid=3H6WY3HXJCVV7&dib=eyJ2IjoiMSJ9.ptpIEqiyzrHG6N22PLJOJw.i3I_x4R2n9MwaA1qZPHwXIXS4Pr0cI2sbEpEC9eq0UA&dib_tag=se&keywords=5017261214799&qid=1713885486&sprefix=5017261214799%2Caps%2C83&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=22137d94e016cd8baeba8f3778000b5b&language=en_GB&ref_=as_li_ss_tl

RATINGS: 

*** to **** Material

**** Audio

***** Presentation

"…If The People Are Buying Tears...I'll Be Rich Someday…"

Hippy warbler and all-round cutie-pie and decent human being Melanie was not for everyone at the time - and some five and half decades later here in the spring of 2024 – even more so. Her voice is fab to some – Marmite to others. But New Yorker songwriter Ms. Safka's popularity and chart successes were not without reason.

This superbly annotated and brilliant-sounding twofer from England's Beat Goes On Records (aka BGO Records) shows why fans like this reissue label so much. As you can see from Total Playing Times of 83:05 for CD1 and 81:32 for CD2 – you are not short of serious value for money. In a nutshell you get her first four albums in full – three studio starters and then a Live Show recorded at Carnegie Hall as platter number Four (all releases originally on Buddah Records and stretching from November 1968 in the USA to December 1970 in the UK) plus a Bonus 45-Single Mix on CD2. As I say, plenty on offer. 

The "Candles In The Rain" set (probably her most popular album) even gets a Single Version of that title song as a lone Bonus. One of only three ladies on the day (Janis Joplin and Joan Baez were the others) Melanie debuted her epic tune "Lay Down (Candles In The Rain)" at the legendary July 1969 Woodstock Festival in the USA where she won over the crowd after filling in for a cancelled Incredible String Band slot (it broke her to a worldwide audience). The LP "Candles In The Rain" followed May 1970 in the USA (August 1970 in the UK) to capitalise on her popularity and the festival's growing influence and legend.

And as much of the female singer-songwriter material across these four long-players (not all but most) is a young woman with a warble and powerhouse set of lungs (once she lets rip) accompanied by only an Acoustic Guitar – the clarity of the Remasters is starkly powerful and moving and very much in the listeners favour (if you can take that voice – Marmite - love it, loathe it). Lot to talk about – to the facts…

UK released Friday, 3 June 2022 - "Born To Be/Melanie/Candles In The Rain/Leftover Wine" by MELANIE on Beat Goes On Records BGOCD1479 (Barcode 5017261214799) offers 4LPs Plus 1 Bonus Track Remastered onto 2CDs that plays out as follows:

CD1 (83:05 minutes):
1. In The Hour [Side 1]
2. I'm Back In Town
3. Bo Bo's Party
4. Mr. Tambourine Man
5. Momma Momma
6. I Really Loved Harold [Side 2]
7. Animal Crackers
8. Christopher Robin
9. Close To it All
10. Merry Christmas
Tracks 1 to 10 are his debut studio album "Born To Be" – released November 1968 in the USA on Buddah Records BDS 5024 and February 1969 in the UK on Buddah Records 203 019. Produced by PETER SCHEKERYK (her husband) - it didn't chart in either country, but the 45-single for "Bo Bo's Party" on Buddah 610 022 was a No.1 hit in France. All songs on the debut written by Melanie Safka except "Mr. Tambourine Man" by Bob Dylan and "Christopher Robin" has lyrical references to A.A. Milne

11. I'm Back In Town [Side 1]
12. Tuning My Guitar
13. Soul Sister Annie
14. Any Guy 
15. Uptown Down
16. Again 
17. Beautiful People [Side 2]
18. Johnny Boy
19. Baby Guitar
20. Deep Down Love
21. For My Father
22. Take Me Home
Tracks 11 to 22 is her second studio album "Melanie" (USA) – released October 1969 in the USA on Buddah Records BDS 5041 and December 1969 in the UK credited as "Affectionately Melanie" on Buddah Records 203 028. Produced by PETER SCHEKERYK (her husband) - it didn't chart in the UK but peaked at No.196 on the US Billboard charts in November 1969. All songs written by Melanie Safka except "Soul Sister Annie" by Thomas Jefferson Kaye

23. Candles In The Rain (1:42 minutes) [Side 1]
24. Lay Down (Candles In The Rain) (Long Version, 7:37 minutes)
25. Carolina In My Mind
26. Citiest People
Tracks 23 to 26 are the first four of five songs on Side 1 of her third studio album "Candles In The Rain" (US Version) – released May 1970 in the USA on Buddah Records BDS 5060 and August 1970 in the UK on Buddah Records 2318 009. Produced by PETER SCHEKERYK (her husband) – it peaked at No.17 on the US Billboard charts and No.5 in the UK. All songs written by Melanie Safka except "Carolina In My Mind" and "Ruby Tuesday" which are James Taylor and Rolling Stones cover versions. "Lay Down (Candles In The Rain)" features Edwin Hawkins on Piano accompanied by The Edwin Hawkins Singers. For the last song on Side 1 and the rest of Side 2 of "Candles In The Rain" – see CD2.

CD2 (81:32 minutes):
1. What Have They Done To My Song, Ma [Last Song on Side 1]
2. Alexander Beetle [Side 2 of the US LP - see below]
3. The Good Guys
4. Lovin' Baby Girl
5. Ruby Tuesday
6. Leftover Wine
Tracks 1 to 6 are the last song on Side 1 of her third studio album "Candles In The Rain" and the whole of Side 2. However, the UK LP used the song "Close To It All" from the debut album as the opener for Side 2 instead of "Alexander Beetle" which was only ever on the US album version of "Candles In The Rain". To avoid duplication of the song "Close To It All" – BGO has used the US configuration of the LP. Release details etc – see Tracks 23 to 26 on CD1

BONUS TRACK:
7. Lay Down (Candles In The Rain) – Single Version
Track 7 is the Edited to 3:49 minutes UK 45-single version issued 17 April 1970 on Buddah 2011 013, A-side – credited to Melanie with The Edwin Hawkins Singers. It used Track 23 on CD1 as its B-side. It was issued March 1970 in the USA on Buddah BDA 167 with the same flipside

8. Close To It All [Side 1]
9. Uptown and Down
10. Momma Momma
11. The Saddest Thing
12. Beautiful People
13. Animal Crackers
14. I Don't Eat Animals [Side 2]
15. Happy Birthday
16. Tuning My Guitar
17. Psychotherapy
18. Leftover Wine
19. Peace Will Come (According To Plan)
Tracks 8 to 19 are her fourth album (first live) "Leftover Wine" – released September 1970 in the USA on Buddah Records BDS 5066 and December 1970 in the UK on Buddah Records 2318 011. Produced by PETER SCHEKERYK (her husband) – it was recorded in one night at Carnegie Hall, New York with Melanie on Acoustic Guitar only. It peaked at No.33 on the US Billboard charts and No.22 in the UK.

The outer card slipcase and substantial 24-page booklet with new liner notes from JOHN O'REGAN (dated January 2022) give an extraordinarily detailed overview not just of the four albums presented here – but her entire career past the No.1 single "Brand New Key" on her own Neighborhood Records (and those who later covered it) right up to inductions in Halls Of Fame in 2015 and 2019. It's impartial and yet affectionate and quite rightly gives a congratulatory nod to her successes and popularity. The front and rear artwork for all the LPs is here too along with any original liner notes like say Margie Joseph for the Carnegie Hall live set "Leftover Wine" (Page 1 to10) - while fans will recognise other photos from the inner sleeves punctuating the remainder of the text.

The New Remasters from licenced tapes are by BGO's resident Audio Engineer and a veteran of such vintage material – ANDREW THOMPSON. These albums were well recorded – there is shockingly little hiss yet enough air and warmth around the songs as they play to keep a personal touch coming out of your speakers. She was young too, full of passion and vim and when Melanie let rip on say "Bo Bo's Party" – the impact is amazing. Coming across like a more manic Bobbie Gentry or even Julie Felix – for her second UK 45 off the debut album in February 1969 – Buddah paired it with another album cut "I'm Back In Town" on the flipside of Buddah 201 028 and the audio on both is warm and everything you would hope for. That great clear sound continues throughout. To the music…

A very Paris-by-the-Seine accordion plays in "In The Hour" soon to be accompanied by an acoustic guitar and her highly affected warble. As other reviewers of the time noted – song-wise Buddah seemed to pitch the music at anything goes – vaudeville at times – hippy upbeat ditties the next – all styles - Nilsson meets Randy Newman in tights. Unfortunately, this means that stuff like "I'm Back In Town" and the ha-ha yuck "Animal Crackers" sound terribly dated – but simple songs like "Bo Bo's Party" and "I Really Loved Harold" feel powerhouse by contrast (like a female Fred Neil at times).  "Bo Bo's Party" even made inroads on European 45-singles charts. Buddah UK made her British debut 45-single "Christopher Robin" b/w her brilliant stripped-back almost-spoken cover of the Dylan Sixties classic "Mr. Tambourine Man" – the A-side all about A.A. Milne and the Hundred Acre Wood (Buddah 201 027, December 1968). Melanie talks to her mother in "Momma Momma" – fears she reared her daughter wrong – longing for something – a place to belong – a huge performance and announcement of a major Folk-Rock talent. 

Opening platter number two is a snippet Acapella re-record of "I'm Back In Town" from the debut that is a dismissible – far better is "Tuning My Guitar" – her true aching personality coming through even if it is a tad hissy in places before the strings kick in. Thomas Jefferson Kaye would release his own solo albums in 1973 and 1974 on Dunhill USA (Probe Records in the UK) and even secure the talents of Steely Dan as musicians on the self-titled debut (Donald Fagan, Walter Becker, David Palmer and Jeff Baxter are all on there – along with Engineer and Producer Roger Nicholls and Gary Katz). But before all that Thomas Kaye was a songwriter for hire – and Melanie uses his lone contribution "Soul Sister Annie" as a cool rocker that works as it breaks up the Folkie overload. 

Coming on very much like a female Labi Siffre – her "Uptown Down" is brilliant. Buddah used it as the flipside to "Beautiful People" (a more commercial pitter-pattering A-side) for Buddah 201 066 in December 1969 – a British 45-single - but it did no business (maybe they should have flipped it). Accomplished is how the quiet loveliness of "Again" comes over – a lyrical pain too as she searches for meaning and even friends in a business that offers few. The acoustic guitar and voice theme continues with "Johnny Boy" while her pal is gonna be a big star according to those in the know in "Baby Guitar" – a great 60ts groove and lyrically up there too. "Deep Down Low" and "For My Father" show how far her songwriting had gone while the peaceful and simple "Take Me Home" ends platter number two on a lovely note. "Melanie" or "Affectionately Melanie" as it was known in the UK was a big step forward after the style-tentative debut and it sounds gorgeous here. 

Door No.3 "Candles In The Rain" was her "Mud Slide Slim" LP – the album that broke her out into the mainstream. In fact, Melanie covers James Taylor's "Caroline In My Mind" on Side 1 perhaps aligning herself with US singer-songwriters who were smashing down doors everywhere in 1970 and 1971 and 1972. Her choir-version and almost hymnal take for "Lay Down (Candle In The Rain)" may make 2024 ears bleed a little - but back in the day it had that Hair and Jesus Christ Superstar vibe that captured audiences and listeners in their droves. The in-yer-face album cut of "Lay Down (Candle In The Rain)" hammers on with handclaps and walls of choir voices (Edwin Hawkins singers) and tambourines for a full 7:39 minutes (the single is an edit at 3:49 minutes – a Bonus Track on CD2). Her soft and sweet feel-the-sunshine cover of James Taylor's "Caroline In My Mind" fits – while she ends Side 1 with a gem - "Citiest People" – her gentle ballad telling of a harsh tale of a man who was unkind to an un-city girl – turned a maid ugly when there was no need. Lovely audio too.

"…If the people are buying tears...I'll be rich someday…" - Melanie sang on her other famously self deprecating song "What Have They Done To My Song, Ma" - the 45-single B-side of "Ruby Tuesday" in the UK (August 1970, Buddah 2011 038). Her stunning cover version of The Stones' classic "Ruby Tuesday" deconstructs the song and reveals its inherent menace. Can't say that the childish "Alexander Beetle" is something I ever want to hear again (USA-LP exclusive or no) - but both "The Good Guys" and "Lovin' Baby Girl" save the day with their whacking acoustic passion. Melanie brings her "Candles In The Rain" LP to a close with a song she would use to name her next LP by - the live "Leftover Wine". With sparse and in the background instruments - "Leftover Wine" has sugar-plums dancing in her head - bowls of stale vino enticing come the morning after. Fans will dig the 'Single Edit' of "Lay Down (Candles In The Rain)" cleverly placed after the LP has ended. 

The live set is supposed subtitled 'Recorded Live At Margie's Birthyday Party' which turns out to be New York's Carnegie Hall done 'solo' - her and an Acoustic Guitar. Opening with a slightly dreary "Close To It All" - things pick up with a far better "Uptown Down" - her voice and finger-picking echoing ever so reverentially around the famous venue with surprising clarity. The boys in the city couldn't care less if she loves them or not - while she continues to search for God knows what. Another strong song elicits applause - "Momma Momma" starting out politely until she lets go - a brave brute of a performance in front of such an audience with just an acoustic guitar. Someone even shouts 'we love you' inbetween tunes and they did.

Melanie Safka sadly passed in January 2024 - but this BGO twofer documenting her first four albums on Buddah Records (1968 to 1970) does her starting out period a genuine solid - a fabulous release and one I'm sure fans will love. 

What have they done to my song ma - they've treated it right. God Bless...

"We Have Met Together" by MICK MALONEY – February 1973 UK Debut Solo Album [ex The Johnstons] on Transatlantic Records (August 2023 UK Beat Goes On (BGO) Records Reissue onto CD with Andrew Thompson Remasters) - A Review by Mark Barry...

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"…Molloy's Favourite And The Earl's Chair…"

Limerickman, Banjo and Mandolin playing Folky Mick Maloney had already done his Irish Traditional Music time with The Johnstons between 1966 and 1972 – a very fondly remembered Folk/Folk Rock act on Transatlantic Records. Apart from lead vocalist Adrienne Johnston, Mick Maloney and the American Chris McCloud - The Johnstons were also the six-album home to one of Ireland's truly great songwriters - Paul Brady. 

Time to go solo - and for his Transatlantic Records debut in early 1973 - Maloney ditched that old crew and roped in a six-piece outfit of International players – Friedemann Witecka from Germany on Guitar, Dave O'Docherty from Dublin on Flute and Whistles, Dave Moses and Mal White from England on Bass Guitar, Recorder and Bodhran respectively with Ian (Jan) Inge Rasmussen from Norway on Guitar and Second Vocals and Scotsman Aly Bain from the Shetland Islands on Fiddle. Maloney played Tenor Banjo, Mandolin and Guitar and sang Lead Vocals on eight of its seventeen tunes. Adam Skeaping (one of the Engineers on the album) plays Synthesiser on the final lament to eerie effect on Side 2. Beat Goes On Records of England (commonly known as BGO Records) has also managed a first time on CD for this forgotten rarity with both beautiful Presentation and clear Audio. Here are the heady traditional details…

UK released Friday, 4 August 2023 (18 August 2023 in the USA) - "We Have Met Together" by MICK MALONEY on Beat Goes On Records BGOCD1498 (Barcode 5017261214980) Remasters his 1973 debut solo album onto CD and plays out as follows (45:51 minutes):

1. Two Jigs [Side 1]

2. The Invisible Man

3. The Pipe On The Hob

4. Belfast Town

5. Bodhrán Solo

6. Don't Cry In Your Sleep

7. Reel On Mandolin

8. Farewell To The Rhondda

9. Vi Skal Ikkje Sova Burt Sumar Natta

10. Bean Pháidín [Side 2]

11. Bodhrán Solo

12. Molloy's Favourite And The Earl's Chair

13. Avondale

14. The Leitrim Fancy

15. An Gaoth Andheas

16. Flute Solo

17. The Fields Of Vietnam

Tracks 1 to 17 are his debut solo LP "We Have Met Together" – released February 1973 in the UK on Transatlantic Records TRA 263. Produced by MICK MALONEY – it is first time on CD

NOTES: 

"The Invisible Man" is a Leon Rosselson song and features Friedemann Witecka on Second Guitar with Dave Moses on Bass

"Belfast Town" features Ian Inge Rasmussen on Second Guitar

Mal White plays the Bodhran on "Bodhrán Solo"

"Bean Pháidín" is Irish for Paddy's Wife

"Don't Cry In Your Sleep" features Ian Inge Rasmussen on Second Guitar and Vocal with Dave O'Docherty on Flute

"Reel On Mandolin" features Ian Inge Rasmussen duetting on Guitar

"Farewell To Rhondda" is a Frank Hennessy song about the Welsh mining strikes in 1972 and features Friedemann Witecka and Ian Inge Rasmussen on Guitars with Dave Moses on Bass

"Vi Skal Ikkje Sova Burt Sumar Natta" is a 1960s Norwegian Song (and not Traditional Folk as misdescribed in the original LP liner notes) and features Friedemann Witecka on Second Guitar with Dave Moses on Bass and Recorder

"Molloy's Favourite And The Earl's Chair" features Ian Inge Rasmussen on Guitar with Dave O'Docherty on Flute and Mal White on Bodhrán (the Molloy in the title refers to Irish Flutist legend Matt Malloy of Planxty and The Bothy Band)

"Avondale" is a Dominic Behan song about Charles Stewart Parnell and features Second Guitar by Friedemann Witecka and Dave Moses on Bass

"An Gaoth Andheas" translates as The South Wind and features Aly Bain on Fiddle (Late with The Boys of the Lough)

"Flute Solo" features Dave O'Docherty on Flute only

"The Fields Of Vietnam" is a Ewan MacColl song with Adam Skeaping on Synthesiser

Quite apart from the lovely card slipcase that lends these stand-alone album reissues a real sense of visual class – the 20-page accompanying booklet with new JOHN O'REGAN liner notes goes deep on Maloney’s history with Folk, the album and beyond. Many Net sources are quoted – the original LP's liner notes are reproduced as is its artwork. O'Regan and Musician friends of Maloney note how he made the layout of the album tracks something of a template for future releases – Irish, English, Scottish, Welsh, Euro and American Roots tunes sat alongside instrumentals on the Bodhrán, Flute or Banjo. 

Subject matters included the dread emigration, labour woes once in cheap work, unemployment hunger once out of casual jobs, occupying armies and alienation at home and all roads to and from similar socially aware themes. Maloney sings with his very nasal Tĩr na n'Óg vocals on eight songs (all others are instrumentals) – Tracks 2, 4, 6, 8, 9, 10, 13 and 17. Audio is a New Remaster by ANDREW THOMPSON and it is clean, warm and a lovely listen – the real simple instruments given space to shine.

Some will find the barricades and gelignite lyrics in "Belfast Town" an open-wound – a brave and horribly realistic song about the Northern Ireland troubles – its author wanting to remain anonymous in 1973 no doubt fearing reprisals from both side of the paramilitary divide. The same anchor's away to a better place doom permeates "Don't Cry In Your Sleep" while a jolly-roger lilt fills the colliery pit-men song "Farewell To The Rhondda" – the mines all closing and the population falling – all heading towards the big smoke of London to get work. Side 1 ends with a 60ts Norwegian song sung in the native tongue – it's pretty and features floating recorder, accented Bass and lovely acoustic soloing from guest Guitarist Friedemann Witecka. It's contemporary Folk and not Traditional at all.

A Traditional does open Side 2 – sung in Gaelic, "Bean Pháidín" is Irish for Paddy's Wife and Maloney makes light-work of the speedily sung impenetrable lyrics as the Mandolin and Acoustics strum and pick. After a short Bodhrán solo, the band gets to show its instrumental chops on "Molloy's Favourite And The Earl's Chair" – a Banjo, Whistle and Bodhrán tapping set of reels learned from Flutist Matt Molloy. Things return to plaintive ballad with the lovely "Avondale" – Dominic Behan singing of tall trees and ancient glory in the vales – Maloney sounding completely at home with the lead only to be joined on the second chorus by the other lads (very nicely done, Parnell would have approved). 

Two instrumentals highlight Acoustic Guitars, Banjo, Fiddle and Flute whilst "An Gaoth Andheas" is about a Southern Winter where Aly Bain of Boys of the Lough plays a binder on plaintive fiddle. The album ends of probably its best shot at greatness – a cover of the Ewan MacColl political ballad "The Fields Of Vietnam". It opens with lonesome solo vocals but is soon joined by an ominous synth drone (Adam Skeaping) – the Vietnamese taken on by the invading armies of the French and the Americans – none of them succeeding. "The Fields Of Vietnam" brings to an end a strong debut – not a masterpiece by any means – but superbly presented here for those who have waited decades for it to show on decent digital.

Having toured since the Sixties and been involved in nearly forty albums – Mick Maloney made the USA his home and sadly passed in July 2022 aged 77 – a lifetime given over to all forms of Folk music and its rich history, academia and philanthropy. Although his name may not reverberate around the annals of Music Fame outside of the Traditional genres – inside it – Maloney was beloved and spread the gospel far and wide – some saying he chronicled and championed all forms of Roots Music with a passion and warmth that was infectious. Much like this rather lovely CD Reissue and Remaster…

"Mae McKenna/Everything That Touches Me/Walk On Water plus Bonus Tracks" by MAE McKENNNA [ex Contraband] – August 1975 Debut, June 1976 Second Album and May 1977 Third Studio Albums on Transatlantic Records UK (November 2023 UK Beat Goes On Compilation – 3 Solo LPs Plus 2 'Contraband' Single Sides onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

 

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"...Thinking Of You..."

 

MUSIC RATING: *** AUDIO: ***** PRESENTATION: *****

 

Along with George Jackson, Billy Jackson, John Martin, Pete Cairney and Alex Baird – Scottish lass MAE McKENNA had formed CONTRABAND who signed to Transatlantic Records in 1973. As their lead singer, they put out one self-titled album of Irish and Scottish music called "Contraband" on Transatlantic TRA 278 in May 1974. McKenna then went Poptastic solo with her 1975 self-titled debut while Billy and George Jackson along with John Martin formed a full-on Traditional Folk outfit called OSSIAN and they put out their debut in 1977 on a tiny label - Springthyme Records SPR 1004.

 

Back to the case in hand - these Mae McKenna solo LPs are 'not' Folk Records. They were issued August 1975 (TRA 297), June 1976 (TRA 321) and May 1977 (TRA 345) on Transatlantic Records in the UK - but despite its famous-for-it All Things Folk label identity, these albums are far removed from that genre on all three counts. The listen is more mid Seventies Lady Pop and Rock by way of Linda Ronstadt or Helen Reddy or the syrupy acrobatics of Barbra Streisand.

 

Most of the songs across these two crammed CDs are cover versions - pianos mingling with strings and professionally played drums with good session-players putting in quality playing – but not a lot else. It's about as un-Folk as you can get and unfortunately very mid-Seventies nondescript. I recall we could never sell copies of Mae McKenna albums in Reckless because it was not Folk or Folk Rock. However, fans will love the first time availability on CD, the classy presentation and the super clear audio. There is a lot to get through – to the details...

 

UK released Friday, 10 November 2023 - "Mae McKenna/Everything That Touches Me/Walk On Water plus Bonus Tracks" by MAE McKENNA on Beat Goes On BGOCD1499 (Barcode 5017261214997) offers 3LPs and Two 45-Single Sides (by Contraband featuring Mae McKenna) onto 2CDs. It plays out as follows:

 

CD1 (43:56 minutes):

1. Dying To Live [Side 1]

2. Once In The Morning

3. All In Love Is Fair

4. The Other Side Of Me

5. Song For Simon

6. Together We Get By

7. Elderberry Wine [Side 2]

8. How Could We Dare To Be Wrong

9. Imagine

10. Black-Eyed Susan

11. Said The Major

12. Old Man

Tracks 1 to 12 are her debut album "Mae McKenna" – released August 1975 in the UK on Transatlantic Records TRA 297. Produced by PETE SAMES – it featured Martin Briley and Paul Keogh on Guitars, BJ Cole on Pedal Steel Guitar and Graham Prescott on Bass.

 

CD2 (78:44 minutes):

1. For Shame Of Doing Wrong [Side 1]

2. My Town

3. Thinking Of You

4. Crying In The Rain

5. Late For The Sky

6. Love Hurts [Side 2]

7. I Have Waited 

8. (I Ended Up) Losing You 

9. Everything That Touches Me

10. Lady For Today

11. Sixty Seconds Got Together

Tracks 1 to 11 are her second solo album "Everything That Touches Me" - released June 1976 in the UK on Transatlantic Records TRA 321. Produced by RITCHIE GOLD - musicians included Elliott Randall and Isaac Guillory on Guitars with Pat Donaldson of Fotheringay on Bass and Timi Donald of Blue on Drums (String Arrangements by Pete Wingfield). 

12. Driven Away [Side 1]

13. Love Me Tomorrow

14. There's Been A Mistake

15. What Becomes Of The Broken Heart

16. Sailin'

17. Love Struck [Side 2]

18. He's A Man After My Own Heart

19. Love Hangover

20. For You My Love

21. I Want To Believe In You

Tracks 12 to 21 are her third solo album "Walk On Water" - released May 1977 in the UK on Transatlantic TRA 345. Produced by RITCHIE GOLD - featuring Elliott Randall, Iassac Guillory Ronnie Leahy, Alan James, Gerry Conway and Pete Willsher.

BONUS TRACKS:

22. Lady For Today

23. On The Road

Tracks 22 and 23 are the A&B-sides of a 1974 UK 45-single by CONTRABAND featuring the voice of Mae McKenna on Transatlantic Records BIG 518

The card slipcase is lovely to look at (they are standard now with all Beat Goes on CD Reissues) - as is the 20-pages of the chock-a-block booklet with new liner notes by one of BGO's longstanding scribes JOHN O'REGAN. The album credits for all three are reproduced and the history is his usual plethora of details and interview segments. ANDREW THOMPSON has done the Remasters and as professionally produced albums from 1975, 1976 and 1977 - the CD Audio is top notch. You just wish the material warranted it. To the songs...

 

The debut has covers of Stevie Wonder's "All In Love Is Fair", Elton John's "Elderberry Wine", Randy Newman's "Old Man", Edgar Winter's "Dying To Live" and John Lennon's "Imagine" but few of them really click. A rare moment of beauty comes in her cover of Gerry Rafferty's "Song For Simon" that first appeared on the Humblebum's third album "Open Up The Door".

 

After the overly reaching-for-commercialism saccharine nature of the debut – solo album number two tries to Rock it up a bit with only marginally better results. It opens with a good rendition of Richard Thompson's "For Shame Of Doing Wrong". Elliott Randall of Steely Dan "Reeling In The Years" guitar-solo fame plays all the lead guitars aided and abetted by string arrangements from Pete Wingfield of Jellybread and "Eighteen With A Bullet" fame (Ronnie Leahy plays Keyboards). Channeling her inner Emmylou Harris/Country Rock sound, McKenna tackles Kate and Anna McGarrigle's "My Town" – it feels nice but not a whole lot more. Next up is a lovely Wendy Waldman song called "Thinking Of You" – Waldman had contributed "Vaudeville Man" and "Mad Mad Me" to the self-titled "Maria Muldaur" LP in 1973 on Reprise Records (the "Midnight At The Oasis" LP). Unfortunately McKenna ruins the Jackson Browne masterpiece "Late For The Sky" with crappy synth passages and one of the singularly most inappropriate psyched-up guitar solos I've ever heard. Side 2 goes for the love songs big time but only ends up sounding cloying like a bad Neil Diamond album on CBS Records in the late Seventies.

 

Being embedded in the psyche of 1977 dancefloor Soul-Funk – album number three goes full-on Yacht Rock right from the openers "Driven Away" and "Love Me Tomorrow" but the material is weak and her voice not particularly memorable. Barely anyone cares about Pousette-Dart songs and "There's Been A Mistake" sounds as uninspired as its title. And on it goes to hammy Pedal Steel cack like "Love Struck". CD2 ends with a Contraband UK 45-single (Transatlantic BIG 518 featuring the voice of Mae McKenna) from 1974 - "Lady For Today" written by Rosemary Hardman with a Billy Jackson original on the flipside "On The Road". The A is more poppy and less memorable than the lovely Mandolin filled B-side. It ends a hard-work CD2 on a high note.

 

Workmanlike albums like these are forgotten and cluttering up auction sites with 40-copies for two and three quid for a reason – they were never worthy of our affection in the first place. But if you have any love for these Seventies records – this Beat Goes On gorgeous sounding and tastefully presented twofer is the jobby for you. All others should grab a listen first...

"White Light/Roadmaster" by GENE CLARK – August 1971 US/UK Second Solo LP [ex Byrds, Dillard & Clark] on A&M Records and January 1973 Dutch-Only Third LP on A&M Records featuring Guitarists Jesse Ed Davis and John Selk, Keyboards by Ben Sidran and Michael Utley, Bass by Chris Ethridge with Drums and Percussion by Bobbye Hall Porter and Gary Mallaber – Also Featuring David Crosby, Roger McGuinn, Clarence White and Bernie Leadon of Eagles and many more (May 2023 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 1CD – Andrew Thompson Remasters) - A Review by Mark Barry...

 

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Rating: ****

 

"...Let Your Troubles Fade Into The Sun..."

 

There seems to be a train of thought that places Gene Clark of The Byrds, Dillard and Clark and The Flying Burrito Bros. fame up there with holy men and Godheads when it comes to songwriting genius. I think that's absolute codswallop.

 

Neither of these is his masterpiece "No Other" (from 1974). But it would also be churlish of me not to state the obvious - there is beauty and charm on his second and third solo albums – but just not as much as so many claim. Certain publications assuring us then or now that Gene Clark is among the greatest songwriters of his generation are to me ludicrously over-pushed and over-stated – especially on the strength of what's on offer here.

 

However (and I mean this) - what you do have here is a Quality Reissue CD Compilation that will make many of his Country-Rock and Folk-Rock fans very happy bunnies indeed. In fact – you could say that waiting until May 2023 for this 2LPs-onto-1Disc has seemed a long time coming. 

 

But typical of Beat Goes On Records (BGO of England) – they've done his legacy proud and presented these August 1971 and January 1973 albums (both on A&M Records – the second out of Holland only) with a pretty card slipcase, liner notes that reprouduce all original details and draws on research of old, and sports newly Remastered Audio (care of Andrew Thompson) that finally makes for the best listen of this material that I have ever heard. Here are the Misty Mornings...

 

UK released Friday, 26 May 2023 - "White Light/Roadmaster" by GENE CLARK on Beat Goes On Records BGOCD1494 (Barcode 5017261214942) features 2LPs issued 1971 and 1973 Remastered onto 1CD (no Bonuses) that plays out as follows (75:00 minutes):

 

1. The Virgin [Side 1]

2. With Tomorrow

3. White Light

4. Because Of You

5. One in A Hundred

6. For A Spanish Guitar [Side 2]

7. Where My Love Lies Asleep

8. Tears Of Rage

9. 1975

Tracks 1 to 9 are his second solo album (after The Byrds, Dillard & Clark and The Flying Burrito Brothers) "White Light" aka "Gene Clark" – released August 1971 in the USA on A&M Records SP 4292 and A&M Records AMLS 64292. All songs written by Gene Clark except "With Tomorrow" – a co-write with Jesse Davis – and "Tears Of Rage" by Bob Dylan and Richard Manuel (of The Band). Produced by JESSE ED DAVIS – the band consisted of Gene Clark on Lead Vocals, Acoustic Guitar and Harmonica, Electric and Slide Guitars by Jesse Ed Davis, Acoustic Guitar by John Selk, Keyboards by Ben Sidran (Piano) and Michael Utley (Organ), Bass by Chris Ethridge with Drums and Percussion by Gary Mallaber and Bobbye Hall Porter. Both Bed Sidran and Gary Mallaber are from The Steve Miller Band.

 

10. She's The Kind Of Girl [Side 1]

11. One in A Hundred

12. Here Tonight

13. Full Circle Song

14. In A Misty Morning

15. Rough And Rocky

16. Roadmaster [Side 2]

17. I Really Don't Want To Know

18. Remember The Railroad

19. She Don't Care About Time

20. Shooting Star

Tracks 10 to 20 are his third solo album "Roadmaster" – released January 1973 in Holland-only on A&M Records 87 584 IT. It received its first British VINYL LP release August 1988 on Edsel ED 198 in different artwork and subsequently on CD June 1990 on Edsel ED CD 198 (again with the different artwork – Gene in the front seat of a car).

 

The card slipcase and 20-page booklet certainly lend this release a feel of event and that both albums have transferred in their entirety onto 1 CD (75:00 minutes exactly) is pleasing too. Long-time contributor to BGO liner notes JOHN O’REGAN name-checks web sources and does a full career overview and not just on the two presented. Perusing the notes, I've read some of this stuff before - Clark's life being the stuff of abuse and misuse legend. 

 

Missouri born in November 1941 – Gene Clark was gone by May 1991 - not even making his 50^th birthday – yet he left a musical thumbprint we're still flicking through to this day. One of the Byrds founders – we're told of a hasty departure in 1966 (Roger McGuinn taking over) and thereafter hooking up with Chip Douglas and other Country-fied types. Columbia Records signed Clark as solo act and his 1967 debut with The Gosdin Brothers hit the shops as his first solo album. What you're getting here is solo albums two and three - both studio efforts - the second a sort of half-done patchwork recorded 1971-ish in the USA that was released by A&M Records anyway in early 1973, but only in Europe. And while the music press were generally favorable even fawning, because of its seriously limited nature on Vinyl, the buying public barely got a look in on "Roadmaster" let alone sung its praises.

 

The booklet provides musician credits for both albums (no new photos) and the Remaster by ANDREW THOMPSON accessed original master tapes. The Harmonica and strummed Acoustics on "White Light" is lovely and warm while the Production values on "Because Of You" is gorgeous – those soft Congas by Bobbye Hall Porter and that lingering Mike Utley church organ. Many love "One In A Hundred" – Jesse Ed David and Mike Utley giving it a fantastic one-two on Slide Guitar and complimentary Organ – Clark warbling the vocals. No less than Dylan called "For A Spanish Guitar" a masterpiece he wishes he'd written himself – the laughter of children employed – a very sweet Remaster as the instruments wallow around your speakers. And "Where My Love Lies Asleep" could be whipper-will J.J. Cale on "Magnolia". But I can't say I have much truck with either "Tears Of Rage" or "1975" (there is something lacking in the guitars, even the Remastered sound feels off). Still - totting up what I do like - "White Light" is such a strong album.

 

Clark had left A&M Records in late 1972 for a reunion with the five others in the Byrds. Their self-titled "Byrds" reunion album (of which much was expected and not a lot delivered) was released on Asylum Records in March 1973 – so few even noticed the bits and pieces 1972-recordings solo album by Gene Clark issued in Holland-only in January 1973. In fact "Roadmaster" famously received a release in 1974 in Japan before Reissue Specialists Edsel Records gave it a wallop in the UK in 1988 (and in different artwork). In truth – both albums have remained cult singer-songwriter touchstones ever since and it is well cool of Beat Goes on (BGO) to finally pair both of them on one compilation with quality presentation.

 

Gene Clark sings Lead Vocals on all "Roadmaster" songs and Plays Acoustic Guitar on Tracks 14 to 20. Guest Musicians included Bud Shank playing low-key Flute on the album opener "She's The Kind Of Girl". Guitars from ex Byrds men David Crosby and Roger McGuinn on "She's The Kind Of Girl" and "One In A Hundred" – while Clarence White provides Lead Guitar on tracks 14 to 20 including the remade version of "One In A Hundred" (original version on the "White Light" album). Both Spooner Oldham of Muscle Shoals and Fame Studios and Byron Berline of The Flying Burrito Bros play Keyboards and Fiddle (respectively) on Tracks 14 to 20 - while ex Byrds drummer Michael Clarke plays on all. Rick Roberts of The Flying Burrito Bros and Firefall plays Acoustic Guitar on "Here Tonight" alongside Bernie Leadon of Eagles who plays Electric Guitar on the same song. "Rough And Rocky" is a Flatt & Scruggs cover version while "I Really Don't Want To Know" was popularized in 1953 by Les Paul and Mary Ford and has been covered many times since including by Elvis Presley, Brook Benton and even John Travolta.

 

With Crosby and especially McGuinn playing that pinging guitar sound of the Byrds on "She's The Kind Of Girl" and a more attacking "One in A Hundred" – the LP opens like its an actual next-stage Byrds LP. But we return to a more Country-Rock vibe with the Pedal Steel driven "Here Tonight" – the suitcase is over there – not being used – only want to be with you tonight. Far more moving in my book is the simple yet epic acoustic-strummed forlorn of "In A Misty Morning" – our hero eyeing the tall buildings of the city – police cruisers whizzing by – street lights changing – memories of days left behind – hoping for better times ahead as he walks – lost in reverie.

 

Muscle Shoals legend and fab-songwriter in his own right Spooner Oldham starts making his complimentary presence felt with Funky Keyboards on the title song – the truck-stop/ladies tale "Roadmaster". But it also Clarence White letting rip with treated Guitar Funk that catches the ear – a travelling picker literally making you feel what it is like to be on the road.

 

"Just to laugh through the columns of trees...to soar like a seagull in the breeze...to stand in the rain if you please...or to never be found..." Clark sang with a mournful longing on "For A Spanish Guitar". 

 

Gene never did find that peace in this world – but fans of his Big Star jangle and Byrds-like Sunshine Country-Rock can console themselves with the melodies and presentation here. Another clever and smartly presented CD compilation from England's BGO...fans will have to own it...