"Already Here/Wovoka/Beaded Dreams Through Turquoise Eyes" by REDBONE (July 2017 Beat Goes On - 3LPs onto 2CDs Reissue and Remasters) - A Review by Mark Barry...

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"...Come And Get Your Love..."

Preceding September 1972's "Already Here" that opens this 3LPs-onto-2CDs 2017 reissue – REDBONE had already clocked up three albums.

First came the double-opener "Redbone" in February 1970, "Potlatch" followed in November 1970 and then came the real breakthrough LP - "Message From A Drum" in February 1972. It contained the monster hit "Witch Queen Of New Orleans" - a smash for the Native American four-piece as far back as May 1971 (the LP didn't arrive until early 1972). With the same track list but different artwork - the British variant of the "Message From A Drum" LP was actually renamed "The Witch Queen Of New Orleans" for UK audiences after the Epic Records single became their first charter in Blighty as well – peaking at an unprecedented No. 2 in late 1971.

But to the matter in hand - what you get here in July 2017 are studio albums number four, five and six from 1972, 1973 and 1974 remastered and presented in the usual classy manner by England's BGO (Beat Goes On). In fact most people will only really know Redbone through the movies - the American actor Chris Pratt using their Seventies smash "Come And Get Your Love" on his Walkman as he dances through an alien planet landscape in the opening sequence of the huge "Guardians Of The Galaxy" movie in 2014 - giving the song and the forgotten group another lease of life.

Their music and sound fluctuated from their initial 1970/1971 Red Indian Swamp Rock to 1972-1974 War-like Rock-Funk, Seventies Pop and even Santana-esque Soulful flourishes and Return To Forever nine-minute whig-outs. But as the LPs progressed and especially after the huge success of "Come And Get Your Love" - you can hear the band leaving behind the interesting experimentation of old and instead reach for that 'popular music for the masses' handbook and most times come up trumps (though not all). Despite an inevitable commercialization of their unique Native American Funk-Pop on the weak third album presented here - this CD-twofer still makes for a hugely enjoyable listen overall and also has you think – here is a band that and a sound that genuinely deserves 'rediscovery'. To the details…drum rolls please...

UK released Friday, 14 July 2017 (21 July 2017 in the USA) - "Already Here/Wovoka/Beaded Dreams Through Turquoise Eyes" by REDBONE on Beat Goes On BGOCD 1277 (Barcode 5017261212771) offers 3LPs Remastered onto 2CDs and play out as follows:

Disc 1 (52:52 minutes):

1. Fais-Do [Side 1]

2. Motivation

3. Power (Prelude To A Means)

4. Speakeasy

5. Condition Your Condition

6. Where Is Your Heart [Side 2]

7. Good Enough For Jesus

8. Poison Ivy

9. Already Here (Brujo)

Tracks 1 to 9 are their fourth studio album "Already Here" - released September 1972 in the USA on Epic Records KE 31598 and January 1973 in the UK on Epic Records S EPC 65072.

10. Wovoka [Side 1]

11. Sweet Lady Of Love

12. Someday (A Good Song)

13. Liquid Teeth

14. We Were All Wounded At Wounded Knee

Tracks 10 to 14 are Side 1 of their fifth studio album "Wovoka" - released November 1973 in the USA on Epic Records KE 32462 and November 1973 in the UK on Epic EPC 65500.

Disc 2 (52:32 minutes):

1. Come And Get Your Love [Side 2]

2. Day To Day Life

3. Clouds In My Sunshine

4. 23rd And Mad

Tracks 1 to 4 are Side 2 of their fifth studio album "Wovoka" - released November 1973 in the USA on Epic Records KE 32462 and November 1973 in the UK on Epic EPC 65500.

5. One More Time [Side 1]

6. Suzi Girl

7. Only You And Rock And Roll

8. Blood, Sweat And Tears

9. Cookin' With D'Redbone

10. (Beaded Dreams Through) Turquoise Eyes [Side 2]

11. Beautiful Illusion

12. Interstate Highway 101

13. I'll Never Stop Loving You

14. Moon When Four Eclipse

Tracks 5 to 14 are their sixth studio album "Beaded Dreams Through Turquoise Eyes" - released October 1974 in the USA on Epic Records KE 33053 and October 1974 in the UK on Epic Records EPC 80429

REDBONE was:

LOLLY VEGAS - Lead Guitar and Lead Vocals

TONY BELLAMY - Rhythm Guitar and Vocals

PAT VEGAS - Bass and Vocals

ARTURO PEREZ - Drums and Percussion on "Already Here" only

BUTCH RILLERA - Drums and Backing Vocals on "Wovoka" and "Beaded Dreams Through Turquoise Eyes"

Guests:

RED RHODES of BAMBOO - Steel Guitar on "Speakeasy" on the "Already Here" LP

TERRY FURLONG of THE GRASS ROOTS - Slide Guitar on "Fais-Do" on the "Already Here" LP

ELIJAH HORN SECTION - Brass and Horns on the "Already Here" LP

JOE SAMPLE of The Crusaders - Piano and Vibraphone on the "Wovoka" LP

SHIRLEY WILLIAMS - Backing Vocals on the "Wovoka" LP

BONNIE BRAMLETT, MERRY CLAYTON and CLYDIE KING - Backing Vocals on the "Beaded Dreams..." LP

The outer card slipcase lends these BGO reissues a very classy feel and the 20-page booklet certainly lays on the credits, photos and musical assessments hard and thick. NEIL DANIELS provides the affectionate and enthusiastic liner notes which are dedicated to Lolly Vegas and Tony Bellamy - principal songwriters in the band who sadly passed in 2010 and 2009 respectively. ANDREW THOMPSON once again does the beautifully rendered Remasters from real tapes - great sound that lifts up every song. To the music...

Across three whole albums there is only one cover version – all other material are original Lolly and Pat Vegas compositions with some contributions from Tony Bellamy – an impressive feat. Even the 'you can look but you better not touch' cover of the Lieber/Stoller-penned Coasters nugget "Poison Ivy" gets a radical Funk-up so you're not hearing another slavish R&B interpretation. The "Already Here" album retains much of that 'War' funk ethic with the nine-minute title track being a sort of Return To Forever Jazz Fusion whig-out that's actually a little indulgent. But tracks like the Funky "Motivation" and the 'get your act together' message song "Condition Your Condition" would do The Isley Brothers proud over on T-Neck Records. The Pat Vegas ballad "Power (Prelude To A Means)" is really pretty and with its Philly strings comes on like The Manhattans or even Bobby Womack with a message for the ladies that will benefit them entirely. The other worthy entry is the catchy and Soul-lovely Lolly Vegas shuffler "Where Is Your Heart". It's amazing that Epic chose the lesser "Fais-Do" as a lead off 7" single in August 1972 when I can't help feel this tune had Soul and Pop crossover appeal.

After the over-the-top 'Brujo' fusion work out of the title track to "Already Here" - the deliberately commercial "Wovoka" LP is a Rock-funky album coming from the 'land of spirits'. The title track is a fabulous 'dancing' funker that's got its Saxophone and Guitar heart firmly in the 'Witch Queen' corner. Another shuffler comes with the very catchy "Sweet Lady Of Love" and again this could be The Delfonics or The Dells getting their collective vocal teeth into a deeply Soulful groove. You can hear why someone thought it was a good idea to release "We Were All Wounded At Wounded Knee" as a 45 but it feels like a poor man's 'buffalo' and 'reservation' follow-up to "Witch Queen" that never really ignites no matter how worthy its historically uncomfortable lyrics are. Better is the joint Vegas/Bellamy song of "Day To Day Life" where he and his common-law wife keep on rocking. They go native chanting on the equally impressive snake rattles of "Clouds In My Sunshine" – a strange mixture of Native American vibes mixed with the second half of the song that goes pure Philly Soul. The near seven-minutes of "23rd And Mad" comments on city life as it funks through the ‘great boom boom boom’ where all the girls are sexy temptations and the cafes are full of dudes and pimps.

But as good as all they are – the album belongs to one song. At five minutes and one second - the full album cut of "Come And Get Your Love" starts with an almost Gospel refrain before it goes into that familiar opener (edited from the 7” single). It’s a damn shame BGO didn't include the 45-cut of 3:39 minutes that most people are familiar with from the Radio, Commercials and Films as a Bonus Track. But it doesn't stop the Remaster of this fabulous slice of Seventies joy from being a guilty pleasure I’m sure many listeners will return to more than once on this reissue. A billion-dollar movie can't be wrong. "Come And Get Your Love" indeed...

Reaching No. 174 on the US Top 200 in early November 1974 - "Beaded Dreams Through Turquoise Eyes" failed to capitalize on the "Wovoka" No. 66 chart placing the year previous. "One More Time" has clever socially-conscious lyrics about not being able to pay the bills and people saying they can kick that itch in their arms - but it gets lost in some obvious "Come And Get My Love" identikit melodies that aren't as good as the previous winner. The too-poppy "Suzi Girl" feels much the same. Things improve with the hooky "Only You And Rock And Roll" - a clavinet-funky little dancer with strings and an eye on the singles chart. "Blood, Sweat And Tears" is a message song while the Sly & The Family Stone funky "Cookin' With D'Redbone" tries hard and just about gets away with it. Much of Side 2 is the same ever so slightly syrupy material with the Stylistics dancer "I'll Never Stop Loving You" even being a possible Northern Soul discovery.

To sum up - the first album "Already Here" is very good, "Wovoka" a total sweetie and that third "Beaded Dreams..." set lets the side down a lot - a victim of chasing chart success without having the tunes to achieve sales. Still with the great audio and fab presentation - fans will need to own it and newcomers will find much to enjoy. Nice one...

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"Bang/Miami" by JAMES GANG [featuring TOMMY BOLIN] (2014 Beat Goes On CD Reissue – 2LPs Remastered onto 1CD) - A Review by Mark Barry...

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"…Like No Other…"

I've had the superb Repertoire 1998 "Best Of" 2CD retrospective of THE JAMES GANG for years now in order to have tracks from the 3 guitar players with the band - Joe Walsh, Dominic Troiano and TOMMY BOLIN - but that set only provided the bare bones when it came to TB's illustrious stay. Well at last - this very cool reissue gives fans both of the TOMMY BOLIN albums - and is presented in the usual classy BGO way (card slipcase, great remasters). Here are the wild horses, babes in the stables and pelicans in the pool...

UK released October 2014 – "Bang/Miami" by JAMES GANG on Beat Goes On BGOCD 1172 (Barcode 5017261211729) offers 2LPs Remastered onto 1CD and breaks down as follows (71:09 minutes):

1. Standing In The Rain

2. The Devil is Singing Our Song

3. Must Be Love

4. Alexis

5. Ride The Wind

6. Got No Time For Trouble

7. Rather Be Alone With You (A.K.A. Song For Dale)

8. From Another Time

9. Mystery

Tracks 1 to 9 are the album "Bang" - released September 1973 in the USA on Atlantic SD 7037 and January 1974 in the UK on Atlantic K 50028

TOMMY BOLIN - Guitar & Synth - Backing Vocals on "Standing In The Rain"

ROY KENNER - Lead Vocals, Percussion and Back-Up Vocals - Except on "Alexis" - which has Tommy Bolin on Lead Vocals

DALE PETERS - Bass, Fuzz Bass, Percussion and Piano and backing Vocals on "Standing In The Rain"

JIM FOX - Drums, Percussion and Piano on "Mystery"

10. Cruisin'

11. Do It

12. Wildfire

13. Sleepwalker

14. Miami Two-Step

15. Praylude/Red Skies

16. Spanish Lover

17. Summer Breezes

18. Head Above The Water

Tracks 10 to 18 are the album "Miami" - released July 1974 in the USA on Atlantic SD 36-102 and August 1974 in the UK on Atlantic K 50068

TOMMY BOLIN - All Guitars & Lead Vocals on "Spanish Lover"

ROY KENNER - Lead & Backing Vocals

DALE PETERS - Bass, Fuzz Bass, Percussion and Piano and backing Vocals

JIM FOX - Drums, Percussion, Keyboards and Backing Vocals

ALBHY GALUTEN - Synthesizer on "Head Above The Water"

The 12-page booklet has liner notes by NEIL DANIELS - album credits, some photos and a brief history of the band - but the real news is a new 2014 remaster by ANDREW THOMPSON from tapes licenced from WEA. The short but simple way of putting it is that this CD rocks - muscle and clarity - it's all there (you could almost forgive the awful Atlantic artwork for both LPs).

"Bang" is dominated by the arrival of a huge talent - guitarist TOMMY BOLIN - aged only 22 at the time and personally recommended to the band by JOE WALSH. Iowa-born Bolin had cut his teeth with small American bands like Patch Of Blue, Zephyr (on Probe Records) and Energy before joining JAMES GANG (he would famously leave them too and move on to a short but brilliant stay with England's DEEP PURPLE).

It opens with the almost Montrose like "Standing in The Rain" and immediately the guitar leaps out at you. His fantastic slide playing comes Kossoff-like again on the slinky and menacing "The Devil Is Sing Our Song". "Must Be Love" brings up the boogie pace firmly into Foghat territory while Bolin takes lead vocals on "Alexis" - a number that starts out all acoustic pretty about a young girl in New Orleans but then towards the end launches into an electric guitar workout that is just stunning (reminds me of Craig Chaquico's blistering axework on "Ride The Tiger" - the opening track on Jefferson Starship's 1974 album "Dragonfly").

There was clearly a venture into top shelf Gregg Allman territory on the "Miami" opener "Cruisin' Down The Highway". It goes into chugging boogie with "Do It" and "Wildfire" where the band sounds not unlike an American version of Bad Company. I've always loved the beautiful keyboard "Praylude" lead in to "Red Skies" - reminds me of Joe Walsh on "Smoker" at his ambitious song-structure best (Bolin's delicate flicking up and down the strings as triangles tingle in the background is gorgeous). "Spanish Breeze" is an extraordinarily tender acoustic ballad ("her words were almost frightening...") - it has a loveliness and songwriting grace about it (co-written with Jeff Cook - lyrics above). "Summer Breezes" could have been a single and it ends on the plaintive "Head Above The Water".

"Maybe you'll get back on your feet again..." - Kenner sings on "Head Above The Water". Thomas Robert Bolin would be lost to us only two years after these albums were put out - he died aged only 26 in December 1976. At least this fantastic remaster celebrates his amazing sonic legacy with real style. Well done to all involved...

"Three Friends/Octopus" by GENTLE GIANT (2013 Beat Goes On 2CD Reissue - Andrew Thompson Remasters) - A Review by Mark Barry...

"...Fate And Skill And Chances..." 

The first double-disc reissue of Gentle Giant’s extensive back-catalogue put out by England’s reputable 'Beat Goes On' label remastered the Portsmouth boy’s first two Prog outings at Vertigo Records - "Gentle Giant" from 1970 and "Acquiring The Taste" from 1971 (see separate review for that 2012 Andrew Thompson Remaster).

Now we get those difficult third and fourth albums – "Three Friends" and "Octopus" – which for GG saw huge musical progress and an ever-expanding fan base. Both hailed from 1972 (April and November) and were their last two LPs for the famous Progressive Rock label 'Vertigo' – home of many’d the eye-catching and elaborate gatefold sleeve. Here are the wee beasties...

UK released June 2013 – "Three Friends/Octopus" by GENTLE GIANT on Beat Goes On BGOCD 1090 (Barcode 5017261210906) offers their third and fourth studio albums remastered onto 2CDs and plays out as follows:

Disc 1 "Three Friends" (35:27 minutes):

1. Prologue

2. Schooldays

3. Working All Day

4. Peel The Paint [Side 2]

5. Mister Class And Quality?

6. Three Friends

Tracks 1 to 6 are their third studio album "Three Friends" - released May 1972 in the UK on Vertigo Records 6360 070 and April 1972 in the USA on Columbia PC 31649 with different artwork. Produced by GENTLE GIANT and Engineered by Martin Rushent.

Disc 2 "Octopus" (34:17 minutes):

1. The Advent Of Panurge

2. Raconteur, Troubadour

3. A Cry For Everyone

4. Knots

5. The Boys In The Band [Side 2]

6. Dog’s Life

7. Think Of Me With Kindness

8. River

Tracks 1 to 8 are their 4th studio album "Octopus" - released November 1972 in the UK on Vertigo Records 6360 080 and February 1973 in the USA on Columbia PC 32022 with 'an Octopus in a pickle jar artwork'. Produced by GENTLE GIANT and Engineered by Martin Rushent.

GENTLE GIANT was:

KERRY MINNEAR – All Keyboards, Vibraphone, Moog, Cello, Lead and Backing Vocals

RAY SHULMAN - Bass, Violin, Guitar, Percussion and Vocals

GARY GREEN – Guitars and Percussion

DEREK SHULMAN - Lead Vocals and Alto Sax

PHILIP SHULMAN - Alto and Tenor Sax, Trumpet, Mellophone, Lead and Backing Vocals

MALCOLM MORTIMER – Drums ("Three Friends" LP only)

JOHN WEATHERS – Drums, Congas and Percussion ("Octopus" LP only)

Guests:

CALVIN SHULMAN – Boy’s voice on "Schooldays" on the "Three Friends" LP

The outer card slipcase gives the release a classy feel (now generic with all BGO releases) while the 16-page booklet is packed with original details (the Three Friends drawings and Roger Dean’s Octopus artwork) and properly in-depth assessments of the albums and the band by noted writer NEIL DANIELS (done in 2013). The final few pages give you the lyrics to both records - all of it backed up by original album and reissue credits. ANDREW THOMPSON has carried out the new Remasters at Sound Performance in London and both albums are huge improvements over the 1st and 2nd records – real presence and power taking full advantage of the very serious Production values poured into both platters by a band obsessed with getting their aural vision right.

Whilst the first two studio efforts sounded not dissimilar in style to King Crimson and Yes meets Family (Roger Shulman’s lead vocals were even akin to Roger Chapman) – by the time our South Coast Progressive Rock band reaches early 1972 – they sound more Greenslade than ELP. With musical adventure and boundary-breaking forcibly built into their every song – the six-piece band hammer you with virtuosity and ideas. And even though Tony Visconti did a great job on the first two platters (especially their brilliant 2nd LP "Acquiring The Taste") – GG took the Producing helm for Three and Four and man does it show. The short but ambitious concept LP "Three Friends" – stories of three pals who grow and they go their separate ways (some successful – some not) – and the much loved "Octopus" – sound HUGE here.

"Prologue" doesn't make for an 'easy listening' start - jerking/gangly synth chords that eventually settle into an almost church-like set of harmony vocals. The production is fabulous as the boys sing of three childhood friends feeling the 'winds of change' (oh yes folks the concept album). "Schooldays" feels like Greenslade's "Bedside Manners Are Extra" or 1974's brilliant "Spyglass Guest" (see separate review) - dancing keyboards and voices tell of 'happy days' and 'going nowhere' - the amazing vocals and pinging vibraphone building as lyrics come at you about 'pink ice cream' and dull homework and Mister Watson wanting to see the naughty lads in his Master's office. "Schooldays" is incredibly accomplished and at times beautiful in its melodies and scope. "Working All Day" sees the three pals in dead-end jobs whilst at home 'papa was rough...he didn't care for learning...' where they quickly learn that 'everybody's equal' just isn't true. There's a clever guitar/saxophone refrain that holds the five-minute passage together. "Peel The Paint" is a Prog song with choral strings about superficial layers being stripped away to reveal 'the same old savage beast'. The perky "Mister Class And Quality?" follows the more successful of the three buddies with his house and car and pretty wife - sounding very "Tarkus" ELP in its keyboard jabs and containing a wild almost vulgar guitar wig-out where the band simply lets rip. That eventually segues into the final "Three Friends" which mellotrons its way to a rather nondescript ending...

If "Three Friends" was good rather than great - "Octopus" upped that ante. A very Medieval passage on the giant 'Pantagruel' meeting a friend from Hell opens the "Octopus" album - a complicated Crimsonesque set of piano, bass and guitar jerks called "The Advent Of Panurge". The vocal interplay along with serious musicianship impresses throughout - a continuation of a book theme first explored on the "Acquiring The Taste" album. If you thought the Side 1 starter was 'difficult' - "Raconteur, Troubadour" is the kind of Prog Rock that will infuriate some and leave others breathless. "A Cry For Everyone" even employs some riffage at the start but soon weaves its way into incredible Rush territory - a complicated mini Rock Opera based on the writings of Albert Camus. Vocal gymnastics fill "Knots" - a staccato jabbing set of Captain Beefheart "Trout Mask Replica" moments based on R.D. Laing's oblique poetry. That's followed by the instrumental "The Boys In The Band" - a rapid-fire Jazz Fusion piece preceded by a coin making its way across your speakers. The largely acoustic "Dog's Life" meshes the world of 'old faithful' hounds and whines of Roadies (go figure). The surprisingly pretty "Think Of Me With Kindness" keeps the complicated out in lieu of a delicate vocal and equally tender piano (check out the beautiful brass interlude). "Octopus" ends on proper Prog - "River" - where it seems Gentle Giant play every instrument at their disposal whilest singing lyrics like 'trust the shallow virgin stream' (know what you mean mate).

Neither album is mainstream or easy to digest for sure – and some will say its all pretntious claptrap - but that was always the case with GG's output. Having said that you do get amazing playing virtuosity - clever classical interludes and layered harmony vocals sat on top of a trademark guitar sound not unlike Robert Fripp or Keith Emerson enjoying themselves. It's all here on these two revered slices of British Progressive Rock - sounding and looking great too.

Eleven albums on and England's Prog heroes were still there in 1980 – giving it loads of difficult syncopations and selling bugger all records. Yet GENTLE GIANT did and still does engender a fiercely loyal following - and on the evidence presented here - you can understand why that affection still endures today...

"Act One/Waters Of Change" by BEGGARS OPERA (2014 Beat Goes On 2CD Remasters) - A Review by Mark Barry...

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"…Silver Peacock…" 

Scotland wasn’t exactly the bedrock of Progressive Rock in 1969 – but arising of the Glasgow circuit came school chums BEGGARS OPERA - their name reputedly taken from the 18^th Century Poet and Dramatist John Gay. Heavily featuring Classical Music influences like Bach, Mozart and Grieg allied with Guitar versus Mellotron - they made four albums for England’s Vertigo label between 1970 and 1973 – and this excellent Beat Goes On 2CD reissue gives us their 1970 debut and its follow up from 1971. When Universal put out their 3CD Retrospective on the Vertigo label in 2005 – they named the mini Box Set after one of their songs. Here are the Time Machine details…

UK released November 2014 – “Act One/Waters Of Change” by BEGGARS OPERA on Beat Goes On BGOCD 1168 (Barcode 5017261211682) breaks down as follows:

Disc 1 (42:06 minutes):
1. Poet And Peasant

2. Passacaglia

3. Memory

4. Raymond’s Road [Side 2]

5. Light Cavalry

Tracks 1 to 5 are their debut album “Act One” - released November 1970 in the UK on Vertigo (Spiral) 6360 018 and in the USA on Verve Records V6 5080

Disc 2 (42:06 minutes):

1. Time Machine

2. Lament

3. I’ve No Idea

4. Nimbus

5. Festival [Side 2]

6. Silver Peacock (Intro)

7. Silver Peacock

8. Impromptu

9. The Fox

Tracks 1 to 9 are their 2^nd album “Waters Of Change” - released September 1971 in the UK on Vertigo (Spiral) 6360 054 (no US release)

For “Act One” BEGGARS OPERA was:

Vocals – MARTIN GRIFFITHS

Lead Guitars – RICKY GARDINER

Organ, Piano – ALAN PARK

Bass – MARSHALL ERSKINE

Drums – RAYMOND WILSON

For “Waters Of Change” the line-up remained the same except for:

GORDON SELLAR replaced Marshall Erskine on Bass

As well as Alan Park - VIRGINIA SCOTT played Mellotron and Sang

BILL MARTIN and PHIL COULTER originally produced both of these Progressive Rock heavyweights in London - released on the now hugely collectable Vertigo label (both on the Spiral variant). They sold zip at the time and have now acquired price tags usually in excess of £100 each for original gatefold vinyl issues. ANDREW THOMPSON has carried out the 2014 CD remaster at Sound Performance on London for Beat Goes On and the audio is up to his usual standard – full of power and presence – the original tapes in great shape. The 12-page inlay reproduces the original recording credits and has a short but informative piece on this obscure band by NEIL DANIELS that explains their formation and touring history with the likes of Black Sabbath, Jethro Tull and even Fleetwood Mac (they built up a sizeable following in Germany). There’s also their outer card wrap that gives the whole reissue a classy feel.

“Act One” opens with “Poet And Peasant” – a theme based on an 1846 Opera by Austrian composer Franz Von Suppe called “Dichter Und Bauer”. Beggars Opera rearranged it into a seven minute Mellotron romp that comes at you like Vaudeville meets Progressive Rock melodrama as Martin Griffiths bursts in with his effected vocals (Focus ahoy). Easier on the ear is “Passacaglia” (written by Virginia Scott and Marshall Erskine) which gives some great Steve Howe type-guitar in its rocking mid-section. Side One ends with “Memory” which at just under four-minutes is the shortest piece on the album. The audio quality on this cleverly structured song is fantastic – the drums, guitars and vocals all clear as day (“her hair blown…her lips are chilled…”). Side Two gives us to twelve-minute opus pieces “Raymond’s Road” and another Franz Von Suppe piece “Light Cavalry” (based on “Leichte Kavallerie”) – both are largely instrumental Prog workouts that frankly test the patience.

Their 2^nd album is largely self-penned with Park and Griffiths taking over the songwriting credits – and again the audio is superb. The keyboards and drum march of the instrumental “Lament” gives way to “I’ve No Idea” – for me probably the best track on the album. It grooves and well as Prog Rocks and then goes into a lovely Mellotron passage in the centre with top vocals and surprisingly pleading lyrics about his lady. The acoustic/strings “”Impromptu” is another lovely instrumental interlude before finishing with the seven-minute ELP Prog of “The Fox” that again features a wicked Guitar/Vocal break two-minutes in.

Niggles - they produced one single “Sarabande” b/w “Think” released in the UK on Vertigo 6059 026 in 1971 and many other European territories (in rare Picture Sleeves) – both tracks are non-album and it’s a shame they weren’t used as bonus tracks here.

Having said all of that – if you’ve any interest in Progressive Rock – you’ll be glad BGO reissued these – and in such top-notch sound quality too…

PS: as a reviewer of longstanding this is the only time I can recall - where a band has produced two albums that weigh in at exactly the same playing time (see above)…