Sounds Good, Looks Good...

Welcome to Mark Barry's Review Blog - SOUNDS GOOD, LOOKS GOOD... It features in-depth reviews for Quality CD Reissues and Remasters - all with Discography Info (six times Amazon 'Hall of Fame' Reviewer). With over 2,600 posts - genres covered include Rock, Pop, Soul, Funk, Jazz Fusion, Blues, Rhythm 'n' Blues, Doo Wop, Vocal Groups, 1960s and 1970s, Prog, Psych, Folk, Blues-Rock, Goth, Punk, New Wave, 1980s, Reggae and more. I also review FILMS, TV Shows, BLU RAYS and BOOKS. Enjoy the reads...

Showing posts with label SHM-CD. Show all posts

Thursday 12 July 2018

"Okie" by J.J. CALE from 1974 (June 2013 Japan-Only Universal SHM-CD Remaster in 5" Card Repro Mini LP Sleeve) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 1 of 3 - Exceptional CD Remasters

As well as 1960s and 1970s Rock and Pop - It Also Focuses On

Blues Rock, Prog Rock, Rock-Fusion, Psychedelic and Underground

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs

(No Cut and Paste Crap)

*** THIS REVIEW IS FOR THE JAPANESE-ONLY SHM CD REMASTER FROM 2013 ****

"...No Longer Earthly Bound..."

Since his tragic loss in July 2013 renewed interest in J.J. Cale and his wonderfully laid-back songwriting magic has never been higher - and if you want an example of just how good he was (and can sound) - then a few bob spent on this fabulous Japanese CD reissue is going to be money well spent. And more importantly to long-time fans - this actually remastered reissue has GLORIOUS SOUND trumping all other releases. Here are the gory details...

1. Crying [Side 1]

2. I’ll Be There (If You Ever Want Me)

3. Starbound

4. Rock And Roll Records

5. The Old Man And Me

6. Everlovin’ Woman

7. Cajun Moon [Side 2]

8. I’d Like To Love You Baby

9. Anyway The Wind Blows

10. Precious Memories

11. Okie

12. I Got The Same Old Blues

His 3rd studio album "Okie" was originally issued on vinyl album in April 1974 on Shelter SR-2107 in the USA and June 1974 on A&M Records AMLS 68261 in the UK (excepting one song, they're all Cale originals). Its first CD appearance was way back in 1990 on Mercury 842 102-2 - but it was an OK-sounding CD rather than a great one. A whopping 6 of its 10 tracks were remastered in 1997 for the 2CD anthology "Any Way The Wind Blows" and fans got to hear just how good it could sound. But little will prepare them for the stunning sonic attack of this 2013 remaster - beautifully transferred and fully realizing the magic that was always there.

Released in Japan 26 June 2013 - "Okie"by J.J. CALE on Universal UICY-75629 (Barcode 4988005771605) is a SHM-CD (Super High Materials) in 5" Repro US Mini LP artwork and a booklet with lyrics. The OBI mentions that this disc is part of the "Rock Impact '74" Series.

A SHM-CD doesn't require a special CD player to play it on (compatible on all) nor does it need audiophile kit to hear the benefits. It's a new form of the format that picks up the nuances of the transfer better (top quality make). I own about 10 of them and they're uniformly superb. Its total playing time is a mere 29:06 minutes but don't let that deter you - it's probably the sweetest of all his LPs.

On the subject of sound - a few words first about the remaster (and Cale's remasters in general). Both Amazon UK and USA list the 5CD mini box set "Classic Album Selection" as having 2013 remasters ("Okie" is not among them) - it doesn't. Although the CDs look exactly like the old issues, closer examination will show that each has a new catalogue number that reflects the box - but that's all. They all have the old Mercury designed labels of silver and orange lines and are precisely the same as the old Eighties and early Nineties reissues. My Mac even remembered the old track references I'd personally put in. I tried an outside source - like a desktop CD player - same thing - same old discs - absolutely not new. So where does this '2013 Remaster' claim come from? I suspect from these Japanese SHM-CD reissues which are Universal Japan issues only. The point is that the sound difference between this SHM-CD and the ordinary 'digitally mastered' disc of the 1990s is literally like chalk and cheese.

It doesn't say which engineer has done the remaster and transfer in the booklet but the work is AWESOME - truly beautiful sound on every track. If I were to nail down two that show most improvement - it would be "Starbound" (lyrics from it title this review) and the country jaunt of "Precious Memories" - neither of which are on the 1997 Anthology. There is hiss on these tunes but the clarity of the songs is GORGEOUS. "The Old Man And Me" is beautiful too and the lone cover on the album "I'll Be There (If You Ever Want Me)" by Rusty Gabbard and Ray Price rocks along with superb clarity. Love it love it.

J.J. Cale was one of my audio heroes growing up - and his influence on Eric Clapton, Dire Straits and even John Mayer is undeniable. What a loss and what an artist. And damn the Japanese for being so good with these bloody things - because I need all 8 of them now! My long-suffering bank manager will be pleased...

Albums in the June 2013

J. J. CALE

Japan-Only SHM-CD Reissue Series in Mini LP Repro Sleeves are:

1. Naturally (1972 - his debut) on Universal UICY-75627 (Barcode 4988005771582)

2. Really (1973) on Universal UICY-75628 (Barcode 4988005771599)

3. Okie (1974) on Universal UICY-75629 (Barcode 4988005771605)

4. Troubadour (1976) on Universal UICY-75630 (Barcode 4988005771612)

5. "5" (1979) on Universal UICY-75631 (Barcode 4988005771629)

6. Shades (1981) on Universal UICY-75632 (Barcode 4988005771636)

7. Grasshopper (1982) on Universal UICY-75633 (Barcode 4988005771643)

8. No. 8 (1983) on Universal UICY-75634 (Barcode 4988005771650)

Sunday 11 February 2018

"Rock On" by HUMBLE PIE (2007, 2009, 2010, 2016 JAPAN-Only 'SHM-CD" Reissues - 2007, 2009 and 2016 in Mini LP Repro Artwork) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 1 of 3 - Exceptional CD Remasters

As well as 1960s and 1970s Rock and Pop - It Also Focuses On

Blues Rock, Prog Rock, Rock-Fusion, Psychedelic and Underground

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs
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"…Jam Tart Lips…"

Humble Pie's ‘rawk’ sound properly emerged with their self-titled July 1970 debut album for Herb Albert’s A&M Records - “Humble Pie”. Step two came with the appropriately titled “Rock On” in March of the following year only to be hammered home with the force of a mallet in November 1971 when they joined the pantheon of huge Rock bands with their storming “Performance – Rockin’ The Fillmore” double live album – the record that broke them everywhere.

Although both the studio albums “Humble Pie” and “Rock On” laid the foundations for their rightly praised live performances – they’re unfairly forgotten now in the mists of receding time. And for such a huge band – their CD reissues from this Classic Rock period seem to be all based overseas – namely Japan.

"Rock On" was originally UK released on A&M Records AMLS 2013 in March 1971 (May 1971 in the USA on A&M Records SP 4301) – their fourth studio album and the British band's first charting in the USA eventually peaking at a decidedly humble No.118. "Rock On" had a straightforward 10-track CD reissue in the USA on A&M/Rebound 314 520 240-2 (Barcode 731452024022) in the Nineties – yet I'd argue that the stunning 24-bit Digital Remaster carried out in Japan in 2007 (and used ever since) is a whole different sonic ballgame.

But in 2018 - I calculate there are now no less four Japanese release dates for SHM-CD reissues – and I’d like to sort out what’s what. "Rock On" by HUMBLE PIE first appeared 14 February 2007 in Japan on Universal/A&M UICY-93220 (Barcode 4988005459749) in a 5" Mini Album Sleeve Repro – part of their 'Paper Sleeve Collection' Series. Like its 1970 "Humble Pie" predecessor (the first in that series) - "Rock On" aped the original UK gatefold sleeve artwork in all its cops-on-motorbikes gatefold glory. It too came with a Japanese worded booklet (dated 25 Dec 2006) and an outer OBI strip (the matt gatefold). Perhaps most importantly though - it had a new 2007 24-bit Remaster. But - as is the habit in Japan with these 'supposed' limited editions – they seem to get reissued every two or three years and that’s what’s happened here.

22 April 2009 saw the second Japanese SHM-CD version on Universal/A&M UICY-94067 (Barcode 4988005555168 that also used the 2007 remaster (another paper-sleeve series).

Third came 22 December 2010 using the 2007 Remaster – a SHM-CD in a jewel case on Universal/A&M UICY-22094 (Barcode 4988005638960). There were only four titles in this series -“Humble Pie”, “Rock On”, “Performance” and “Smokin’”.

And now this fourth outing – "Rock On" by HUMBLE PIE reissued 23 November 2016 on Universal/A&M Records UICY-77978 (Barcode 4988031188118) – the latest version again using that HIDEAKI NISHIMURA Remaster from 2007). If you cut and paste any of the above barcodes into Amazon’s search bar – you will get the issue you want (check them because prices can fluctuate wildly – and not in a good way).

A SHM-CD doesn't require a special CD player to play it on (compatible on all) nor does it need audiophile kit to hear the benefits. It's a new form of the format that picks up the nuances of the transfer better (top quality make). I own about 25 of them and they're uniformly superb. Let's get to the music (38:48 minutes):

1. Shine On [Side 1]

2. Sour Grain

3. 79th And Sunset

4. Stone Cold Fever

5. Rolling Stone

6. A Song For Jenny [Side 2]

7. The Light

8. Big George

9. Strange Days

10. Red Neck Jump

HUMBLE PIE was:

STEVE MARRIOTT – Guitars, Harmonica and Lead Vocals

PETER FRAMPTON – Guitars, Keyboards and Lead Vocals

GREG RIDLEY – Bass, Guitar and Lead Vocals ("Big George" only)

JERRY SHIRLEY – Drums and Keyboards

Guests:

BOBBY KEYS – Saxophone on "Big George"

BJ COLE – Pedal Steel Guitar on "79th And Sunset" and "A Song For Jenny"

CLAUDIA LENNEAR, DORIS TROY, P.P. ARNOLD and ALEXIS KORNER – Backing Vocals on “Sour Grain” and "A Song For Jenny" (Alexis Korner on "Big George")

Like those other great British bands Free and Led Zeppelin – Humble Pie produced the most brilliant Classic Rock albums in 1970 and 1971 with what seemed like effortless ease. Both their own "Stone Cold Fever" and the Muddy Waters cover of "Rolling Stone" (from "Rock On") would feature prominently on the November 1971 double-live monster “Performance – Rockin' The Fillmore” – the LP that broke them worldwide.

"Rock On" opens with a fantastic Peter Frampton written moment – "Shine On" – with PF on Lead Vocals. Sporting a wicked riff worthy of The Who's "Who's Next" (which would arrive in August 1971) - its organ and guitar pairing is bolstered by a trio of great female vocalists. The Tina Turner luscious Claudia Lennear famously had "Brown Sugar" written about her on The Rolling Stones "Sticky Fingers" album - Soul Heroine Doris Troy was now over on the prestigious Beatles Apple label and P.P. Arnold of "First Cut Is The Deepest" fame on Immediate Records would have to wait decades for her comeback. Frampton would make a huge feature of the "Shine On" song on his "Frampton Comes Alive" specially priced juggernaut double-album in 1976. Next up is Marriott growling to spectacular effect on the boozy "Sour Grain" – a straight up rocker. "79th And Sunset" is a lewd barroom stroller – Marriott casually discussing red-eyed Ruby in downtown LA with her "...nut-crushing boobs and jam-tart lips..." where he informs us there’s such a lot of good ways to be bad (BJ Cole gets a Pedal Steel Guitar solo towards its end). Swagger boys, swagger.

Side 1 ends on a great double-whammy - the raucous "Stone Cold Fever" – a rocker with a Funky break half way through and you can so hear why it was used as Track 3 on Side 1 of "Performance..." – followed by the Rock Blues of "Rollin' Stone" – English boys paying fitting tribute to their Chess Records hero Muddy Waters. Marriott wrings the emotional neck out of "Rollin' Stone" – singing it with fantastic (echoed) gusto - warbling on the Harmonica in-between licks and that huge Bass line. I don't know if its Frampton or Marriott who provides the final Jimmy Page-esque solo on “Rollin’ Stone” just before they go into that fantastic (and uncredited) rocking break – slipping in the "she's so fine" lyrics and riff to The Righteous Brothers "My Babe" (a forgotten London 45 for the clean-cut American duo issued in November 1963 - written by Bill Medley and Bobby Hatfield). Humble Pie takes a snippet of it and nasty-rocks-that-sucker-up - and man does it work! Foghat (more Brit rockers done-good in the USA) would return to "My Babe" on their equally cool "Fool For The City" album in October 1975 on Bearsville Records. Hell - their version might as well have been Humble Pie. Whichever version you dig - "Rollin' Stone" is a highlight on this album.

Side 2 opens on an unexpected moment of Acoustic Guitar and Pedal Steel sweetness “A Song For Jenny" – the three ladies giving it some soulful backing vocals too. It's a love letter from on the road that works so well. Frampton gets Funky as he complains of someone stealing his axe in "The Light" – singing about waiting and worrying and living in fear (Marriott does a great counter vocal doing the chorus). Bassist Greg Ridley wrote and sings Lead Vocals on "Big George" - another Faces-sloppy song about dodgy geezers with size ten feet (Bobby Keys of Rolling Stones fame helps out on Saxophone thereby sealing the song's boozy credentials). And I'd swear that's the mighty Alexis Korner from C.C.S. giving it some backing vocals just as the song fades out.

"Strange Days" actually feels like The Doors who of course had an album by the same name – Marriott freaked out by FBI stools mixing with drug dealers – both flogging their wares and slavery. It has a Soulful-Rock feel despite those Bluesy drum whacks, echoed vocals, dirty-sounding guitars and Little Feet funky piano fills. I love it. The album ends of a giggling bop-shoo-waddy boozer of a tune – broken bottles and barroom pianos playing out "Red Neck Jump" – an invite to stomp and hang it all out.

November of 1971 would see the band take flight and destroy all comers with the mighty “Performance – Rockin’ The Fillmore” – the kind of live double you go absolutely nuts about (to this day just looking at its sleeve makes me weak at the knobbly knees). “Smokin’” from 1972 and the underrated double-album "Eat It" from 1973 still had many moments of HP magic - but after that it all seemed to plunge downhill fast in a blizzard of drugs, tantrums and health issues. Best we remember them in their glory moments...and "Rock On" is one of them.

At roughly a twenty-spot or a wee bit more (in the right places) - these 2016 Japanese SHM-CD reissues can be pricey I know. But if you’re a fan – seek them out – both sonically and visually - they’re so worth it…

PS: Titles in the 23 November 2016 Japanese SHM-CD Reissue Series:

1. "Humble Pie" (1970) – Universal/A&M UICY-77977 (Barcode 4988031188101)

2. "Rock On" (1971) – Universal/A&M UICY-77978 (Barcode 4988031188118)

3. "Performance – Rockin' The Fillmore" (1971, Live 2LP Set onto 1CD) – Universal/A&M UICY-77979 (Barcode 4988031188125)

4. "Smokin'" (1972) – Universal/A&M UICY-77980 (Barcode 4988031188132)

5. "Eat It" (1973) – Universal/A&M UICY-77981 (Barcode 4988031188149)

6. "Thunderbox" (1974) – Universal/A&M UICY-77982 (Barcode 4988031188095)

7. "Street Rats" (1975) – Universal/A&M UICY-77983 (Barcode 4988031188156) – 11 Tracks

8. "Street Rats – UK Version" (1975) – Universal/A&M UICY-77984 (Barcode 4988031188163) – 15 Tracks

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Wednesday 18 January 2017

"Rides Again" by JAMES GANG [featuring JOE WALSH] (2009 Japan-Only Geffen/Universal SHM CD Repro Reissue) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK On CD - Exception Remasters

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Thousands of E-Pages - All Details and In-Depth Reviews From Discs
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"…Ashes, The Rain And I…"

Dull as dishwater cover artwork or not - I've loved this frigging album for over 40 years now - and this gorgeous Japanese reissue has only brought that passion to a boil yet again. I wouldn't mind if it was anything new (it isn't). It's simply the remaster done by TED JENSEN in the States in 2000 slapped onto a new format and buffed up with repro artwork and an audiophile price tag - but I can't help myself. This dinky looking SHM-CD sits on my bulging shelf at home (I'm glad something's bulging in this house) along with the other Joe Walsh solo albums that followed his departure from THE JAMES GANG (also on SHM-CD). And I love them all to bits. I've always thought The James Gang were a bit special and I wouldn't be alone in this. Here are the bomber Medleys, Asshton Park Women and the Funk that numbers 49...

Released 22 April 2009 in Japan-Only on a SHM-CD in 5” Mini LP Repro Artwork -"Rides Again" by JAMES GANG on Geffen/Universal UICY-94059 (Barcode 4988005555083) breaks down as follows (35:13 minutes):

1. Funk No. 49

2. Asshtonpark

3. Woman

4. The Bomber (a) Closet Queen (b) Bolero (c) Cast Your Fate To The Wind

5. Tend My Garden [Side 2]

6. Garden Gate

7. There I Go Again

8. Thanks

9. Ashes, The Rain And I

Tracks 1 to 9 are the album "Rides Again" - released July 1970 in the USA on ABC Records S-711 and October 1970 in the UK on Probe Records SPBA 6253. Both countries sported a gatefold sleeve - this 5" repro artwork facsimiles the first pressing of the American vinyl LP with the colour painting of the band on the inner gatefold (and the "Bolero" credit in "The Bomber"). There's a 20-page booklet that has lyrics, some text in Japanese and little else. This is pretty much par for the course for these Japanese releases.

JAMES GANG was:

JOE WALSH - Guitars, Keyboards and Lead Vocals

DALE "BUGSLEY" PETERS - Bass and 6-String Guitar on "Ashes, Rain And I"

JIM FOX - Drums and Percussion

All tracks on the album are written by Joe Walsh except "Funk No. 49" which is a co-write between Walsh, Fox and Peters, "Closet Queen" within "The Bomber" is also a band co-write - while the final track "Ashes, The Rain And I" is a Joe Walsh/Dale Peters composition.

The SHM-CD format (Super High Materials) does not require a specific machine to play them on - they're simply a better form of disc created by JVC in 2008 to improve on the original CD format (unchanged since it was first put out 30 years ago). The general idea is that the sound on the SHM-CD is more defined and to my ears they do seem to extract more nuances from the transfer.

Original produced by BILL SZYMCZYK - the album's sound was supposed to be loud and in your face (as per the liner notes) - and it is on monsters like the stunning "Funk No. 49" and "The Bomber". But I've always found it to be so sweetly delicate too on softer tracks like "There I Go Again" (Pedal Steel played by RUSTY YOUNG of POCO) and the gorgeous "Tend My Garden". Speaking of "The Bomber" - fans will know that after initial pressings of the album the 3-part song was reduced down to 2-parts on subsequent pressings - losing the centre "Bolero" piece. So "The Bomber" went from 7:05 minutes to roughly 5:40 minutes. As this disc apes the American 2000 remaster - what you get is pressing No. 1 with the full 7:05 minute version. It's a shame someone didn't take the time to add on the 2-part edit as a bonus track - but if you want that version it's on the 1998 Repertoire 2CD set "The Best Of" on Repertoire REP 4671-WR (Barcode 4009910467121). Back to the three-part version we have - Walsh cleverly mixes in Ravel's classical "Bolero" and Vincent Guaraldi's jazz piece "Cast Your Fate To The Wind" into his own rock song so you get a seven-minute guitar pyrotechnics fest that ends Side One of the LP.

Side 2 is perfect to me - the near six-minute "Tend My Garden" segues into the two-minute bluesy acoustic ditty that is "Garden Gate" - gorgeous playing and it sounds wonderful on this CD. "Thanks" is lovely too but the album's undeniable second masterpiece is the finisher "Ashes, The Rain And I" - an acoustic song laden with fabulous string arrangements by JACK NITZSCHE. It sends me every time I hear and I've ended many's a 70's FEST CD compilation with it.

OK - you could argue that it's simpler to buy the 2000 CD for less than a fiver and be done with it - and if you want the cheaper option (still with great sound) - then that's the way to go. But as a fan - if I think I can get a few more nanoseconds of sonic greatness out of this sucker - then I'm gonna be the financial sucker and buy that dinky Japanese repro with its new-fangled format thingy. I have both versions - but I must confess that I play the SHM every time because of that extra detail and warmth.

The James Gang would enlist ace guitarists Dominic Troiano and Tommy Bolin for their next lot of LPs and start another chapter. But this - "Yer Album" and "Thirds" (all with Walsh) have always tickled my funny bone. Fantastic stuff and worth the few extra quid...

Sunday 20 November 2016

"Focus Plays Focus" (1970) and "In And Out Of Focus" (1971 Reissue) by FOCUS (Japan-Only SHM-CD Reissue On Victor with Mini LP Repro Artwork with 2001 Red Bus Remaster) - A Review by Mark Barry...

"...House Of The King..."

Mid 1970 and Dutch Prog-Rockers FOCUS saw their debut album "Focus Plays Focus" released in their native Netherlands on Imperial Records 5C 054-24192 with a seven-track line-up as follows...

Side 1:

1. Focus

2. Why Dream

3. Happy Nightmare

4. Anonymous

Side 2:

1. Black Beauty

2. Sugar Island

3. Focus

They had also released "House Of The King" as a stand-alone 7" single in many European countries in 1970 (Belgium, Spain etc) on Imperial Records too (a non-album A-side at that time). But when it came to re-launching the album in both the UK and the USA in early 1971 - Polydor decided to call it "In And Out Of Focus" - gave it a different gatefold sleeve (the dotted blue one) and added on "House Of The King" as Track 8 in a rejiggered playing order. That eight-track version ran as follows:

Side 1:

1. Focus (Vocal)

2. Black Beauty

3. Sugar Island

4. Anonymous

5. House Of The King

Side 2:

1. Happy Nightmare (Mescaline) [Side 2]

2. Why Dream

3. Focus - Instrumental

This now rare and deleted Japanese SHM-CD reissue from 2009 (using the Red Bus 2001 Remaster) concentrates on that 2nd version - January 1971 in the UK on Polydor 2344 003 and Sire SAS 7404 in the USA. As if to compound the confusion - Britain also had a 'picture of the band' single sleeve sometime in 1971 with the Polydor 2344 003 catalogue number and the USA also had a Sire SAS 7404 with more different artwork.

This Japanese-only 25 February 2009 reissue of "In And Out Of Focus" by FOCUS on Victor VICP-70049 (Barcode 4988002565375) is a SHM-CD (Super High Materials) with a silver Obi housed on the spine of its Mini LP Repro Artwork - the US hard card gatefold. It even repro's the black inner 'Focus' bag that came with original vinyl LPs (total playing time 36:01 minutes). SHM-CDs don’t require a special CD player – they’ll play on all machines. They were developed as a better form of CD and are almost entirely exclusive to Japanese releases – especially reissues – where the new format’s retrieval rates are higher and therefore offer the best sound. Red Bus did the Remaster in 2001 and that's been used for this reissue – and man does it sound good. Nice balance - power when it's needed - a tasty job done...

FOCUS consisted of:

THISJ VAN LEER – Vocals, Keyboards and Flute

JAN AKKERMAN – Guitars

MARTIJN (Martin) DRESDEN - Bass

HANS CLEUVER – Drums

Proceedings kick into gear with "Focus (Vocal)" which runs to 2:44 minutes – opening the album in a mellow Prog mood. It’s a gentle song where the foreign language vocals and keyboard/guitar licks feel almost like a mini hymn. "Black Beauty" introduces their Barclay James Harvest kind of Pop-Rock and I can't say that it's my fave-rave on here. The three-minute hangover from the 60ts bop of "Sugar Island" feels the same - like the band is looking for a hit when they should have been going with their Inner Prog instinct to wig out (nice guitar though from Akkerman and that Tull-like Thijs Van Leer flute solo reminds you of moments from "Stand Up" and "Benefit").

But then things improve immeasurably when the band goes all madrigal at the beginning of the superb "Anonymous" – a near seven-minute instrumental that suddenly feels like 'Focus'. "Anonymous" is a lengthy Prog concoction that's complicated yet still melodic and genuinely impressive after all these decades. The 1970 instrumental "House Of The King" is a winner - a genius 45 that was bound to get the group noticed - even if it does feel just a tad like a Jethro Tull copy in style and composition. But like "Anonymous" - "House Of The King" has that distinctive 'Focus' feel and sound (love that guitar and piano break too).

Side 2 offers us the druggy 'Mescaline' song as our Thijs sings of a sweet life and big pearls in the jaunty "Happy Nightmare". It's an awkwardly upbeat tune for a miserable subject matter with a cleverly placed Mellotron counter-melody to the guitars. Speaking of which - again you notice the sheer virtuosity of Jan Akkerman's axe playing in "Happy Nightmare" – so soulful even in those jazzy passages. It finishes with the nine-minute 'Instrumental' version of "Focus" - another firm fan fave - and with good reason as it feels like the accomplished brilliance of "Moving Waves" and "Focus III" to come.

Their rejiggered debut isn't a masterpiece by any stretch of anyone's imagination - but there's more than enough on here to make it a worthwhile first stop - even for a novice. And with that legendary Japanese presentation quality and added oomph to the Audio - "In And Out Of Focus" is recommended...

Wednesday 15 June 2016

"Magical Mystery Tour" by THE BEATLES (2014/2015 Japan-Only SHM-CD Reissue in Mini LP Repro Artwork) - A Review by Mark Barry...

"...Goo Goo G'Joob..."

How could 'any' Beatles album be classed as 'overlooked' - especially in Britain?

When the UK saw the release of "Magical Mystery Tour" on 8 December 1967 - it was a 7" single book-pack - a double 2 x 45 'EP' on Parlophone MMT 1 (Mono) and SMMT 1 (Stereo) with only 6-songs - all culled from the movie of the same name.

Our American pals had it different and a couple of weeks earlier too. Theirs was the full 11-track album on Capitol MAL 2835 (Mono) and Capitol SMAL 2835 (Stereo). Released 27 November 1967 – the US LP used the 6-songs of the British double-EP as Side 1 and added five sides of three UK 45s The Beatles issued in 1967 as Side 2.

In short – the Yanks have always had the album. But in Blighty - and I genuinely have to double-take on this factoid whenever I see it - "Magical Mystery Tour" the LP (as we know it) wasn't officially released by EMI until the 19th of November 1976! There were original 1967 US import copies on Capitol Records of both LP variants brought into UK shops - but they weren't that common. So as far as most British fans were concerned - "Magical Mystery Tour" was 'that ditty' The Beatles did at the end of a very productive year (June's "Sgt. Peppers..." was just ending a long number 1 LP run when the "...Tour..." Double EP was released in December). The "Magical Mystery Tour" album in their native land has always seemed like some kind of afterthought - a sort of 'best of 1967 tracks' compilation given a more cohesive name.

Which brings us to the album and the music. By adding on those five tracks onto Side 2 - the Americans turned a good UK 45-release into an LP-platter of friggin' genius. In fact you could argue that you simply take a look at the track list for this LP - and the review is already done. "Hello Goodbye", "Strawberry Fields Forever", "Penny Lane", "All You Need Is Love", "The Fool On The Hill" and "I Am The Walrus" - all on one album! And of course there's those other nuggets like the trippy instrumental "Flying" (too many magic mushrooms boys) and equally groovy spiralling of "Blue Jay Way" (other substances on top of the mushrooms) and Paul's poppy "Your Mother Should Know" - a song that wouldn't have gone amiss on "Peppers".

This Japanese variant of "Magical Mystery Tour" cost me - but is so beautiful that it deserves uber-praise. Here are the Semolina Pilchards climbing up the Eiffel Tower...

Released 17 December 2014 (reissued 15 April 2015) and using the 2009 Remaster done at Abbey Road Studios - this Japan-only SHM-CD of "Magical Mystery Tour" by THE BEATLES on Universal/Apple UICY-76974 (Barcode 4988005867513) is a straightforward transfer of the 14-Track STEREO album. It’s presented in a limited edition 5” Mini LP Repro Artwork and will be deleted in June 2016 (total playing time 36:32 minutes).

Side 1:

1. Magical Mystery Tour

2. The Fool On The Hill

3. Flying

4. Blue Jay Way

5. Your Mother Should Know

6. I Am The Walrus

Side 2:

7. Hello Goodbye

8. Strawberry Fields Forever

9. Penny Lane

10. Baby You’re A Rich Man

11. All You Need Is Love

Using the 09/09/09 STEREO MIX of the album – this Japanese SHM-CD reissue also decides to keep it simple and loses the enhanced CD track called "Magical Mystery Tour Mini Documentary" that came with the 09/09/09 releases (wasn’t up to much anyway). The Super High Materials CD (SHM-CD) does not require special audio equipment – it will play on all devices and Toshiba claim that it offers a better form of disc with increased retrieval details. As someone who owns about 20 of them - I've found that claim to be true. The audio on this sucker through my Marantz CD/AMP combo (paired up with Tannoy Mercury V4 speakers) is just beautiful. The accumulative effect is to have even the most jaundiced ear sit up and take notice. Then there's the sexy artwork...

The chunky EMI 36-page colour booklet returns as a separate entity - but there's also the usual 22-white-page Japanese booklet too that features some unreadable Japanese liner notes followed by the lyrics in English and a back page that pictures all 16 titles in this SHM-CD Reissue series. The attention to detail on the actual 1967 album-sleeve is delicious. You get a hard card repro of the USA STEREO LP artwork (Capitol SMAL 2385) complete with its hard-card gatefold sleeve with attached booklet. The label reflects the rainbow coloured variant of the American Capitol Records original LP – even aping the paste-on effect of the front and inner artwork. There’s a white inner bag, a protective plastic for the SHM-CD within that and an OBI strip around the edge of the sleeve – mine being Blue in colour for the 'Encore' reissue series of 2015 (see list below). Holding it all together is a resealable plastic that is prone to tearing – so be careful removing the goodies.

The Audio Quality on the 09/09/09 CD Remaster was and is magnificent. Both GUY MASSEY and STEVE ROOKE remastered the first generation stereo master tapes and to say they've done a good job is like saying the Great Wall of China is an ok building-project. Their work here is fabulous – monumental almost - it really is. The sound quality is glorious throughout - clear, warm, detailed - every single track a revelation.

"...See how they snide..." - John sings on the wonderfully potty and acidic "I Am The Walrus" and follows it with words about Expert Textperts and Elementary Penguins singing Hare Krishna. Paul warbles about The Fool on A Hill, The Man With A Thousand Voices and people on a bus being strange kinds of Egg Men...

How can you overlook and not own “Magical Mystery Tour”! Barking Nuts has never looked nor sounded so damn good as it does on this wonderful Japanese SHM-CD reissue. Seek it out and prepare to fork out for the rest of the series...

PS: For info purposes:

There are 16 STEREO titles in THE BEATLES Japanese SHM-CD Reissue Series.

The first wave came in December 2014 and then a repress in April 2015. Purchasers should note that 'both' issues have the same catalogue numbers and barcodes. The way to recognise the difference is the sticker colour on the front plastic. 1st Issues come with Red Stickers and were released 17 December 2014 - 2nd 'Encore' Reissues come with Blue Stickers and were released 15 April 2015. I’ve provided Barcodes but to locate the right pressing CD on Amazon - but you will need to check with your seller first to see which pressing you're getting (most sellers will identify as either 1st or Encore so there’s no confusion).

1. Please Please Me (Universal/Apple UICY-76966) – Barcode 4988005867438

2. With The Beatles (Universal/Apple UICY-76967) – Barcode 4988005867455

3. A Hard Day’s Night (Universal/Apple UICY-76968) – Barcode 4988005867452

4. Beatles For Sale (Universal/Apple UICY-76969) – Barcode 4988005867469

5. Help! (Universal/Apple UICY-76970) – Barcode 4988005867476

6. Rubber Soul (Universal/Apple UICY-76971) – Barcode 4988005867483

7. Revolver (Universal/Apple UICY-76972) – Barcode 4988005867490

8. Sgt. Peppers Lonely Hearts Club Band (Universal/Apple UICY-76973) – Barcode 4988005867506

9. Magical Mystery Tour (Universal/Apple UICY-76974) – Barcode 4988005867513

10. The Beatles [aka The White Album] (Universal/Apple UICY-76975 & 6) - Barcode 4988005867520

11. Yellow Submarine (Universal/Apple UICY-76977) – Barcode 4988005867599

12. Abbey Road (Universal/Apple UICY-76978) – Barcode 4988005867605

13. Let It Be (Universal/Apple UICY-76979) – Barcode 4988005867612

14. Past Masters (Universal/Apple UICY-76980 & 1) – Barcode 4988005867629

15. 1962-1966 (Red Album) (Universal/Apple UICY-76982/3) – Barcode 4988005867636

16. 1967-1970 (Blue Album) – (Universal/Apple UICY-76984/5) - Barcode 4988005867643

Saturday 7 May 2016

"Revolver" by THE BEATLES (2014/2015 Japan-Only SHM-CD Mini LP Reissue/Remaster) - A Review by Mark Barry...

"...The Day Breaks…Your Mind Aches…"

When "Revolver" was finally given the Remaster it deserved as part of the 09/09/09 total BEATLES catalogue CD reissue campaign – Fab Four nutters the world over rejoiced. They got the UK 14-track variant of the album in glorious STEREO – and man did it sound good. But the glossy easy-to-smudge 3-way foldout card digipak lacked the aesthetic feel of the 1966 album artwork (short playing time too with no Mono mix which could easily have been included) and the 24-page booklet was big on colour photos but short on actual album history or place.

Well far be it for the Japanese to let that get in the way. Once again they get the last word – because this 2014 reissue campaign of Mini LP Repros for THE BEATLES on their patented SHM-CD format (Super High Materials) is truly gorgeous stuff and ups this already sonic wonder a further notch. "And Your Bird Can Sing" is too damn right. Here are the loaded details...

Released 17 December 2014 (reissued 15 April 2015) and using the 2009 Remaster done at Abbey Road Studios - this Japan-only SHM-CD of "Revolver" by THE BEATLES on Universal/Apple UICY-76972 (Barcode 4988005867490) is a straightforward transfer of the UK 14-Track STEREO album. It’s presented in a limited edition 5” Mini LP Repro Artwork and will be deleted in June 2016 (total playing time 34:47 minutes).

1. Taxman

2. Eleanor Rigby

3. I’m Only Sleeping

4. Love You To

5. Here, There And Everywhere

6. Yellow Submarine

7. She Said She Said

8. Good Day Sunshine [Side 2, UK]

9. And Your Bird Can Sing

10. For No One

11. Doctor Robert

12. I Want To Tell You

13. Got To Get You Into My Life

14. Tomorrow Never Knows

"Revolver" (their 7th British album) was originally released 5 August 1966 in the UK on both Parlophone PMC 7009 Mono and PCS 7009 Stereo. The American issue followed 3 days later on Capitol T-2576 Mono and ST-2576 Stereo. The UK variant had 14 tracks (as listed above) - the US issue had 11. The three missing from the American LP (same artwork) were "And Your Bird Can Sing", "I'm Only Sleeping" and "Doctor Robert" which had appeared on the June 1966 US album "Yesterday And Today".

Using the 09/09/09 STEREO MIX of the album – this Japanese SHM-CD reissue also decides to keep it simple and loses the enhanced CD track called "Revolver Mini Documentary" that came with the 09/09/09 releases (two-and-a-half minutes of video footage - largely black & white in-studio shots featuring the voices of the Fabs and George Martin discussing songs and techniques on the album - it's directed by BOB SMEATON). The Super High Materials CD (SHM-CD) does not require special audio equipment – it will play on all devices and Toshiba claim that it offers a better form of disc with increased retrieval details. As someone who owns about 20 of them - I've found that claim to be true. The audio on this sucker through my Marantz CD/AMP combo (paired up with Tannoy Mercury V4 speakers) is just beautiful. The accumulative effect is to have even the most jaundiced ear sit up and take notice. Then there's the sexy artwork...

The EMI 24-page colour booklet returns as a separate entity - but there's also the usual 20-white-page Japanese booklet too that features some unreadable Japanese liner notes followed by the lyrics in English and a back page that pictures all 16 titles in this SHM-CD Reissue series. The attention to detail on the actual 1966 album sleeve is delicious. You get a hard card repro of the UK STEREO LP artwork complete with its glossy front sleeve and matt rear and 'flip back' flaps on the back cover (how did they reproduce this!). The label reflects the black and yellow lettering of the original British LP on Parlophone Records as does the rear cover artwork that advertises the use of an "Emitex" record cleaning cloth. They've even repro'd that Emitex inner bag too. There's an OBI strip – mine is Blue in colour for the 'Encore' reissue series of 2015 (see list below).

The SHM-CD amplifies the punch in the brassy "Got To Get You Into My Life" and the delicate "Here, There & Everywhere". The hiss level is barely audible on any of the songs - but what you do hear are new instrument flourishes. The brilliant George Harrison guitar playing on the New York Drug Pusher song "Doctor Robert" is at last to the fore, the lone horn work of Alan Civil on "For No One" is suddenly so pretty, while Ringo's superlative drumming on "Tomorrow Never Knows" is now absolutely huge to a point where the clarity and sheer whack of the Remaster brought me to tears. The strings on “Eleanor Rigby” are beautifully full and shock your senses even now - some five decades after the event. If you love this record, you're in for a treat. I love the wallop and anger in "Taxman" – guitars filling my speakers with venom. Another winner is the huge sound from "She Said She Said" where John feels like he's going to kick your speakers in (kick something in anyway). Ringo has his ditty moment with the mad "Yellow Submarine” with those strange engine noises half way through somehow now more bizarre and creative than I remembered. And the riffage of "Doctor Robert" is equal to the splendor of "Paperback Writer".

Between this series of 16 SHM-CDs, the American Capitol Records collection and the white Mono Box set - I'd have to say that these three are the pinnacle of Fab Fourness - and Beatles collectors will quite rightly lust after and covet all three.

What a band and what a recorded legacy they left behind. Float downstream indeed...and if you do...do it with this SHM-CD as your raft...

PS: For info purposes - there are 16 STEREO titles in THE BEATLES Japanese SHM-CD Reissue Series. The first wave came in December 2014 and then a repress in April 2015. Purchasers should note that 'both' issues have the same catalogue numbers and barcodes. The way to recognise the difference is the sticker colour on the front plastic. 1st Issues come with Red Stickers and were released 17 December 2014 - 2nd 'Encore' Reissues come with Blue Stickers and were released 15 April 2015. I’ve provided Barcodes but to locate the right pressing CD on Amazon - but you will need to check with your seller first to see which pressing you're getting (most sellers will identify as either 1st or Encore so there’s no confusion).