"Friend's Friend's Friend" by AUDIENCE (2015 Esoteric Recordings 'Expanded Edition' CD Reissue - Ben Wiseman Remaster) - A Review by Mark Barry...

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"...Sweetly Scented Smoke..." 

There are some who hold the view that Audience's 2nd platter on that pretty-looking Pink Scroll Famous Charisma Records label is a bit of an unsung Proggy meisterwork – I'd say that's only partially true. But if you like your Jethro Tull flute, your Roxy Music Saxophone, your Van Der Graaf Generator squalling Moog and all of it sung by a man with a ten-inch noose around his jugular (Werth's voice is a high end acquired taste) – then the quirkily titled "Friend's Friend's Friend" by AUDIENCE is the dirty baby for you. Others might want to taste the bathwater first – or steer clear and wash somewhere else entirely.

Having said that - this is actually one of those CD reissues that pushes up a very dated 3-star Prog LP (from the spring of 1970) into 4-star territory by a combo of all the right things – superb new audio – quality presentation by a company that gives a damn – and Previously Unreleased extras that enhance rather than test your patience (almost the entire album remixed by Elton John's Gus Dudgeon in February 1971 and an impossible-to-find non-album B-side).

In my book Esoteric Recordings CD Reissues are always a sign of quality – a British company that gives vent once again to lost musical stuff that deserves a second go-round. And Audience’s second album deserves just that. Here are the Belladonna Moonshines and the Ebony Variations...

UK released 29 June 2015 (14 July 2015 in the USA) – "Friend's Friend's Friend" by AUDIENCE on Esoteric Recordings ECLEC 2499 (Barcode 5013929459946) is an 'Expanded Edition' CD Remaster with Seven Bonus Tracks and breaks down as follows (73:42 minutes):

1. Nothing To Do

2. Belladonna Moonshine

3. It Brings A Tear

4. The Raid

5. Right On Their Side [Side 2]

6. Ebony Variations

7. Priestess

8. Friend's Friend's Friend

Tracks 1 to 8 are their 2nd studio album "Friend's Friend's Friend" – released May 1970 in the UK on Charisma Recordings CAS 1012 (no USA issue). Produced by AUDIENCE - Tracks 1, 2, 3, 5 and 8 are written by Werth and Williams, Tracks 4 and 7 are written by Gemmell and Connor with Track 6 written by all four – Gemmell, Connor, Werth and Williams

BONUS TRACKS:

9. The Big Spell – Non-album B-side to "Belladonna Moonshine" – a UK 7" single released 26 June 1970 on Charisma CB 126

10. Nothing To Do (1971 Remix)

11. Belladonna Moonshine (1971 Remix)

12. It Brings A Tear (1971 Remix)

13. The Raid (1971 Remix)

14. Ebony Variations (1971 Remix)

15. Priestess (1971 Remix)

AUDIENCE was:

HOWARD WERTH - Lead Vocals, Acoustic Guitar and Banjo

KEITH GEMMELL – Saxophones and All Woodwind

TREVOR WILLIAMS – Bass Guitar and Vocals

TONY CONNOR – Drums, Percussion and Piano

Recorded at Morgan and Olympic Studios in London and self-produced - the wonderful gatefold album artwork designed by the band and CCS Advertising is more 60ts Psych than 70ts Prog. At least the 16-page booklet repro’s all of it – the front and rear gatefold – the lyrics on the inner spread and also comes with March 2015 liner notes by noted freelance writer and reviewer SID SMITH that features new interviews with Howard Werth. The hard-to-find "Belladonna Moonshine" British 45 on Pink Charisma CB 126 is pictured on Page 13 alongside an even rarer Euro Picture Sleeve for the single - and there's two live photos of the boys with Acoustic Guitar and Flute. Smith's liner notes go into the history of the band and are finished off with the usual re-issue credits.

But the big news for fans (as it is with all the other issues) is a 24-bit remaster from original Charisma master tapes by Sound Engineer BEN WISEMAN who has done loads of great work for a large number of reissue labels. The audio is wonderful – giving truly lovely clarity to those classical acoustic guitar passages and the Move/Roy Wood/Tull soundscapes on tracks like "It Brings A Tear" and the near 9-minuteProg Romp that is "The Raid". This remaster is superb.

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It opens with "Nothing To Do" and the audio on the Drums and Bass is fantastically clear. Once you've navigated past Howard Werth's strangulated nasal whine – you begin to hear the clever musical breaks - that woodbine background - their very Prog sound that's anchored by a gentle acoustic guitar - like Duncan Browne fronting Focus. You can so hear why someone thought the jolly sing-a-long Lindisfarne vibe to "Belladonna Moonshine" would make for an acceptable single - a tale of Jeremiah's home-brewed paint-stripper setting the strings of his guitar on fire and the crowd loving every drunken minute (St. Peter at the Gates has promised not to touch the stuff either). "It Brings A Tear" could be the beginning of an eleven-minute Genesis track - an acoustic guitar and flute intro soon crashes into life - a song about a favourite toy as a child - our singer was happy then - until he decided to write the Viking tale of maurading in "The Raid". Complete with Nordic references and Werth sing 'ha ha' which he rhymes with 'war' - it's hard to take now - but it has a redeeming final two thirds - a wild saxophone whig out is followed by strummed acoustic guitar as the sax solos and echoes. It's so early Roxy Music and a clever way to end the last three minutes of the song.

Side 2 opens with "Right On Their Side" - a five-minute 'palace in the hills' tune of ye olde knights wielding swords in the name of the Lord. With Werth sounding not unlike Ozzy Osbourne - the acoustic breaks and saxophone duelling with vocals are very good and lead well into the England’s green and pleasant land instrumental "Ebony Variations". More dodgy worship comes in the shape of the murderess "Priestess" - a tedious tale of crowd's eager to witness torture - which is only saved by an Acoustic Guitar/Flute passage as the song limps to its six-minute finish. It ends on the short acoustic title track where Werth sounds like the child-catcher in Chitty Chitty Bang Bang singing for his cage (oh dear). Lyrics from it title this review. The B-side is surprisingly good - but the February 1971 remixes from Gus Dudgeon will thrill fans - extra oomph given to those acoustic guitars and saxophone flourishes like hearing six-eights of the album in a better version.

"The House On The Hill" - Audience's 3rd album for the eclectic Charisma label in April 1971 - would finally realise that 'Beautiful Rock' sound they made. Their 4th and last studio album  "Lunch" followed in July 1972 showing even more maturity. Along with their uber-rare debut LP on Polydor Records in 1969 – Esoteric Recordings (part of Cherry Red of the UK) have reissued all of their albums in 2015 onto Expanded Edition CDs (see the list of 4 titles below).

Audience’s music is never going to be everyone’s favourite tipple if I'm honest (none of their albums charted in the UK) - but there's beauty and Rock wonder on here – and more than once or twice too. A top job done by Esoteric Recordings and an absolute must-buy for fans...

AUDIENCE Expanded CD Remasters on Esoteric Recordings

1. Audience (1969 debut LP on Polydor 583 065)

29 June 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2494 (Barcode 5013929459441)

2. Friend’s Friend’s Friend (May 1970 2nd LP on Charisma CAS 1012)

29 June 2015 Expanded CD Remaster with 7 Bonus Tracks on Esoteric Records ECLEC 2499 (Barcode 5013929459946)

3. The House On The Hill (April 1971 3rd LP on Charisma CAS 1032)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243)

4. Lunch (July 1972 4th and final studio LP on Charisma CAS 1054)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342)

"Lunch" by AUDIENCE (2015 Esoteric Recordings 'Expanded Edition' CD – Ben Wiseman Remasters) - A Review by Mark Barry...

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"...Can't Behave Myself..." 

AUDIENCE suited the eclectic roster of Charisma Records perfectly – their mixture of early-ELO/Lindisfarne/The Move dense melodic flourishes sat comfortably alongside their Prog musical label mates Genesis, Van Der Graaf Generator, The Nice, Jackson Heights, Atomic Rooster and Rare Bird.

Along with their uber-rare debut LP on Polydor Records in 1969 – Esoteric Recordings (part of Cherry Red of the UK) have reissued all 4 of their albums onto expanded CDs – remastered from original master tapes – all with bonus cuts and involvement from Howard Werth of the band (see list below).

"Lunch" was their 3rd and last LP for Charisma before they disbanded due to musical differences (it actually troubled the American LP charts in July 1972 on Elektra Records rising to the lofty placing of 175). They regrouped briefly and successfully in 2004 and Audience retain huge affection amongst fans to this day (they were monster in Europe – Number 1 in Italy in fact). And you have to say listening to their long-forgotten music that Esoteric Recordings have done a top-notch job on these remasters. Here are the ladies who lunch details...

UK released 25 May 2015 (June 2015 in the USA) – "Lunch" by AUDIENCE is an Expanded 13-track CD on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342) and breaks down as follows (45:50 minutes):

1. Stand By The Door

2. Seven Sore Bruises

3. Hula Girl

4. Ain't The Man You Need

5. In Accord

6. Barracuda Dan [Side 2]

7. Thunder And Lightnin'

8. Party Games

9. Trombone Gulch

10. Buy Me An Island

Tracks 1 to 10 are their 4th and last studio album "Lunch" – released February 1972 in the UK on Charisma Recordings CAS 1054 and July 1972 in the USA on Elektra Records EKS 75026

BONUS TRACKS:

11. Grief And Disbelief – Previously Unreleased

12. Hard Cruel World – non-album B-side to the UK 7" single "Raviole" released November 1972 on Charisma CB 196. The A-side can be found on "The House On The Hill" album from 1971 (see list below)

13. Elixir Of Youth – Previously Unreleased

Recorded at Trident Studios in London and Produced by the legendary GUS DUDGEON - the album title was suggested by Storm Thorgerson of Hipgnosis sleeve-art fame from the phrase "Ladies who lunch..." The softly sentimental gatefold artwork and inner sleeve of the original 1972 vinyl LP actually came from a knitting pattern and followed on in theme from that slightly 30s and 40s look the preceding album "The House On The Hill" had in April 1971. The AUDIENCE line-up for "Lunch" was Howard Werth (Guitar and Vocals), Keith Gemmell (Tenor Sax, Clarinet and Flute), Trevor Williams (Bass, Accordion and Vocals) and Tony Connor (Drums, Vibes and Marimba) with outsiders Nick Judd on Piano and the horn section on "Seven Sore Bruises", "Barracuda Dan", "Ain't The Man You Need" and "Trombone Gulch" provided by Rolling Stones regulars Bobby Keys on Tenor Saxophone and Jim Price on Trumpet and Trombone.

The 16-page booklet is coloured in the same tint as the original artwork (a nice touch) with 2015 liner notes by noted freelance writer and reviewer SID SMITH that features new interviews with Howard Werth. It goes into the history of the album, touring as the support band for the Faces in the USA (the song title "Trombone Gulch" comes from a flight over the Grand Canyon) and how they finally disbanded – tired and harassed by European authorities at Ostend. But the big news for fans is a 24-bit remaster from original Charisma master tapes by Sound Engineer BEN WISEMAN who has done loads of great work for a large number of reissue labels. The audio is wonderful – given clarity to those dense multi-layered arrangements.

It opens with "Stand By The Door" which comes at you like a strange mixture of Mott The Hoople meets Lindisfarne meets Roxy Music – Werth’s vocals sounding like the lovechild of Roy Wood and Lindisfarne's Alan Hull - while the Saxophones and layered vocals give it a lovely musicality. Charisma put "Stand By The Door" out as UK 7" single in late June 1972 on Charisma CB 185 with the album track "Thunder And Lightnin'" as its B-side but it did no business. A million miles away from Prog - the band jaunt it up with the cheeky-chappy "Seven Sore Bruises" which is more Rock 'n' Roll than "Foxtrot" by Genesis. I never liked the cod Hawaiian vibe (and whistling) of "Hula Girl" but the Americana The Band feel to "Ain't The Man You Need" is great – the nasal vocals impassioned and heartfelt. Side 1 ends with the accomplished Acoustic vs. Saxophone "In Accord" which feels like an outtake from the Move's 1971 "Message From The Country" album on Harvest.

Side 2 opens with a happy ditty – the 2:20 minutes of "Barracuda Dan" while the frantically paced "Trombone Gulch" seems to be hustling to be an American single albeit at one hundred miles an hour and terrified of heights. It ends on the 'money' song "Buy Me An Island" where a grumpy Werth shouts "...you ain't heard the half of it...and neither have I!" - our heroes longing to get away to sunnier places that are easier on the noggin (and once again the tune has that clever mixture of Acoustic Guitar duetting with the Saxophone and Vocals in a very Audience way). Charisma chucked out another Mad Hatter label 45 after the album – the Italian-sounding "Raviole" off the preceding LP "The House On The Hill" and released it as a single in November 1972. Its rare non-album B-side "Hard Cruel World" turns up here as one of the bonus tracks and it’s a great addition for fans. Both of the unreleased tracks are shockingly good in fact – both featuring prominent Flute from Keith Gemmell and the band’s trademark acoustic guitar mix (both very Jethro Tull in ways).

Sticks man Tony Connor joined Hot Chocolate, Trevor Williams did stints with Jonathan Kelly’s Outside and Judas Jump and has been a part of the Audience reunion gigs, Nick Judd joined with Chris Spedding and Free’s Andy Fraser (sadly passed away recently) for Sharks (did two albums on Island) - while Keith Gemmell moved into Stackridge and spent many years with The Pasadena Roof Orchestra. The band’s main man and principal songwriter Howard Werth released a solo album "King Brilliant" in September 1975 (Charisma CAS 1104) trading as Howard Werth & The Moonbeams.

Audience’s sound were never everyone’s favourite tipple if I'm honest (none of their albums charted in the UK) but this CD has been superbly done and made me reassess their music big time. A top job done and a must-buy for fans...

AUDIENCE Expanded CD Remasters on Esoteric Recordings:

1. Audience (1969 debut LP on Polydor 583 065)

29 June 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2494 (Barcode 5013929459441)

2. Friend’s Friend’s Friend (May 1970 2nd LP on Charisma CAS 1012)

29 June 2015 Expanded CD Remaster with 7 Bonus Tracks on Esoteric Records ECLEC 2499 (Barcode 5013929459946)

3. The House On The Hill (April 1971 3rd LP on Charisma CAS 1032)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243)

4. Lunch (July 1972 4th and final studio LP on Charisma CAS 1054)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342)

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"Tales From Topographic Oceans: Definitive Edition" by YES (October 2016 Panegyric 3CD/1BLU RAY Reissue with Steve Wilson Remixes) - A Review by Mark Barry...

"...Fusions Of Wonder..."

Porcupine Tree's STEVEN WILSON has transformed the back catalogues of King Crimson and Jethro Tull in the last five years with his meticulous and sensational digital transfers – not to mention Gentle Giant, XTC, Caravan, Emerson, Lake And Palmer and Hawkwind all benefitting from his even-handed yet sympathetic ear. Artists trust their work to this man precisely because he has a love for their complexity and the technical know-how to match his and their musical passions (Ian Anderson of Tull will have their music go nowhere else). But fans of England's best experimental band YES have been licking their lips in glee over this one – Progressive Rock's most ambitious and commercially successful adventure ever – the 4-sided double-album monster that was and still is "Tales From Topographic Oceans" (December 1973, Atlantic K 80001 in the UK - Atlantic SD 2-908 in the USA).

The net-blurbs tell us that the 'go to' man for Classic Rock Masters has been working on "Tales..." for three years on and off. Well - it was worth every painstaking minute because our Stevie has wrenched absolute magic out of his aural trick bag once again. YES fans are going to have a Topographic coronary when they get a load of the fabulous audio – but I've docked it a star overall (four stars) for what I feel is the staggeringly unimaginative visual presentation - especially after all that hype and such a long wait. Here is the revealing science of details and Linear Pulse Code Modulations (LPCM to You and I mate)...

UK released Friday, 7 October 2016 – "Tales From Topographic Oceans: Definitive Edition" by YES comes in two forms - a 2CD/2DVD-A version and this - the 3CD/1BLU RAY version on Panegyric GYRBD80001 (Barcode 633367901026). It plays out as follows:

2016 STEREO MIXES (for all three CDs)

Disc 1 CD (59:30 minutes):

1. The Revealing Science Of God – Dance Of The Dawn (Side 1 of the 2LP set - New 2016 Stereo Mix)

2. The Remembering – High The Memory (Side 2 of the 2LP set - New 2016 Stereo Mix)

3. The Ancient – Giants Under The Sun (Side 3 of the 2LP set - New 2016 Stereo Mix)

Disc 2 - CD (66:42 minutes):

1. Ritual – Nous Somme Do Soleil (Side 4 of the 2LP set - New 2016 Stereo Mix)

ADDITIONAL TRACK:

2. Dance Of The Dawn (New 2016 Stereo Mix)

ALTERNATE ALBUM:

3. Dance Of The Dawn (Studio Run-Through)

Disc 3 - CD (79:20 minutes):

1. High The Memory (Studio Run-Through)

2. Giants Under The Sun (Studio Run-Through)

3. Ritual (Live, Zurich, April 1974)

SINGLE EDITS:

4. The Revealing Science Of God (Single Edit - New 2016 Stereo Mix)

5. The Remembering (Single Edit - New 2016 Stereo Mix)

6. The Ancient (Single Edit - New 2016 Stereo Mix)

7. Ritual (Single Edit I - New 2016 Stereo Mix)

8. Ritual (Single Edit II - New 2016 Stereo Mix)

Disc 4 – Definitive Edition BLU RAY DISC:

2016 STEREO MIXES - LPCM Stereo 24/96

1. The Revealing Science Of God

2. The Remembering

3. The Ancient

4. Ritual

5. Dance Of The Dawn (Extended Version of 'The Revealing Science Of God')

5.1 SURROUND MIXES - 24/96 LPCM & DTS-HD MA

6. The Revealing Science Of God

7. The Remembering

8. The Ancient

9. Ritual

10. Dance Of The Dawn (Extended Version of 'The Revealing Science Of God')

ORIGINAL STEREO MIXES - Flat Transfer from Original Master - LPCM Stereo 24/192

11. The Revealing Science Of God (Stereo Mix)

12. The Remembering (Stereo Mix)

13. The Ancient (Stereo Mix)

14. Ritual (Stereo Mix)

BLU RAY Exclusives:

ALTERNATE TAKES - LPCM Stereo 24/96

15. Dance Of The Dawn (Studio Run-Through)

16. High The Memory (Studio Run-Through)

17. Giants Under The Sun (Studio Run-Through)

18. Ritual (Live, Zurich, April 1974)

SINGLE EDITS - LPCM Stereo 24/96

19. The Revealing Science Of God (Single Edit)

20. The Remembering (Single Edit)

21. The Ancient (Single Edit)

22. Ritual (Single Edit I)

23. Ritual (Single Edit II)

2016 STEREO INSTRUMENTAL MIXES - LPCM Stereo 24/96

24. The Revealing Science Of God

25. The Remembering

26. The Ancient

27. Ritual

28. Dance Of The Dawn (Extended Version of 'The Revealing Science Of God')

VINYL TRANSFERS - UK Needle-Drop Transfer - LPCM Stereo 24/96

29. The Revealing Science Of God

30. The Remembering

31. The Ancient

32. Ritual

US BANDED PROMO Needle-Drop Transfer - LPCM Stereo 24/96

33. The Revealing Science Of God

34. The Remembering

35. The Ancient

36. Ritual

For such a prestigious release - I was expecting visual fireworks - but the outer box slipcase has the Roger Dean painting front cover artwork only and nothing on the rear - no details of any kind. Both the gatefold 2-disc cardholders are identical - even the booklet has the same artwork. Inside each card sleeve are the four discs - but they're housed in blank black card inners without any track details (they’re only in booklet). Where's the alternate Roger Dean artwork for the second card gatefold - or how about making the card inners interesting with tour posters - magazine advert campaigns - tape boxes - even the original Atlantic LP labels.

The first gatefold card sleeve with Disc 1 and 2 in it has the beautiful inner gatefold of the original 1973 double but the lyrics and explanations of the songwriting are barely readable and not featured in larger form in the booklet. The second card sleeve with Discs 3 and 4 has at least a live shot on the band on the inner gatefold and different RD artwork on the CD label - but that's it. The oversized 20-page booklet is a pleasant enough affair but large parts of it are taken up with just tracks-lists. Pages 2 and 3 show Steve Howe standing beside the massive American billboard advert for 'Tales From Topographic Oceans on Atlantic Records & Tapes' - but I've seen it before.

On the upside there's a nice collage of concert tickets - rare label variants from around the world peppering the text – shots of their stage show from the American tour and of course Steve Wilson's copious notes on the Audio Sources and how to get the best out of the BLU RAY's massive storage capacity. The SID SMITH liner notes (penned July 2016) are suitably informational and smartly written - but with all that visual repetition there's simply no oomph to the entire package - and not using alternate Roger Dean artwork somewhere seems like a very badly missed opportunity. I do like the BLU RAY menu that opens with the album cover in black and white that then slowly morphs into glorious colour on my 55" tele with the Roger Dean 'YES' logo finally appearing as if by magic beneath the 'Topographic' LP title. And the choices within the three principal selections (2016 Mixes, Original Mixes and Audio Extras) are bewildering if not massively repetitive.

But at least all that underwhelming distaste pales when you actually play the albums – the new 2016 Stereo Mixes by Steve Wilson churning up details and clarity everywhere. I remember playing this dense 2LP beastie side to side back in the day – my poor worried parents concerned for their boy's sanity amidst all those synths and layered vocals and Sanskrit lyrics and his endless gawking at the encapsulated colour photos on the inner gatefold (more clouds - yum yum). Slagged off and beloved in equal measure – I've always thought of "Tales..." as breathtaking in its reach and this reissue only rams that home even more. That huge Wakeman synth solo during "The Revealing Science Of God" – the sheer prettiness of Side 2's opening passage as they sing of '...velvet sailors...' and '...moments that start to linger...' - the adventurous percussive Side 3 with rattling cymbals and those manic rhythms where Howe's guitar does a Japanese hula-hula dance on your speakers - ending in my favourite part - the brilliant and varied "Ritual" - Squire making his Bass heard above all that Mellotron and that genius break into percussive chanting and then dancing - 'Nous Somme Du Soleil' indeed.

I hadn't expected much from the 'Studio Run-Through' Alternatives or a live version of "Ritual" - but how wrong can you be. When Howe goes into that solo at the end of "Ritual" he's ripping up and down the frets like a demented Robert Fripp and then it changes into that bizarre percussive section that sounds vaguely Chinese - in the live environment - it's explosive stuff and the band’s playing virtuosity a thing of genuine wonder.

When I worked in Reckless Records in Soho – even the album’s name would engender giggles and sighs of disbelief. The young ones would look at me corkscrewed when I told them of its lofty chart position – is he mad? Yes's "Tales From Topographic Oceans" went No. 1 in the UK on release in December 1973 and achieved No. 6 in the USA - incredible for such a challenging double and a music-form referred to as naff only two years later.

Time has proven the public right – and Steven Wilson has done this YES music a powerful justice. I just wish I wasn’t so nonplussed by the visuals for something I loved so much (docked a star for that). Over to you...

"Dada" by DADA [featuring Elkie Brooks, Paul Korda & Pete Gage] (2016 Esoteric Recordings CD Remaster) - A Review by Mark Barry...

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

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CLASSIC 1970s ROCK On CD - Exception Remasters  

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"...Take Me Up And Put Me Down Big Dipper..." 

Derided and beloved in equal measure – England's DADA made only one LP in late 1970 for a confused Atlantic Records. A hybrid of styles encompassing Brassy Prog, Holy Roller Rock and Rotary Connection-style vocal gymnastics (and a few points beyond those) - like the eclecticism suggested by their band name – the music was impossible to pigeonhole and of course drove both the record company nuts and the public into the nearest bar.

Most Rock geezers like me know our Dada through the 99p we spent on Atlantic Super 2464 013 – "The Age Of Atlantic" label sampler LP put out in October 1970. Amidst the Zeppelin, Yes and Dr. John - there they were. Track 2 on Side 2 was Dada's Hair-like cover of The Rolling Stones 1965 "The Last Time" - a bopper radically rearranged into something more interesting and ever so slightly out there. The whole album is like that – a mishmash of 5th Dimension meets Julie Driscoll with Brian Auger and The Trinity meets Rotary Connection and a few other musical experiments along the way. Don't get me wrong – I love it – there is much to cherish here. It's not Rock for sure and it's not completely Psych either. It's a mixture of many styles – immediately dated yet actually very cool too. Here is the exploratory cross-pollination existential Dadaist details man (and that's just the left leg)...

UK released Friday 22 April 2016 – "Dada" by DADA [featuring Elkie Brooks, Paul Korda, Pete Gage and Don Shinn] on Esoteric Recordings WECLEC 2543 (Barcode 5013929464346) is a straightforward CD Remaster and transfer of their lone album (37:17 minutes):

1. Big Dipper

2. The Last Time

3. This Is My Song

4. Seed Of Peace

5. Organ Interlude

6. Tonite Is

7. She Walks Away [Side 2]

8. Aspen, Colorado

9. Eyes Of The Warren

10. Jasamin

11. Dada

Tracks 1 to 11 are their lone album "Dada" – released December 1970 in the UK on Atlantic 2400 030 and in the USA on Atco SD 33-352.

Paul Korda had a hand in writing In "Big Dipper" and "This Is My Song" (both co-writes with Pete Gage) - "Seed Of Peace" and "Tonite Is" are co-writes with Keyboardist Don Shinn and he solo wrote "Jasamin" and "Dada". Don Shinn wrote "Organ Interlude" and "Eyes Of The Warren". "The Last Time" is a Rolling Stones cover and "Aspen, Colorado" is a Tony Joe White cover. "She Walks Away" is written by Pete Gage and Ivan Zagni.

Taking its moniker from an art movement formed at the outbreak of the First World War – DADA was the brainchild of PETE GAGE - a Guitarist and Arranger heavily involved with Geno Washington and The Ram Jam Band in the mid Sixties. Deliberately choosing not to have one central singer but enough people to handle the diversity of the music (they weren't called Dada for nothing) – founder member Pete Gage decided on three sets of voices – and what a trio they were. ELKIE BROOKS had been working the cabaret circuit and doing jazz-outs with Humphrey Lyttleton's band as well as studio stints with Jody Grind – Tim Hinkley's Prog Rock act signed to Transatlantic Records. The second set of pipes belonged to the all-round eccentric and hugely creative PAUL KORDA – a falsetto singer who’d worked in the "Hair" cast and was a prolific song/lyric writer. The third was JIMMY CHAMBERS who was a Percussionist as well. DON SHINN supplement those singers with Keyboards and MARTIN HARRYMAN played Drums. Other musicians included BARRY DUGGAN on Saxophones & Flutes, MALCOLM CAPEWELL on Tenor Sax & Flute with ERNIE LUCHLAN on Trumpet & Flugelhorn.

The 16-page booklet has new liner notes by SID SMITH that feature informational interviews with founding member Pete Gage discussing the formation of the band – the eclectic styles and the tours of America in 1971 that saw Robert Palmer join the ranks and would eventually go on with Elkie to form the much-loved Vinegar Joe on Island Records. There are no photos but quotes from Dada exponents like Huelsenbeck, Blosche, Hugo Ball and Andre Breton. BEN WISEMAN has carried out the 24-bit digital remaster at Broadlake Studios and this disc rocks.

It opens very strongly with "Big Dipper" which is a brilliantly arranged Prog Rocker with Blood, Sweat & Tears brass thrown in and all three vocalists featured. Their adventurous cover of The Rolling Stones "Last Time" has clever breaks that feel very Lydia Pense and Cold Blood. The acoustic opening to "This Is My Song" is beautifully handled on the remaster as is the "Hair" chorus and keyboards – a genius tune – I'm reminded of good 5th Dimension or a cool Charles Stepney production of Rotary Connection circa "Hey, Love". I love the duet of vocals between Brooks and Korda on "Seed Of Peace" – another sort of holy-roller peace anthem that cries out to be in "Jesus Christ Superstar". The side ends on two short 'n' curlies - the 54-second "Organ Interlude" by Don Shinn that feels like the beginning to an ELP opus done on a local church organ. That immediately leads into "Tonite Is" – another one minute of hippy claptrap vocals.

Side 2 opens with the wicked "She Walks Away" – a very Rotary Connection "Hair" production song with great brass fills and multiple vocals. Tony Joe White's "Aspen, Colorado" originated on his 1968 "Black And White" LP in 1968 on Monument Records while others might recognise it as the B-side to the more famous "Pork Salad Annie". In the hands of Dada - its 2:50 original playing time is stretched to 5:03 minutes and becomes almost unrecognisable (but in a good way). Sung with real Soul by all – it features cool treated keyboards and complimentary brass. "Aspen Colorado" is a definite highlight on here. Shinn's "Eyes Of The Warren" has a great keyboard break – while the acoustic 'sweetness of a million roses' that pours off the twee "Jasamin" may be too much free-love for most (even with that great vocal ending). The album ends on "Dada" – an upbeat Blood Sweat & Tears vibe – again feeling like another 'Hair' outtake that almost made the set list.

Historically - Paul Korda appeared as one of the Lead Vocalists in the 1968 stage show of "Hair" - made a couple of solo albums in the 70ts - "A Passing Stranger" released June 1971 in the UK on MAM Records MAM-AS 1003 and "Dancing In The Aisles" released 1978 in the USA on Janus JXS-7038. He also guested on "Ride A White Horse" and "One Of The Boys" for The Who's Roger Daltrey in 1975 and 1978. Personally - I knew his name from the song "Seagull (The West Coat Oil Tragedy Of '68)" which Dave Edmund's Love Sculpture covered on their 1970 second LP "Forms And Feelings". Korda is still active and put out 2 CDs in 2009 covering his early years and new material.

It's not all great for sure - but there is genius in its midst. I never thought I'd see the day that this obscure LP would finally receive a decent CD remaster (there is a Wounded Bird issue in 2010 but I heard bad reports about its audio). So not everyone's just Joss Stick – but if you feel like sticking a flower in a child's hair or sharing your baubles and dandelions collection with the world - then the brill and hippyish "Dada" is the earth-mother for you.

I dig it baby and I still think the Stones nicked their logo design in part from the cover painting...

"The House On The Hill" by AUDIENCE (2015 Esoteric Recordings Expanded CD – Ben Wiseman Remasters) - A Review by Mark Barry...

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"...Light Through My Window Pane..."

If was to describe Audience's 3rd album for the eclectic Charisma Records label – it would be 'Beautiful Rock'. Sometimes a band that starts out thrashing about making their own unique kind of Roxy Music meets The Move meets The Electric Light Orchestra sound madness – settles down and actually produces that gorgeous melodic wonderwork everyone who signed them thought them capable of in the first place. Housed in its cool and striking Hipgnosis sleeve - 1971's "The House On The Hill" is that album.

Along with their uber-rare debut LP on Polydor Records in 1969 – Esoteric Recordings (part of Cherry Red of the UK) have reissued all 4 of their albums in 2015 onto Expanded CDs – remastered from original master tapes – all with bonus cuts and involvement from Howard Werth of the band (see the list of 4 titles below).

"The House On The Hill" was Audience's 2nd LP for the Charisma Label in the spring of 1971. "Lunch" - their third record in 1972 would turn out to be their last - disbanding shortly after due to musical differences ("Lunch" actually troubled the American LP charts in July 1972 on Elektra Records rising to the lofty placing of 175 – none of their other albums charted there including this one). Here are the back door details...

UK released 25 May 2015 (June 2015 in the USA) – "The House On The Hill" by AUDIENCE is an Expanded 11-track CD on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243) and breaks down as follows (51:11 minutes):

1. Jackdaw

2. You're Not Smiling

3. I Had A Dream

4. Raviole

5. Nancy [Side 2]

6. Eye To Eye

7. I Put A Spell On You

8. House On The Hill

Tracks 1 to 8 are their 3rd studio album "The House On The Hill" – released April 1971 in the UK on Charisma Recordings CAS 1032 and in the USA on Elektra Records EKS 74100. Produced by Gus Dudgeon of Elton John and Hookfoot fame - Tracks 1 and 2 are written by Werth and Gemmell, Tracks 3, 5, 6 and 8 are written by Werth and Williams, the largely instrumental Track 4 is written by Werth with the Strings Arranged by Robert Kirby conducting members of the LSO and finally Track 7 is an Acoustic cover version of the famous Screamin' Jay Hawkins classic "I Put A Spell On You" from 1957.

BONUS TRACKS:

9. You're Not Smiling (Single Mix) - see paragraphs below

10. Indian Summer - see paragraphs below

11. You’re Not Smiling (Promotional Radio Version) – Previously Unreleased

AUDIENCE was:

HOWARD WERTH - Vocals and Electric Classical Guitar

KEITH GEMMELL – Tenor Sax, Clarinet and Flute

TREVOR WILLIAMS – Bass Guitar

TONY CONNOR – Percussion and Vibes

In a roundabout kind of a way - Charisma actually pushed out four 7" singles surrounding the album. First up (and before the LP hit the racks) came the non-album "Indian Summer" in March 1971 as a 3-track EP in a rare picture sleeve (Charisma CB 141). A2 was "It Brings A Tear" with "Priestess" as its B – both cuts from their 2nd album "Friend's, Friend's, Friend" from 1970. A 7" Single Edit/Remix of the album cut "You're Not Smiling" at 4:19 minutes (the LP version is 5:22 minutes) was issued as an A-side on Charisma CB 156 in July 1971 with the LP track "Eye To Eye" as its flipside (some rare copies list "Eye To Eye" on both sides in error). 45 No. 3 showed up November 1972 when they put the gorgeous "Raviole" on the A of Charisma CB 196 with the non-album "Hard Cruel World" on the flip ("Hard Cruel World" is available as a bonus on the Extended "Lunch" CD). The fourth and final 7" single came in February 1973 when Charisma were plugging the budget-priced Audience compilation LP "You Can't Beat 'Em" released in the same month on Charisma CS 7. They lumped "You're Not Smiling" with "Raviole" on the B-side – credited them to Howard Werth and Audience on Charisma CB 204.

Recorded at Trident Studios in London and Produced by the legendary GUS DUDGEON - the wonderful gatefold album artwork became something of a cause celebre on release. Done by Storm Thorgerson and Pip of Hipgnosis sleeve-art fame – it turns out the man dragging the dead body by the stairs (inner gatefold) is the butler of the house they shot the cover in - while the dead body is the band’s roadie (it was actually a black and white photo hand-tainted to get that 1930s and 1940s look).

The 16-page booklet is coloured in the same tint as the original artwork (a nice touch) with 2015 liner notes by noted freelance writer and reviewer SID SMITH that features new interviews with Howard Werth. It goes into the history of the album (Werth feels its all good and he’s right) and how they revisited the song “The House On The Hill” which was actually on their first LP in 1969 on Polydor. But the big news for fans (as it is with all the other issues) is a 24-bit remaster from original Charisma master tapes by Sound Engineer BEN WISEMAN who has done loads of great work for a large number of reissue labels. The audio is wonderful – giving truly lovely clarity to those classical acoustic guitar passages and the Move/Roy Wood soundscapes on tracks like "Jackdaw" and near 8-minute title track. This remaster is superb.

"House" opens with "Jackdaw" which is just 7:31 minutes of brilliance with what has to be Werth's best-ever vocal performance. Their sound is a strange mixture of Mott The Hoople meets Lindisfarne meets Roxy Music meets Duncan Browne on RAK – Werth's vocals sounding like the lovechild of Roy Wood and Lindisfarne's Alan Hull - while the Saxophones and layered vocals give it a lovely musicality. I've never really liked "You're Not Smiling" in any of the three variants offered here – but the stunning acoustic genius of "I Had A Dream" is a different matter entirely. What a wonderful song this is - and one with real gut feeling. His acoustic guitar is kept sparse for most of the duration until layered backing vocals and a restrained Saxophone compliment the centre passage. I love this song and it's on my 70's Fest CD-R of "Forgotten Gems" like a bullet. And as if that's not good enough – Side One ends with the largely instrumental acoustic beauty of "Raviole" – another absolute corker in the style of Gordon Giltrap and easy to hear why someone thought it worthy of A-side status on a Charisma 45.

Side 2 opens with the jaunty "Nancy" which feels like the Andy McKay Saxophone of Roxy Music going all soppy alongside a furiously strummed Classic Acoustic Guitar – it's a great sound and one that feels fresh to this day. "Eye To Eye" is the closet they get to Jethro Tull circa "Stand Up" and "Benefit" – Gemmell's breathy Flute dominating the track. We then enter into an area of unexpected inspiration – a slow-at-first-then-fast acoustic cover of Screamin' Jay Hawkins 1957 Okeh Records classic "I Put A Spell On You" where Werth makes his arrangement sound like he's Jose Feliciano on fire. His vocal is wicked too – wailing one moment then reining it in again – brilliant. It ends on the most Prog song on the LP – the 7:33 minutes of the title track. His vocals quiver at times like Donovan doing Hurdy Gurdy Man – it’s great stuff and sounds ahead of its 1971 timeframe. The non-album "Indian Summer" is a another pretty Acoustic Folk-Rock track in the vein of Lindisfarne – a track you feel that should have done better business...

Sticks man Tony Connor joined Hot Chocolate, Trevor Williams did stints with Jonathan Kelly’s Outside and Judas Jump and has been a part of the Audience reunion gigs while Keith Gemmell moved into Stackridge and spent many years with The Pasadena Roof Orchestra. The band’s main man and principal songwriter Howard Werth released a solo album "King Brilliant" in September 1975 (Charisma CAS 1104) trading as Howard Werth & The Moonbeams. They regrouped briefly and successfully in 2004 and Audience retain huge affection amongst fans to this day (they were monster in Europe in 1972 – Number 1 in Italy in fact).

Audience’s music is never going to be everyone’s favourite tipple if I'm honest (none of their albums charted in the UK) - but there’s beauty and Rock wonder on here – and more than once or twice too. A top job done by Esoteric Recordings and an absolute must-buy for fans...

AUDIENCE Expanded CD Remasters on Esoteric Recordings:

1. Audience (1969 debut LP on Polydor 583 065)

29 June 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2494 (Barcode 5013929459441)

2. Friend’s Friend’s Friend (May 1970 2nd LP on Charisma CAS 1012)

29 June 2015 Expanded CD Remaster with 7 Bonus Tracks on Esoteric Records ECLEC 2499 (Barcode 5013929459946)

3. The House On The Hill (April 1971 3rd LP on Charisma CAS 1032)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243)

4. Lunch (July 1972 4th and final studio LP on Charisma CAS 1054)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342)

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CLASSIC ROCK & POP 1970 to 1974 - Exceptional CD Remasters  

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