"Blues Jam In Chicago, Volume One" by FLEETWOOD MAC [and Friends] (1999 and 2004 Columbia/Blue Horizon 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

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"…I Get A Real Good Feeling Talking To You…"

Blues Jam In Chicago Volume 1 by FLEETWOOD MAC 

(1999 and 2004 Columbia/Blue Horizon 'Expanded and Altered' CD Remaster)

The two volumes "Blues Jam In Chicago, Vol.1" and "Blues Jam In Chicago, Vol.2" are based around Fleetwood Mac’s 4th vinyl outing in 1969 – the 2LP set "Blues Jam At Chess". Having a convoluted history on all formats - both the original UK and American record issues and their subsequent 1999 and 2004 CD Reissues and Remasters require some serious explanation as regards release dates, artwork and even content. So here goes – the records first...

Fleetwood Mac's 4th vinyl outing was a double-album called "Blues Jam At Chess" issued April 1969 on Blue Horizon Records S 7-66227 in the UK. Produced by MIKE VERNON and MARSHALL CHESS at the Chess "Ter-Mar" Studios in Chicago - the artists involved were FLEETWOOD MAC, OTIS SPANN on Piano, WILLIE DIXON on Bass, WALTER "SHAKEY" HORTON on Harmonica, J.T. BROWN on Tenor Sax, GUITAR BUDDY on Guitars (Pseudonym for Buddy Guy), HONEYBOY EDWARDS on Bass and S.P. LEARY on Drums. It was recorded in one day - 4 January 1969 – and has a multiple credited title (the artists listed in block capitols above).

The following year the double-album was initially split into two single LPs for the USA and retitled "Blues Jam In Chicago, Vol.1" and "...Vol.2" – released May 1970 on Blue Horizon BH 4802 and BH 4803 respectively. Neither charted - but reissued as a double-LP proper under the title "Fleetwood Mac In Chicago" in June 1971 on Blue Horizon 3801 – it did chart and peaked at No. 190 on a 6-week run. To confuse matters even further - and on the back of the success of the Buckingham/Nicks "Fleetwood Mac" Reprise Records LP – it was reissued yet again December 1975 as "Fleetwood Mac In Chicago" on Sire S2X 6009 and charted belatedly for a second time – peaking at No. 118 in a 16-week chart run. Again this 3rd reissue had different artwork – a plain sort of eggplant red. Which brings us to these two reissue CDs...

The cover of the original 1969 British 2LP set had a wavy backdrop and titled sleeve - no real effort in the art department - while the 1971 and 1975 US doubles didn't fare much better either – a blue car door sleeve for 1971 and a plain red cover for 1975. These new CD remasters first issued inside "The Complete Blue Horizon Sessions 1967-1969" 6CD Box Set from November 1999 - and now as individual stand-alone single CD reissues in June 2004 – use the much prettier 1970 "Blues Jam At Chicago – Volumes 1 & 2" Artwork for both volumes. Now to the content...

The original American Volumes issued May 1970 were simply Sides 1 and 2 of the British double-LP on Volume 1 with Sides 3 and 4 put onto Volume 2. But as these July 2004 CDs are taken from "The Complete Blue Horizon Sessions 1967-1969" Box Set  – they're the 'Expanded Edition' versions with rejiggered tracks. In order to show the musical differences I've detailed the vinyl first - then the Expanded CD...

ORIGINAL VINYL LP configuration:

Side 1:

1. Watch Out [Peter Green song]

2. Ooh Baby [Chester Burnett aka Howlin' Wolf cover]

3. South Indiana - Take 1 [Walter 'Shakey' Horton cover]

4. South Indiana - Take 2 [Walter 'Shakey' Horton cover]

5. Last Night [W Jacobs cover]

6. Red Hot Jam [Peter Green Instrumental song]

Side 2:

1. I'm Worried [Elmore James cover]

2. I Held My Baby Last Night [Elmore James/Jules Taub cover]

3. Madison Blues [Elmore James cover]

4. I Can't Hold Out [Elmore James cover]

5. I Need Your Love [Jimmie Rogers cover]

6. I Got The Blues [Walter 'Shakey' Horton cover]

UK released June 2004 - "Blues Jam At Chicago Volume One" by FLEETWOOD MAC on Columbia/Blue Horizon 5164462 (Barcode 5099751644620) is an 'Expanded Edition' CD Reconfiguration and Remaster and plays out as follows (68:24 minutes):

EXPANDED EDITION CD:

Tracks 1 to 5 are the same as the LP above

Track 6 is "Red Hot Jam" [Take 1 with Studio talk - An Inserted Previously Unreleased Track]

Track 7 is "Red Hot jam" [Take 2 - The Master Version, Track 6 on the LP]

Tracks 8 to 11 are "I'm Worried" through to "I Can't Hold Out" and are as per the LP

Track 12 is "Bobby's Rock" which is an inserted Previously Unreleased cover of an Elmore James song

Track 13 is "I Need Your Love" (same as the LP)

Track 14 is "Horton's Boogie Woogie [Take 1 with Studio Chatter - an Inserted Previously Unreleased Version]

Track 15 is "I Got The Blues" is the Master but with inserted Previously Unreleased False Start

DUNCAN COWELL has digitally remastered the original session tapes to stunning Audio quality - as fresh as a politician's new excuses – while the booklet has informative and detailed liner notes by MIKE VERNON – Blue Horizon’s head honcho and label leader.

WALTER HORTON plays Harmonica on CD tracks 3, 4, 5, 6, 7, 13, 14 and 15

BUDDY GUY, HONEYBOY EDWARDS and WILLIE DIXON are on 6 and 7

JEREMY SPENCER replaces Peter Green on Guitar and Vocal for 8, 9 10 and 11 - these tracks also feature J.T. BROWN on Tenor Sax with WILLIE DIXON on Upright Bass

OTIS SPANN plays Piano and S.P. LEARY plays drums on 13, 14 and 15

Fans greet the album itself with equal amounts of affection and disdain because at times it sounds like one long rehearsal - and a slightly uninspired and dull one at that. It's not that “Blues Jam At Chess” is bad - it just isn't red hot like you'd think it should have been and maybe another day or two would have sorted out a coherent album. Highlights, however, include the lovely shuffle of "Watch Out" - the harmonica driven slow blues of "Last Night" and the slashing Elmore James riffs in "I Can't Hold Out" (lyrics above). "Bobby's Rock" is a rubbishy extra, but Take 1 of "Horton's Boogie Woogie" is fantastic - alive and kicking and worth the price of entry alone. I play it a lot and it picks me up every time.

To sum up then - this is a 5 star Sony presentation of a 3 to 4 star Blue Horizon album. But there's still enough magic on "Blues Jam At Chess" in its Two Volume split personalities to recommend it. And for Peter Green Fleetwood Mac and Blues Rock fans - it's an absolute necessity...

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"Eighteen With A Bullet - The Island Recordings" by PETE WINGFIELD. A Review of the 2008 Cherry Red Records CD Retrospective by Mark Barry...

"...A Whole Pot Of Jelly For A Little Slice Of Toast..."

Having cut his musical teeth as Lead Vocalist and Keyboard Player in the British Blues Band JELLYBREAD (they did two albums for the Blue Horizon label) - PETE WINGFIELD then went into touring (Van Morrison and The Hollies) and session work. He contributed to B.B KING'S "In London" in 1971, KEEF HARTLEY'S "Seventy-Second Brave" in 1972 and one of my favourite LPs of the Seventies "Let The Days Go By" by BRYN HAWORTH in 1974 (see separate review). He then finally realized a lifetime dream by signing to Island Records (there's a Sue single on the left side of the album sleeve as a homage). Which brings us to this dinky little CD. 

Released September 2008 – “Eighteen With A Bullet: The Island Recordings” on Cherry Red CDMRED 369 (Barcode 5013929136922) centres round his only album and hit single for that world-famous and much loved label. Here’s the eggs-over-easy details (79:15 minutes):

1. Eighteen With A Bullet

2. A Whole Pot Of Jelly

3. Hold Me Closer

4. Shadow Of A Doubt

5. Anytime

6. Please

7. Lovin’ As You Wanna Be

8. Kangaroo Dip

9. Number One Priority

Tracks 1 to 9 are the album "Breakfast Special" (minus its last track "Shining Eyes") issued September 1975 on Island ILPS 9333 in the UK

10. Bubbling Under

11. Giving It Up For Love

12. Scratchy 45s

13. I Wanna try

14. Making A Good Thing Better 

15. We Fit Together 

16. Same Old Thing Goin’ On 

17. That’s How The Chances Go Round

18. Eyes In The Back Of My Head 

Tracks 10 to 18 are the previously unreleased never issued follow-up album "Love Bumps & Dizzy Spells" in its entirety (no ILPS catalogue number allocated)

The band consisted of:

PETE WINGFIELD on Keyboards and Vocals 

JOE "JAMMER" WRIGHT on Guitars

DeLISLE HARPER on Bass and GLEN LE FLEUR on Drums and Percussion

(The above were THE OLYMPIC RUNNERS minus MIKE VERNON) 

The Guests included: 

CHRIS MERCER of THE KEEF HARTLEY BAND played Horns and Brass on "Kangaroo Dip", "Same Old Thing Goin' On" and "Scratchy 45s". 

NEIL HUBBARD of KOKOMO played Guitar on "Eighteen With A Bullet" and "Hold Me Closer"

ANN O'DELL of the Progressive Outfit CHOPYN did String Arrangements on the lovely "Lovin' As You Wanna Be" and other songs as well

The16-page booklet has witty, informative and self-deprecating liner notes by Wingfield himself (a level-headed assessment of the highs and lows). There's session player photos, 7" singles pictured, sheet music, album artwork, press adverts from 1975 - all of it really well done. 

Superbly recorded and engineered at Chipping Norton Studios in the UK by BARRY HAMMOND in the first place, the original master tapes have now been remastered by NICK ROBBINS at Sound Mastering in London - and the results are beautifully clear - every instrument warm and present - a top job done. It really is fantastic just how good these tracks sound. I had "Eighteen" on a 2CD set out of the USA in 1987 called "The Island Story" just to have the song - and the sound quality here is one-hundred times better compared to that - the Doo-wop intro as clear as a bell. 10 out of 10 for SOUND.

The material is a mixture of good and bad as you can imagine - the standout tracks given an airing on seven-inch releases. "Breakfast Special" spawned three singles - the first was the biggest and is Wingfield's signature tune to this day. "Eighteen With A Bullet" b/w "Shadow Of A Doubt" was issued on Island WIP 6231 in the UK and Island IS 026 in the USA - it went to Number 7 in the UK charts in June 1975 and climbed to 18 on the American charts in October 1975 (yes that's right - 18 with a bullet!). I remember it being hugely popular throughout the whole of that summer and was played at every dance everywhere - Derrick Harriott even did a reggae cover of it in late 1975 on Trojan 7973, which scraped the low end of the UK chart. The follow-up was the fabulously catchy "A Whole Pot Of Jelly (For A Little Slice Of Toast)" b/w "Anytime" on Island WIP 6245 in the UK and IS 065 in the USA - but it inexplicably failed to chart in either country. I've always loved this completely forgotten funky little gem and is one of the reasons why I wanted this CD - the remaster of it is fantastic. The USA tried one more time for a follow-up hit with "Lovin' As I Want To Be" b/w "Please" on Island IS 051, but again it failed to chart. 

Which brings us to the unreleased album, which Island claimed wasn't 'produced' enough to release. Despite their reservations about the sound, they placed two of its songs - "Making A Good Thing Better" with OLIVIA NEWTON-JOHN and "Eyes In The Back Of My Head" with PATTI LABELLE - sizable hits for both of them. The USA even issued a very popular tune with New Orleans audiences called "Scratchy 45s" on Island IS 065 in 1976, which sounds like - and name-checks Dr. John - a very cool little tune. In truth though, his falsetto vocals (similar to Alan Gorrie of the Average White Band) could wear after a while - and were focused on too much. And worse - the songs all had that 1976 clutter about them that seemed to dominate so much music of that year. Still, it's nice to hear them after all these decades - good and bad - and all of it sounding polished up and spiffing.

Wingfield's been a busy boy ever since - contributing to Stephen Bishop, Chris Farlowe, Roy Harper, The Lighthouse Family, Nine Below Zero, Justin Hayward of The Moody Blues, Colin Blunstone of The Zombies, Chris Rea, Richard & Linda Thompson, The Beautiful South, Mica Paris, Lonnie Donegan, John Miles, Phil Everly, Lindisfarne, Billy Fury, Buddy Guy and even Paul McCartney (he's on the "Run Devil Run" album in 1999). His production credits are equally impressive too - from Dexy's Midnight Runners to The James Taylor Quartet. 

Hopefully this carefully put together and superb sounding release will bring his tunes to the attention of a wider audience. Some of it has dated for sure, but there's also a lot on here that's 'so' good. A rather cool little reissue really.

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

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

Something's Broken On This Reissue & It Isn't The Arrows

This September 2008 ORK Records/RPM CD puts together both of JOHN "RABBIT" BUNDRICK'S solo albums on the Island label from the early 1970s on the same CD (64:09 minutes). "Broken Arrows" was released in May 1973 on Island ILPS 9238 and "Dark Saloon" released in August 1974 on Island ILPS 9289.

You've probably noticed that the albums have been placed in reverse running order - 1974 first, then 1973. This seems like an odd admin error to make - that is until you `listen' to the 1973 album. It's absolutely drenched in huge amounts of hiss on every single track - to a point where it intrudes on the listen - way too much. The second album fares better sound wise with most of its songs being crisp and clear. But why place the better sounding tracks FIRST? Could it be that if you put them in the right order and played it - you wouldn't buy the disc at all! It says these albums were `mastered' by Music Masters - but doesn't say by who or when - or even whether the real tapes were used? A shoddy job to say the least.

However, most of that would be bearable if the music was actually any good. It isn't. This is turgid mid 70's rock - it was uninteresting then and has dated badly now. Rabbit hadn't a great voice either. When I worked at Reckless, these albums used to sit in the racks for months despite being supposed listed rarities - on hearing this poor reissue, it's not difficult to see why.

Unless you have to have these forgotten LPs on CD - I'd say avoid this sloppy reissue. It's odd - because RPM releases have a good reputation.

“Mr. Wonderful” by FLEETWOOD MAC (1999 and 2004 Sony/Blue Horizon 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

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"...Stop Messin' Around..." 

Following only 7 months after their explosive debut and afforded the luxury of a gatefold sleeve - Fleetwood Mac's second studio album "Mr. Wonderful" was released in September 1968 on Blue Horizon Records S 7-63205 in the UK (in stereo only). The American equivalent was issued in February 1969 on Epic Records BN 26446 and was called "English Rose" - it had different artwork and a much-altered track run. This CD version reflects the UK LP and is slightly expanded.

Here's the breakdown - the original 12-track album track list ran as follows (41:51 minutes):

1. Stop Messin' Round (Peter Green and C.G. Adams song) [2:21 minutes]

2. Coming Home (Elmore James cover) [2:41 minutes]

3. Rollin' Man (Peter Green song) [2:54 minutes]

4. Dust My Broom (Elmore James cover) [2:53 minutes]

5. Love That Burns (Peter Green and C.G. Adams song) [5:04 minutes]

6. Doctor Brown (William Glasco cover) [3:46 minutes] (End of Side 1)

7. Need Your Love Tonight (Jeremy Spencer song) [3:29 minutes]

8. If You Be My Baby (Peter Green & C.G. Adams [3:53 minutes]

9. Evenin' Boogie (Jeremy Spencer song) [2:42 minutes]

10.Lazy Poker Blues (Peter Green & C.G. Adams song) [2:36 minutes)

11. I've Lost My Baby (Jeremy Spencer song) [4:18 minutes]

12. Trying So Hard To Forget (Peter Green & C.G. Adams song) [4:51 minutes] (End of Side 2)

This 16-track CD reissue of "Mr. Wonderful" by FLEETWOOD MAC at 56:27 minutes is "The Complete Blue Horizon Sessions 1967-1969" version from the November 1999 Sony 6-CD Box Set issued as a stand-alone disc in July 2004 (Sony 51644442 - Barcode 5099751644422). The additional bits are that Track 1 has some studio chatter before the take [extended to 2:36 minutes], tracks 2 to 12 are exactly the same, while the following are BONUSES added on...

13. Stop Messin' Round (Takes 1, 2 and 3 with False Starts/Previously Unissued) [4:32 minutes]

14. Stop Messin' Round (Take 5 - Master Single Version/Remix)  [2:47 minutes]

15.I Held My Baby Last Night (Elmore James/Jule Taub cover) [4:26 minutes]

16. Mystery Boogie (Jeremy Spencer song) [2:51 minutes]

Note: Track 14 is longer than and different to the album version of "Stop Messin' Round" that opens the LP

In the USA the album was called "English Rose" on Epic Records and its altered track list ran as follows:

1. Stop Messin' Round [as above]

2. Jigsaw Blues [on "Pious Bird Of Good Omen"]

3. Doctor Brown [as above]

4. Something Inside Of Me [on "The Original Fleetwood Mac"]

5. Evenin' Boogie [as above]

6. Love That Burns [as above]

7. Black Magic Woman [on "Pious Bird Of Good Omen"]

8. I've Lost My Baby [as above]

9. One Sunny Day [on "The Original Fleetwood Mac"]

10. Without You [on "The Original Fleetwood Mac"]

11. Coming Home [as above]

12. Albatross [on "Pious Bird Of Good Omen"]

[As you can see - in order to sequence "English Rose" in remastered form you will need 3 CDs from the 6CD box set - "Mr. Wonderful", "The Pious Bird Of Good Omen" and "The Original Fleetwood Mac"]

Musically, "Mr. Wonderful" only half works for me - it feels like a poor-man's version of the debut (the USA "English Rose" compilation LP has a far better track run). Also over half the album - tracks 2, 4, 6, 7, 9 and 11 do 'not' feature Peter Green at all (and suffer for it). The others appear to be hijacked by Jeremy Spencer's obsession with Elmore James to a point where "Doctor Brown" and "Need Your Love Tonight" sound exactly like the same song repeated literally one after another. It's not that the album is bad - it just somehow lacks something. The last song, however, redeems things a bit - it's "Trying So Hard To Forget" and has Peter Green on Guitar with label mate DUSTER BENNETT on Harmonica - just the two of them - and it's a peach.

The bonuses turn out to be excellent too - especially the two previously unreleased Jeremy Spencer tracks - the very slow blues of "I Held My Baby Last Night" and the jaunty boogie-guitar instrumental of "Mystery Boogie". And as with the box set, the DUNCAN COWELL remastered sound is exceptionally good - blasting out of your speakers with all the power of the band live in the studio.

As a stand-alone disc, it's great value for money - I'd say BUY IT and then go for 2 to 5 as well...they're all magical in their own way. Or just buy the box set outright - it's such great stuff anyway and will allow you to sequence both "Mr. Wonderful" and "English Rose" as separate albums.

While it might feel like you’re stating the obvious – but any Fleetwood Mac from this period in your life is a good thing...

PS: For those wishing for more, the Blue Horizon label Fleetwood Mac UK albums are:

1.  Peter Green's Fleetwood Mac (1968) (original album, known as "Fleetwood Mac" in the USA)

2.  Mr. Wonderful (1968) (original album)

3.  The Pious Bird Of Good Omen (1969)  (compilation of non-album 7" singles, their B-sides, collaborations and other rarities)

4.  Blues Jam At Chess (1969)

(Original 20-track 2LP set often referred to as a Various Artists compilation. Its full credit is to: Fleetwood Mac, Otis Spann, Willie Dixon, Shakey Horton, J.T. Brown, Guitar Buddy, Honey Boy Edwards, S.P. Leary. Originally a 2LP set on release in the UK, it was broken into 2 volumes in the USA and renamed in May 1970 as “Blues Jam In Chicago Volume 1" and "Blues Jam In Chicago Volume 2". It was also reissued twice thereafter in the USA – 1971 and 1975 as “Fleetwood Mac In Chicago” (both charted). The CD reissues are based on the 1970 releases and names – but are the ‘Expanded Editions’ from the 1999 6-Disc Box set with rejiggered tracks. It is ONLY these singular re-sequenced releases that are available today.)

5.  The Original Fleetwood Mac (1971)

(Although released in 1971, this LP has recordings from August 1967 through to October 1968, all of which were previously unreleased at the time)