“Luther’s Blues” by LUTHER ALLISON (2001 Universal 'Blues Classics - Remastered And Revisited' CD Reissue) - A Review by Mark Barry...

"...I Don’t Know Why She Treats Me So Bad…I’ve Been So Sweet And Kind…"

A follow up to his 1972 debut LP "Bad News Is Coming" – Luther Allison's second album "Luther's Blues" was also released on Motown's Gordy label imprint in the USA - July 1974 on Gordy G 967V1 in this case.

The music is a bit of everything. "Luther's Blues" is a hard-hitting Blues album one moment ala Albert King - then funky as James Brown's DNA the next. And like its even grittier predecessor - because it was on a label the public associated more with Smokey Robinson and Marvin Gaye - its 9-track mixed bag got somehow lost in the chart stew and remains largely forgotten about today. Which is a damn shame really given the cross-the-genres musical quality on offer here (this CD is part of Universal’s superb "Blues Classics - Remastered & Revisited" CD Series). Let’s get to the details…

USA released in April 2001 – "Luther's Blues" by LUTHER ALLISON on Universal/Motown 440 013 409-2 (Barcode 044001340925) is a Reissue CD of the 1974 album supplemented with three bonus tracks and breaks down as follows (70:32 minutes):

1. Luther's Blues [Luther Allison song]

2. Someday Pretty Baby [co-write between Berry Gordy and James Woodley, a Singin' Sam Ward cover]

3. Easy Baby [written by Willie Dixon, a Magic Sam cover]

4. Part Time Love [co-write between Janie Bradford and Richard Wylie, a Singin' Sam Ward cover]

5. Now You Got It [co-write between Luther Allison, Gene Block, Gary Beam and Kenneth Miles]

6. K.T. [co-write between Luther Allison, Joseph Peraino and Benny Emerson]

7. Let's Have A Little Talk [Luther Allison song]

8. Driving Wheel [Roosevelt Sykes cover]

9. Into My Life [Luther Allison song]

BONUS:

10. San-Ho-Zay [Previously Unreleased Freddie King cover]

11. Bloomington Closing - Early Version [Previously Unreleased]

12. Medley: I'm Gonna Miss My Baby/Bad News/The Thrill Is Gone (Live)

"San-Ho-Zay" and "Bloomington Closing" are previously unreleased outtakes from the sessions while the three-track live medley was recorded at the Arbor Blues Festival in 1973 (also Previously Unreleased).

The Band for the Sessions was:

LUTHER ALLISON - Lead Vocals, Harmonica, Stratocaster & Slide Guitars

BOB GOODMAN and GENE BLOCK - Rhythm Guitars

PAUL WHITE - Piano and Organ [TOM CURRY on "Easy Baby" only]

BOB BABETTE and GARY BEAM - Bass Guitars

K.J. KNIGHT and ANDREW SMITH - Drums

SUHA GUR – one of Universal’s top engineers - has given the remaster a fantastic quality with audio clarity on all of the tracks pumping, muscular and superbly clear.

Half of the songs are straight up blues like "Let's Have A Little Talk" where Allison lets rip his attacking licks and gritty voice in a seven-minute tour-de-force - but then there are very soulful tunes too - like "Now You Got It" and the ultra-funky "K.T.". His guitar work on the chugging Roosevelt Sykes cover of "Driving Wheel" is fabulous - screeching notes out of his plank that few other Blues men get. And like so many of these great guitarists of the genre - his power, prowess and presence is never more evident than when he's slaying the audience on that incredible 19-minute live medley.

Very tasty indeed - “Luther’s Blues” is a hard-to-find vinyl album for Motown collectors and a real discovery for Blues enthusiasts on CD (and it's cheap too). Recommended like grits and groceries...

Titles in Universal's 'Blues Classics-  Remastered & Revisited' CD Reissue Series:

1. Bad News Is Coming - LUTHER ALLISON

(1972 Gordy LP, 2001 Remaster + Four Previously Unreleased Bonus Tracks) - Universal 440 013 407-2 (Barcode 044001340727)

2. Luther’s Blues - LUTHER ALLISON

(1974 USA 9-track LP with 3 Previously Unreleased bonuses, 70:28 minutes)

Universal 440 013 409-2 (Barcode 044001340925)

3. Two Steps From The Blues - BOBBY BLAND (1961 USA 12-track Mono Debut LP on Duke Records with 2 Bonus Single Sides, 35:12 minutes)

Released 27 Feb 2011 on MCA 088 112 516-2 (Barcode 008811251628)

4. The Real Folk Blues/More Real Folk Blues - JOHN LEE HOOKER

(October 1966 and September 1991 LPs on Chess, 2LPs on 1CD, 79:44 minutes)

MCA/Chess 088 112 821-2 (Barcode 008811282127)

5. The Real Folk Blues/More Real Folk Blues - HOWLIN' WOLF

(January 1966 on Chess and January 1967 on Chess, 2LPs on 1CD, 66:45 minutes)

MCA/Chess 088 112 820-2 (Barcode 008811282028)

6. Tell Mama: The Complete Muscle Shoals Sessions - ETTA JAMES)

(January 1968 US 12-Track LP on Cadet - 13-22 being bonuses, 57:11 minutes)

MCA/Chess 088 112 518-2 (Barcode 008811251826)

7. Live At San Quentin - B.B. KING

(1990 13-Track Compilation on MCA, no extras, 64:11 minutes)

MCA America 088 112 517-2 (Barcode 008811251727)

8. Muddy Waters At Newport 1960 - MUDDY WATERS

(1960 US 9-Track LP on Chess with 10-13 being 4 Mono Studio Tracks from June 1960 as bonus tracks, 44:43 minutes)

MCA/Chess 088 112 515-2 (Barcode 008811251529)

9. Fathers & Sons - MUDDY WATERS & Friends

(Tracks 1-10 and 15-20 is the August 1969 2LP set on Chess in Full with Tracks 11, 12, 13 being previously unreleased - and 14 previously unreleased in the USA). (77:38 minutes)

MCA/Chess 088 112 648-2 (Barcode 008811264826)

10. The Real Folk Blues/More Real Folk Blues - MUDDY WATERS

MCA/Chess 088 112 822-2 (Barcode 008811282226)

11. The Real Folk Blues/More Real Folk Blues - SONNY BOY WILLIAMSON

(January 1966 and January 1967 LPs on Chess, 2LPs on 1CD, 65:28 minutes)

MCA/Chess 088 112 823-2 (Barcode 008811282325)

1 and 2 remastered by Suha Gur - 3 to 11 by Erick Labson

“The Real Folk Blues/More Real Folk Blues” by JOHN LEE HOOKER. A Review of the 2002 Universal CD Reissue.

“Hey Mister Bartender…Come Here…”

This Universal CD out of the USA on MCA-Chess 088 112- 821-2 reissues two stunning albums from the mighty Hook at the height of his blues power. It’s also part of the “Blues Classics – Remastered & Revisited” series of 10 titles and is an absolute blues peach.

Here’s a detailed breakdown first (79:47 minutes):

1. Let’s Go Out Tonight
2. Peace Lovin’ Man
3. Stella Mae
4. I Put My Trust In You
5. I’m In The Mood
6. You Know, I Know
7. I’ll Never Trust Your Love Again
8. On Bourbon, One Scotch, One Beer
9. The Waterfront

Tracks 1 to 9 are the album “The Real Folk Blues” issued October 1966 in the USA on Chess LP 1508 - all tracks were written by John Lee Hooker except “I’m In The Mood” which was co-written with Bernard Besman.

10. This Land Is Nobody’s Land
11. Deep Blue Sea
12. Nobody Knows
13. Mustang Sally & GTO
14. Lead Me
15. Catfish
16. I Can’t Quit You Baby
17. Want Ad Blues
18. House Rent Blues

Tracks 10 to 18 are the album “More Real Folk Blues” issued September 1991 in the USA on MCA-Chess 9329. All tracks were written by John Lee Hooker except “I Can’t Quit You Baby” which is a Willie Dixon song, 1st issued by OTIS RUSH on Cobra Records 5000 in 1956 (it was also famously covered by Led Zeppelin on their 1969 debut album).

The band on both sessions were:
JOHN LEE HOOKER – Guitar and Vocals
EDDIE BURNS – Guitar
LAFAYETTE LEAKE – Piano and Organ
FRED BELOW - Drums

ERICK LABSON of Universal Mastering (has over 800 mastering credits to his name) remastered the original master tapes and the sound is typically magnificent – fantastically clear. The drums, vocals, the bass and especially the duel guitar chugging of Burns and Hooker – all of it - muscular and in your face - and in all the right ways.

The 12-page booklet has a short essay on the album by CHRIS MORRIS of Billboard fame and then follows that with the album’s original liner notes and reissue credits.

But the big surprise for fans will the 'afterthought' album of 1991 “More Real Folk Blues” – although it’s essentially more of the same, the quality never lets up and it absolutely rocks. It isn’t remotely "folk" in its blues approach - most of the tunes are full band work outs – funky blues – with an almost James Brown 1966 vibe to the rhythms – very, very cool stuff indeed. Check out “Mustang Sally & GTO” on iTunes for a taster - it perfectly compliments “Stella Mae” on the 1966 original. And the solo performance on the love song “The Waterfront” is beautiful – the tune is ‘so’ quiet – yet the hiss level isn’t that bad – a sweet remaster by Labson.

“I’m in the mood…I said the night time is the right time…I’m in the mood for love…” moaned John Lee on the famous sex song. Well if this CD is anything to go by - then yeah baby!

Highly recommended.

PS: This CD is part of the “Blues Classics – Remastered And Revisited” Series – for a list of 10 titles in the Series – see my posting in Blogger

"David Clayton-Thomas" by DAVID CLAYTON-THOMAS [of Blood, Sweat & Tears] (2006 Repertoire CD Reissue and Remaster of his 1972 Debut Album) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

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"…Why Am I Fighting To Live If I'm Just Living To Fight…"

Surrey-born David Thomsett moved with his Canadian-born father and musical English mum to the suburbs of Toronto when he was just a 6 year-old child. Hot-blooded and driven, he left home at 14, waded through reformatories, farm jobs and bar bands until he finally hit pay dirt with Al Kooper's BLOOD, SWEAT & TEARS in 1968. 

By the time he was 30 (and with his surname changed) - David Clayton-Thomas was ready to release his debut. And having fronted the mighty BST as its funky and fantastic Lead Vocalist for "Blood, Sweat & Tears" (1969), "Blood, Sweat & Tears 3" (1970) and "B, S & T: 4" in 1971 – his 1972 solo LP was simply more of the same. Which brings us to the CD reissue of it - too quietly forgotten it seems when I'd argue it shouldn't be...

UK released March 2006 - "David Clayton-Thomas" by DAVID CLAYTON-THOMAS [of Blood, Sweat & Tears] on Repertoire RES 2300 (Barcode 400910230022) is a straightforward CD remaster of his 1972 debut solo album on Columbia records and plays out as follows (33:50 minutes):

1. Magnificent Sanctuary Band [Dorsey Burnette cover] - featuring Mike Deasy & David Cohen on Guitars with Clydie King & Vanetta Fields on Backing Vocals

2. We're All Meat From The Same Bone [Gary Zekley song] - featuring Steve Cropper of Booker T & The MG’s on Guitar with Bobby Colomby of Blood, Sweat & Tears on Tambourine

3. Stealin' In The Name Of The Lord [Paul Kelly cover] - featuring Paul Cannon with Steve Cropper on Guitars, Jay Spell on Keyboards with Clydie King and Vanetta Fields on Backing Vocals

4. Dying To Live [Edgar Winter cover] - arranged & conducted by Klaus Ogerman, it also features Hugh McCracken & Sal DiTroia on Guitars, Frank Owens on Piano with the Strings Arranged by Julie Held

5. Sing A Song [Gary Wright cover (formerly with Spooky Tooth)] - featuring Mike Deasy & David Cohen on Guitars with Clydie King & Vanetta Fields on Backing Vocals

6. She [writers Gram Parsons and Christ Etheridge/Flying Burrito Brothers cover] - featuring Hugh McCracken and Sal DiTroia on Guitars, Frank Owens on Piano and duet vocals with Patricia Holloway

7. Don't Let It Bring You Down [Neil Young cover] -arranged and conducted by Jimmy Guiffre, Various Brass Players with Bobby Colomby on Drums

8. Once Burned [Todd Rundgren cover] - featuring Mike Deasy & David Cohen on Guitars with Clydie King & Vanetta Fields on Backing Vocals

9. North Beach Racetrack [David Clayton-Thomas song] - features guitars by Steve Cropper, Paul Cannon and David Clayton-Thomas with Jay Spell on Piano and Drums by Richie Simpson

10. Caress Me Pretty Music [Anita O’Day cover] - featuring Paul Griffin on Guitar with Bobby Colomby on Drums

Co-produced by Blood, Sweat & Tears buddies BOBBY COLOMBY and JOEL SILL – the original vinyl LP was released April 1972 on Columbia KC 31000 in the USA and in the UK on CBS Records S 64755 (peaked at No. 184 on the US LP charts - didn't chart in the UK). The card digipak mimics the original gatefold sleeve of the vinyl LP and has an 8-page inlay with liner notes by noted British writer CHRIS WELCH.

Highlights are Edgar Winter's post-Woodstock anti-war anthem "Dying To Live" which is given a powerful rendition with strings that strengthen the melody and message rather than drown it (lyrics above). The "After The Gold Rush" classic of "Don't Let It Bring You Down" by Neil Young is also treated to a strange solitary French Horn opening that really works – it takes a good song and moves it to somewhere different – very cool. But the real peach here is his gorgeous vocal to Gram Parson’s much-covered "She". Clayton-Thomas does it more than justice – he almost makes it his own. 

His lone self-penned contribution about his favourite haunt "North Beach Racetrack" is a 'daddy was a junky' song with a funky-as-f**k guitar romp while he roars a trademark B, S & T mannerism "…tell the truth boy!" It's excellent and features slick guitar work from all three - Paul Cannon, Steve Cropper and Thomas himself.

The sound is superb throughout the entire album - punchy and vibrant (Repertoire has always had a good rep for quality audio transfers). There is hiss on some of the quieter songs like "Once Burned" but it's not too much to detract.

A niggle would be that the writers for "Dying To Live" and "Sing A Song" are wrongly credited in the booklet (their corrected above) - but apart from that – this is a great reissue of a criminally forgotten Seventies gem. 

Clayton-Thomas went on to make two more albums during the period - "Tequila Sunrise" in 1973 and "Harmony Junction" in 1974 and they're available elsewhere.

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I’ve always had a soft spot for Blood, Sweat & Tears and anything that sounds like them. Check out CT's funky and righteous cover of Paul Kelly’s "Stealin' In The Name Of The Lord" (it was a minor hit for its originator in 1970 on Happy Tiger Records) or his gorgeous cover of "She". I think you'll be hooked...and telling the truth...

“Go Away Little Boy – The Sass & Soul Of…” by MARLENA SHAW. A Review of the 1999 Columbia/Legacy CD Compilation.

“…Oh Baby…This Time I’m Gonna Be Sweeter…”

Here’s the breakdown (64:10 minutes):

1. Yu-Ma/Go Away Little Boy [co-written with Gerry Goffin and Carole King]
2. I Think I’ll Tell Him
3. Rhythm Of Love
4. Moonrise
5. I Wonder
6. Shaw Biz/Suddenly It’s How I’d Like To Feel/Shaw Biz (Reprise)
7. I’m Back For More
8. Sweet Beginnings [Leon Ware cover]
9. More [Marlena Shaw song]
10. Walk Softly [Van McCoy cover]
11. No One Yet [Marlena Shaw song]
12. Pictures And Memories
13. Love Dancin’ [Linda Clifford/Gladys Knight cover]
14. Touch Me In The Morning [Diana Ross cover]

Tracks 1, 2, 8, 10 and 12 are from the album “Sweet Beginnings”, 1977 on US Columbia 34458
Tracks 3, 4, 5, 7 and 9 are from the album “Acting Up”, 1978 on US Columbia 35073
Tracks 6, 11, 13 and 14 are from the album “Take A Bite”, 1979 US Columbia 35632



This April 1999 Columbia/Legacy CD was compiled by LEO SACHS and has detailed liner notes by BARRY WALTERS. The original master tapes were remastered by TOM RUFF at the Sony Music Studios in the USA and the sound is sweet – really clear – very little hiss on any of the songs - punchy when it needs to be - subtle and soft too when the strings kick in. In fact, it's typical of the high standard across most of the LEGACY range.

Musically this is very Studio 56/Philadelphia International territory – and despite the “sass” in the subtitle - this compilation is often very mellow. There are funky floor filling tunes on here like “Sweet Beginnings”, “More”, “Pictures And Memories” and “No One Yet” which late Seventies Three Degrees, Isaac Hayes, Gladys Knight and Ronn Matlock fans will love. Highlights also include the witty and perceptive “get out of my life – oh no – come back” lyrics of the opener “Yu-Ma/Go Away Little Boy”, while the lovely bedroom ballad “Moonrise” features sweet Alto Sax fills by SELDON POWELL. It should also be noted that “Touch Me In The Morning” is the ultra-rare full-length 12” disco mix at 7:19 minutes. And although it doesn’t state it on the rear sleeve either, the Linda Clifford cover of “Love Dancin’” is the rare 12”extended version at 7:56 minutes also – two big draws for those who like their club classics.

Part disco, part soul diva, part jazz-vocal and very Seventies – there’s a lot on here to enjoy – and Shaw’s vocals are a discovery worth making.

“Go Away Little Boy” is a really good compilation culled from 3 hard-to-find albums (pictured above).

“Hill Of Thieves” by CARA DILLON. A Review of the January 2009 Folk CD.

"...His Children Came Around Him With Their Verses And Their Stories
Their Verses And Stories - To Drive Cares Away..."

I'll throw in my Dublin/Irish tuppence worth and say that this is a truly gorgeous album - probably one of the loveliest listens I've had pass by my weary ears in yonks.

I've been aware of Northern Ireland’s Cara Dillon (she's from Dungiven in County Derry) for some time now. On her lovely "Cara Dillon" debut album in 2001, she did a cover version of a particular favourite of mine - "Black Is The Colour". It was a piano-led/guitar folk take on the famous ballad and it was brilliant. And that delicate as silk voice too - I thought - now here's a talent.

With "Hill Of Thieves" she realizes all of that potential. She also settles down and goes for the full-on-folk album - and like Kate Rusby - or even Andrea Corr - she knocks you sideways with the beauty of her voice and the clever choices of interpreted Traditional Airs (all bar the opener "Hill Of Thieves" are Traditional Songs arranged and interpreted by both Cara Dillon and her husband/keyboardist Sam Lakeman).

Another fave of mine is "Spencer The Rover", which I first heard covered by JOHN MARTYN on his wonderful "Sunday's Child" album on Island in early 1975 (lyrics above). Cara Dillon does a very different take on it, and for me it's 'the' highlight on here. With his tragic loss still fresh in our minds, I think Iain David McGeachy would give this version a great big Scottish nod - it's gorgeous - it really, really is.

Also worth nothing is that while Sam Lakeman plays on all the tracks and co-arranges all the songs; SETH LAKEMAN duets with her on "Spencer" - and also plays Tenor Guitar and fiddle on the tune. And that would be my only complaint about the album - is that when Dillon and Seth Lakeman duet - there's a perfect harmony magic that takes place - and I only wish there was more of it on here. Only on the one track I'm afraid.

Cara also does a serenely peaceful version of the Londonderry Air "She Moved Through The Fair" while "Jimmy Mo Mile Stor" sounds like a great Planxty/Bothy Band reel - with perfectly complimentary Flutes and Uileann Pipes. Made me tingle and think of home.

If you're new to the lady and her gentle magic, then prepare to punish that credit-crunched plastic of yours again in the next few weeks - because you'll want every album she's ever done after buying this...

Lovely stuff.

"A Nod To Bob – An Artists' Tribute To Bob Dylan On His Sixtieth Birthday" by VARIOUS (2001 Red House Records CD Compilation) - A Review by Mark Barry...

1. Love Minus Zero/No Limit by ELIZA GILKYSON
2. Sweetheart Like You
by GUY DAVIS and THE HIGH FLYING ROCKETS [feat LEVON HELM of THE BAND on Drums]
3. Clothes Line Saga by SUZZY and MAGGIE ROCHE
4. Girl Of The North Country by JOHN GORKA
5. Delia by SPIDER JOHN KOERNER and DAVE RAY
6. I Want You by CLIFF EBERHARDT
7. All Along The Watchtower by TOM LANDA and THE PAPERBOYS
8. Dieu á Nos Cotés (With God On Our Side) by HART-ROUGE
9. Boots of Spanish Leather by MARTIN SIMPSON
10. Restless Farewell by NORMAN BLAKE and PETER OSTROUSHKO
11. It Ain't Me Babe by LUCY KAPLANSKY
12. Pledging My Time by GREG BROWN
13. Tomorrow Is A Long Time by ROSALIE SORRELS
14. [Spoken Intro To] Don't Think Twice, It's All Right [Leads into 15]
15. Don't Think Twice, It's All Right by RAMBLIN' JACK ELLIOTT

"...My Love…He Laughs Like The Flowers…"

Released in May 2001 on Red House Records to tie in with his 60th birthday, there's a bunch of reasons why this 14-track compilation of Bob Dylan cover versions 'so' works.

First up is the clever choice of songs - almost all of them avoid the usual suspects - there's not a single tune off "Blood On The Tracks" - yet more than a few of these artists would probably give blood to a vampire rather than part with their original copy of it. Nothing from "Desire", "Oh Mercy", "Love & Theft", "Nashville Skyline" - not even a "Knocking On Heaven's Door"!! And yet - their very obscurity makes the songs such a refreshing listen - it's like somebody finally finding the magic in them.

Then there are the artists themselves - outside of fairly knowledgeable circles, most of these names will be complete unknowns to the casual buyer - and yet all of them put in extraordinary performances of what is - let's face it - overly familiar material. And yet perhaps because they're "not" a famous name that it makes their interpretations such a sweet listen and discovery. Most have fantastic voices and each track is beautifully recorded. I'm reminded of "O Brother, Where Art Thou?" - that sense of rediscovery - "A Nod To Bob" is similar - a cross between US Folk and Americana - done really well.

And last is the way they interpret Dylan's songs. Most avoid the 8-minute lyric workouts that now sound slightly trite and tiresome and instead opt for his more straightforward love songs. The jaunty pop of "I Want You" from "Blonde On Blonde" is completely transformed by Cliff Eberhardt into a slow pleading love ballad - and it's brilliant. In fact most of the versions on here are acoustic - breaking down the song and bringing out what was latent in the originals - the lovely melody. You throw in Dylan's poignant lyrics and you're on a winner.

Negatives - some might feel the French Cajun feel to "Dieu A Nos Cotes" (With God On Our Side) is too much and the one real clinker for me is "Delia" - a song not written by Dylan but more famously associated with Johnny Cash. It doesn't work at all. But so many others do. The black and bluesy voice of Gary Davis imbibes the truly lovely "Sweetheart Like You" from "Infidels" with such tenderness - really great - and Greg Brown's "Pledging My Time" from 1966's "Blonde On Blonde" is probably the closest of them all to the original - it boogies along in a bluesy way like an Eric Bibb shuffle or EC circa "461 Ocean Boulevard".

The 20-page booklet allows each artist space to explain their choice - the record label has given the great man a two-page letter of appreciation - and there's a card wrap on the outside - giving the whole project a classy feel.

Most will yawn at the idea of yet another tribute to Bob Dylan - but even those who don't like him at all will find something beautiful in here. "A Nod To Bob" is easily one of the most captivating and lovely listens I've heard in years and accomplishes that rarest of things - it properly compliments the great man and his unparalleled body of work.

If you want an audio taste of the music - try "Love Minus Zero/No Limits" by ELIZA GILKYSON or JOHN GORKA'S quiet version of "Girl From The North Country" - both are available as snippet-listens on iTunes.

Lovely, lovely, lovely... Highly recommended.

“The Black Balloon”. A Review Of The Elissa Down Film on DVD (Released in Australia in March 2008).

"...another man's Hell."

As 50-year old parents of an 18-year Autistic son, the better half and I sat down to watch "The Black Balloon" with an open mind. She thought it was honest, true to life and moving - I thought it was brutal, clinically exploitive and deeply hurtful to those of us who actually have to live with - and grow old with - this difficult condition.

First up - Autism doesn't sell - so the cover of the DVD slyly tries to pan it off as a teenage love story - when most of movie is dominated by the lead character's Autistic brother whose inappropriate, but unintentional outbursts make life for him, his parents and their family - a living hell.

This is an Icon Production - Mel Gibson's company - and I've found his movies bludgeon you over the head in order to extract emotion. If he can't gore it up, he'll hurt it up. As other reviewers have pointed out, the brother's behaviour is wild (rubbing excrement into the carpet, punch outs at home, tantrums in supermarkets) - some of which does happen, but most doesn't. No experienced parents would take their son to such situations precisely because it will precipitate such behaviour - these film parents are conveniently clueless - and that just doesn't wash. Then there's the horrific cruelty of the Australian school kids and neighbours - again all of it so over the top as to beggar belief.

But the worst scene is after a particularly horrific home incident, the special needs brother Charlie (played by Luke Ford) supposedly apologises in sign language to his brother Thomas (played by Rhys Wakefield) - this just wouldn't happen. It is precisely because of Autism that Charlie would never make this cognitive leap - and in the real world - it's in this maddening knowledge - that lies so much hurt for siblings. Your brother doesn't progress - your sister doesn't get any better - and most people - including the authorities - couldn't give a toss. But this is a film - and after all that battering-ram stuff - the makers must offer you some hope...

Autism has been used in movies before - and to some good effect; "Mercury Rising" with Bruce Willis and most famously Dustin Hoffman as the Savant in "Rain Man". But these were simplistic versions of the condition without any of the really nasty self-injurious stuff and effect on the family. "The Black Balloon" seems to want to bludgeon you over the head with only the gross stuff- and then somehow arrive at a magical point of tolerance at the end. The real world, however, is slightly different.

It's not all grim of course - it isn't. There's a moment of extraordinary tenderness and one of the best 'growing up' sexy scenes I've ever seen. The gorgeous Gemma Ward plays Jackie (legs as long as the M1 motorway and a face the camera adores) who fancies the slightly odd she suspects brave Thomas (constantly defending his brother). Along with all the other swimmers, they are at a school safety exercise lesson lying down by the poolside; she leans over him in her dripping swimsuit to administer mouth-to-mouth resuscitation as per her instructor. He has his eyes shut - supposedly drowned. She has to apply mouth-to-mouth - up and down - blowing in air. The way the sunlight catches her wet hair - the drops falling on him - the proximity of such loveliness - the lips that nearly touch, but can't because people are watching - it's beautifully done - really ace stuff...

Also on the up side is Luke Ford's performance as the Autistic Charlie - his mannerisms are very good and at times uncomfortably accurate - our boy displays some of the same. Erik Thompson and Toni Collette are gripping as the parents trying to cope and keep their family together.

I'm not adverse to a difficult watch worth the difficulty, but I found this movie strangely exploitive - and for all the wrong reasons. I'll admit that anything that hurts children - especially special needs children - makes me wince and rage - so perhaps my opinion of the movie simply can't be anything other than biased. My wife thought it was brilliant - finally exposing the pain and difficulty parents of special needs children have to go through. I on the other hand would smash Mel Gibson over the head with a mallet...

One review on the DVD box tells us the movie is "...life-affirming..." and "...a sheer delight..." Absolute balls.

Make up your own mind folks. As ever, "One man's Heaven is..."