“Darkness, Darkness” by PHIL UPCHURCH. A Review of his 1971 Double Album On Blue Thumb Records - Now Reissued as a 2008 SHM-CD Remaster in Japan.

This review is part of my "SOUNDS GOOD: Exceptional CD Remasters Soul, Funk & Jazz Fusion" 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

Chicago-born session guitarist Phil Upchurch had put out two albums on Cadet Records - “Upchurch” (1969) and “The Way I Feel” (1970) - when he then signed to Tommy LiPuma’s new label – Blue Thumb. “Darkness, Darkness” was his debut for that record label and is quite rightly considered by many to be a masterpiece of Jazz-Funk and Soul.

Produced by Phil Upchurch and Tommy LiPuma, it was originally issued as a 2LP set on Blue Thumb Records BTS 6005 in late 1971 in the USA and then subsequently on Island/Blue Thumb Records ILPS 9219 in early 1972 in the UK.

But what makes this 2008 reissue ‘sing’ is the new 24-bit remaster and the Super High Materials format on which it’s pressed (a SHM-CD in industry lingo). The sound quality on this disc is SUPERLATIVE – a truly GORGEOUS reproduction – and a very real advert for what this ‘best of the best’ format can do.

Geffen UICY-93418 comes in a 5” Mini-LP card sleeve - which reproduces the original artwork front and rear - and has an Obi and outer cellophane protective wrap. It breaks down as follows (67:06 minutes):

1. Darkness, Darkness [Youngbloods cover]
2. Fire & Rain [James Taylor cover]
3. What We Call The Blues [Phil Upchurch song]
4. Cold Sweat [James Brown cover]
5. Please Send Me Someone To Love [Percy Mayfield cover]
6. Inner City Blues [Marvin Gaye cover]
7. You’ve Got A Friend [James Taylor cover]
8. Love & Peace [Arthur Adams song]
9. Sweet Chariot [Traditional Song cover]
10. Sausalito Blues [Phil Upchurch song]

PHIL UPCHURCH – Lead Guitar
ARTHUR ADAMS – Rhythm Guitar
JOE SAMPLE of THE CRUSADERS – Keyboards
DONNY HATHAWAY – Keyboards on Tracks 3 and 10
BEN SIDRAN – Organ on Track 8
CHUCK RAINEY - Bass
HARVEY MASON – Drums On All [except DON SIMMONS on Track 4]

As you can see from the track list and musician credits above, it’s heavy on cover versions of the time (the title track itself is written by Jesse Colin Young of The Youngbloods) and the sessions featured the cream of musicians in the field. It was also engineered by Bruce Botnick of Elektra Records production fames (The Doors, MC5 and Love).

Musically - if you were to give “Darkness, Darkness” a comparison – it’s “Breezin’ “ by George Benson and “Free As The Wind” by The Crusaders from 1976 - only 5 years earlier. Each track is a guitar-driven jazzy instrumental with a very funky and soulful feel. The quality of songs is also uniformly excellent, even if “Fire & Rain” can sound at times a little like The Shadows doing a cheesy cover version. The two Upchurch originals are superb too, especially the slow BB King feel of “What We Call The Blues”. The playing standard is exceptional throughout – and the warmth of the remaster only accentuates that. It's a joy to listen to.

On the SHM-CD format, “Darkness, Darkness” is presently a Japan-only release – and is unfortunately already deleted, so it will therefore cost you to acquire it - but it’s so worth it if you can.

Any guitar player who was the principal sideman to such soul luminaries as Jerry Butler and Curtis Mayfield has got to be up there. Superb stuff – and big time recommended.

“Please Don’t Tell Me How The Story Ends: The Publishing Demos 1968-72” by KRIS KRISTOFFERSON. A Review of the 2010 “Light in The Attic" CD Reissue.

"…Someday These May Be All We Remember Of Each Other…"

“Light In The Attic Records” - a reissue label out of Seattle in the USA - has been building up a steady and loyal audience of music connoisseurs since 2002. Their releases cover many genres of music and are often reissues of ultra-rarities - obscure albums and artists that actually deserve reappraisal (their Karen Dalton and Lou Bond issues are good examples).

And they are clearly proud of their 50th release – why? Because the first thing you notice about the gatefold card sleeve is the bulge in the left flap - the booklet is 60-pages long – I’ll repeat that – SIXTY PAGES LONG! I’ve seen Bear Family inners reach as much as 40 pages for a single rhythm ‘n’ blues CD (which is impressive), but this is something else! But to the details first…

Released May 2010 on CD (produced by Mark Long and Matt Sullivan), Light In The Attic LITA 050 has taken over 5 years to compile and breaks down as follows (51:47 minutes):

1. Me And Bobby McGee [5:12 minutes]
2. Please Don’t Tell Me How The Story Ends [3:19 minutes, with False Start]
3. Smile At Me Again [2:34 minutes] (lyrics above)
4. The Lady’s Not For Sale [3:45 minutes]
5. Border Lord [3:58 minutes]
6. Just The Other Side Of Nowhere [2:40 minutes]
7. Come Sundown [3:19 minutes]
8. Slow Down [2:29 minutes]
9. If You Don’t Like Hank Williams [1:50 minutes]
10. Little Girl Lost [3:23 minutes]
11. Duvalier’s Dream [2:31 minutes]
12. When I Loved Her [2:47 minutes]
13. Billy Dee [2:55 minutes]
14. Epitaph (Black And Blue) [3:25 minutes]
15. Enough For You [2:40 minutes] [with studio chatter]
16. Getting By, High, And Strange [4:57 minutes] [with False Starts & Dialogues]

1, 2, 4, 6, 7, 9, 10, 11, 13, 15 and 16 are solo acoustic recordings
3, 5, 8 and 12 are band recordings

The sound quality is a little rough on some tracks, but most of the acoustic demos are beautifully clear and amazingly free of recording glitches. The band material is good too and the occasional studio chatter and false starts lend a lovely intimacy to it all.

The booklet opens with interviews from Dennis Hopper, Kinky Friedman and Merle Haggard - then has a huge essay on the release by label-founder Michael Simmons which is followed by Kristofferson’s own dictated notes on every song (lyrics are provided, but the recording details are oddly sketchy). In-between all these words are loads of superb period photos - the young country singer with friends and like-minded musicians, hand-written lyric pages and even passport details… It's one of the best presentations I’ve ever seen.

Lyrically Kristofferson’s as sharp as Dylan and as caustic as Cash – “…nothing looks as empty as a motel bed…” (from Smile At Me Again), “…she’s got six gold records and been married seven times” (from Slow Down) and “…I like Bobby Gentry and that sexy Mama Cass, but if you don’t like Hank Williams buddy, you can kiss my ass…” These are songs about whiskey-drinking loose women and needle-chasing young men who are “…driven towards the darkness by the devils in his veins…” (from Billy Dee). Great stuff…and smart too.

The stark piano playing of Donnie Fritts accompanies Kristofferson’s lone guitar on “Epitaph (Black And Blue)” – it was written for Joplin after she died and obviously played with real pain and hurt. And then there’s the opposite - great fun with Billy Swan on the last track about women on construction sites in New York – a tape box that was rescued from Swan’s shed.

Obviously LITA are hoping that this release will warrant a reappraisal of Kristofferson as a major writing force – but I don’t know if that’s going to happen. Some of it is good, some a bit weak, but the better stuff is truly fantastic – it really is. And as I listen and re-listen to these songs – I’m reminded of Bruce Springsteen’s “Nebraska” and Johnny Cash’s “American Recordings” – albums I adore – and I’m sure many of their fans hold them precious too - being a true representation of their inner voices precisely because they’re so raw and stripped-down.

As he finishes singing the highly emotional words to “Enough For You” – he stops and says (rather impressed with himself) – “Was that just perfect!” And at times it’s hard not to agree.

A major release from a wonderful reissue label then - and an award-winning presentation. They’ve done the man proud.

“Space Traveler” by JAMES VINCENT. A Review of his 1976 Jazz Fusion Album - Now Reissued in Japan-only on a 24-Bit Remastered CD.

This review is part of my "SOUNDS GOOD: Exceptional CD Remasters Soul, Funk & Jazz Fusion" 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

"…Looking Down From The Stars…”

James Vincent issued a slew of jazz-fusion/funk albums on Columbia’s Caribou Records in the mid-to-late Seventies (a label more associated with Beach Boys solo projects) and “Space Traveler” is one of those highly regarded gems.

Re-issued 20 August 2008 in Japan-only, Vivid Sound Corporation VSCD-3367 is an exact reproduction of that 1976 LP originally issued in the USA on Caribou Records PZ 34237 - and it breaks down as follows (44:12 minutes):

1. (a) The Garden (b) Mankind
2. Drifting Into Love
3. (a) Alone (b) Space Traveler
4. Firefly
5. Song For Jayme
6. How I’m Gonna Miss You
7. (a) Stepping Up (b) Walking On Higher Ground
8. Moonday

The LP was produced by BRUCE BOTNICK of Elektra Records fame (The Doors, MC5 and Love) with all tracks written by James Vincent.

The musicians were:
Guitar and Lead Vocals – JAMES VINCENT
Keyboards, Synths, Moog – RONALD STOCKERT
Bass – VERDINE WHITE of EARTH, WIND and FIRE
Drums – HARVEY MASON [1 (a), 4, 6, 7 (b) and 8]
Drums – CLYDE STUBBLEFIELD [1 (b) and 5]
Drums – FREDDY WHITE of EARTH, WIND and FIRE [2 and 3 (b)]
Congas and Percussion – PATRICK M. MURPHY
Percussion, Tambourine and Backing Vocals – CARLA MAY
Backing Vocals – PETER CETERA of CHICAGO [3 (b) and 6]
Backing Vocals – SHIRLEY MATTHEWS, VINETTA FIELDS and CLYDIE KING
String and Horn Arrangements – JACK NITZSCHE [1 (a), 2, 3 (b), 5, 6, 7 (a) and (b)]

This audiophile-quality CD is one of those beautifully reproduced 5” card sleeves with an outer Obi and a protective cellophane wrap. Inside is a foldout page, which is entirely in Japanese (not much help), but beside that is the repro’d yellow inner sleeve of the original LP, which has clear and easy to read production and track-by-track musician credits.

But the real fireworks lie in the sound – 24-bit remastered in Japan by Engineer YOSHIRO KUZUMAKI of CM PUNCH – the SOUND QUALITY is breathtaking – clear, muscular and an absolute joy to listen to. There are some fans that will only listen to Japanese CDs because of their high quality – and this little beauty is a perfect advertisement for that viewpoint.

Musically it’s all funky string and brass bits with great spacey guitar-driven fusion centring all the tracks. The occasional vibes give it a spacey feel at times, but then its get funk-tight as the rhythm section of Earth, Wind and Fire’s Verdine and Freddy White perfectly compliment Harvey Mason on Drums. The vocals are only ok, but shared by Vincent and the famous session girls they at least make for a more varied listen. The styles vary too - “Drifting Into Love” could be a soul track off EWF’s “All ‘N All” album while “How I’m Gonna Miss You” is very Ronn Matlock meets Teddy Pendergrass meets Maxwell – old and new - and commercial too. The acoustic “Alone” allows him to show off his classical guitar virtuosity, which then segues into the lovely title track – probably his best fusion/soul work (lyrics above). “Firefly” is another funky winner too. Great stuff…

So there you have it… This Japanese remaster of “Space Traveler” is deleted now and is rare – but if you love your fusion with a little bit of soul and funk, then it is absolutely worth seeking out – even at a cost.

PS: the other two titles in this 2008 series are:
1. “Culmination” (recorded in 1971, released in 1974 on Caribou Records), Vivid Sound Company VSCD-3366
2. “Enter In” (released 1980 on Sparrow Records), Vivid Sound Company VSCD-3368

“When Love Is New” by BILLY PAUL. A Review of his 1975 Philadelphia International LP now reissued by Edsel on a 2010 CD.

"…Unemployment On The Rise…Interest Rates Going Up…Please…Let The Dollar Circulate…"

"When Love Is New" is part of a mid-price series of Philadelphia International reissues by Demon's EDSEL label in the UK (see PS below). Most of the albums seem to be focusing on the year 1975.

Released April 2010, Edsel EDSM0003 breaks down as follows (37:43 minutes):

Tracks 1 to 7 are a straightforward reissue (no bonus tracks) of the LP "When Love Is New" released December 1975 on Philadelphia International Records PZ 33843 in the USA and early 1976 on Philadelphia International Records S PIR 69207 in the UK. It was his 5th album for the famous soul label and peaked at Number 17 on the US R ’n’ B charts.

The 12-page booklet provides you with production credits and superb liner notes by noted soul expert TONY ROUNCE. But the real deal is in the sound. The CD has been mastered by TALL ORDER of the UK and the sound quality is truly fantastic (Rounce name checks this). Clear, ballsy and wonderfully detailed – the remaster allows the lush GAMBLE & HUFF production values to really shine.

The album seemed to be a tale of two halves – Side 1 had 3 socially conscious tunes in a row ending with a slightly upbeat 4th ditty (“Marjorie”), while Side 2 was a full-on lover man suite with all 3 tunes provided by label founders Kenneth Gamble and Leon Huff.

My personal favourite (and recently sampled by rap/soul artists Jay Dilla, Steve Spacek and Cartie) is “Let The Dollar Circulate” (lyrics above) which is a brilliantly funky tune with a top ‘message’ that unfortunately reverberates to this day. I also like the album opener too “People Power” - which is arranged by jazz-funk favourite Dexter Wansel.

As the years have passed by some soul fans have deemed Billy Paul to be just too – well, lightweight. But I’d say this album should be revisited so as to change that opinion.

It’s not a masterpiece by any stretch of the imagination – it’s not - but there are goodies on here – and they now have superlative sound and a dirt-cheap price tag thrown in.

Worth investigating…

PS: other titles in the series are/will be...
1. Dance Your Troubles Away - ARCHIE BELL and THE DRELLS (1975) [due Summer 2010, Edsel EDSM0006]
2. Wake Up Everybody…Plus – HAROLD MELVIN and THE BLUE NOTES (1975) [April 2010, Edsel EDSM0002] - see REVIEW
3. Philadelphia Freedom - M.F.S.B. (1975) [due Summer 2010, Edsel EDSM0005]
4. Family Reunion…Plus – THE O’JAYS (1975) [April 2010, Edsel EDSM0001] – see REVIEW
5. The Three Degrees Live [aka Live In London] (1975) - THE THREE DEGREES (due Summer 2010, Edsel EDSM0004)

“Family Reunion…Plus” by THE O’JAYS. A Review of the 1975 Philadelphia International LP now reissued by Edsel on a 2010 extended CD.

The O'Jays "Back Stabbers" and "Ship Ahoy" are part of my "SOUNDS GOOD: Exceptional CD Remasters Soul, Funk & Jazz Fusion" 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

"…Going Across Town…Gonna Pick Up My Lady…Gonna Party Down…"

"Family Reunion...Plus" is part of a mid-price series of Philadelphia International reissues by Demon's EDSEL label in the UK (see PS below). Most of the albums seem to be focusing on the year 1975.

Released April 2010, Edsel EDSM0001 breaks down as follows (52:57 minutes):

Tracks 1 to 7 are the LP "Family Reunion" released November 1975 on Philadelphia International Records PZ 33807 in the USA and on Philadelphia International Records S PIR 69196 in the UK. It was their 6th studio LP for the famous soul label - and along with “Ship Ahoy” from 1973 and “Survival” from March of that year – also reached the coveted Number 1 spot on the US R'n'B charts. In fact November and December 1975 were exceptional months for Philly Soul - “Family Reunion” was immediately replaced at Number 1 only weeks later by another of the label’s gem LPs - “Wake Up Everybody” by Harold Melvin and The Blue Notes (also in this series).

Track 8 is "I Love Music (Tom Moulton Mix)", a 9:42 extended version remixed for the “Philadelphia Classics” 2LP set on Philly from 1977.

The 12-page booklet provides you with production credits, mini pictures of the 7” singles taken off of it as well as superb liner notes by noted soul expert TONY ROUNCE. The CD has been mastered by TALL ORDER of the UK and the sound quality is fantastic – clear and hiss free – it really allows the lush GAMBLE & HUFF production values to shine.

Label founders Kenneth Gamble and Leon Huff stumped up most of the album’s songs (Tracks 1, 2, 5, 6 and 7) and along with Norman Harris and Tony Bell’s arrangements gave the whole record their lush TSOP production values. The other ace writing team of John Whitehead, Gene McFadden and Victor Carstarphen gave us “She’s Only A Woman” while Bunny Sigler and Louise Bishop wrote "You And Me”.

Both “I Love Music” and the brilliantly infectious “Livin’ For The Weekend” (lyrics above) went to Number 1 on the R’n’B singles chart too. I also like the two big ballads “Stairway To Heaven” and “She’s Only A Woman”.

To sum up - this is another superb Philly album - and pitched at a marketplace price that's less than a fiver - it's an absolute steal.

Recommended.

PS: other titles in the series are/will be...
1. Dance Your Troubles Away - ARCHIE BELL and THE DRELLS (1975) [due Summer 2010, Edsel EDSM0006]
2. Wake Up Everybody…Plus – HAROLD MELVIN and THE BLUE NOTES (1975) [April 2010, Edsel EDSM0002]
3. Philadelphia Freedom - M.F.S.B. (1975) [due Summer 2010, Edsel EDSM0005]
4. When Love Is New - BILLY PAUL (1975) [April 2010, Edsel EDSM0003]
5. The Three Degrees Live [aka Live In London] (1975) - THE THREE DEGREES (due Summer 2010, Edsel EDSM0004)

“Wake Up Everybody…Plus” by HAROLD MELVIN and THE BLUE NOTES. A Review of the 1975 Philadelphia International LP now reissued by Edsel on a 2010 CD.

"…The Way You Walk And The Way You Smile…"

“Wake Up Everybody…Plus” is part of a mid-price series of Philadelphia International LP reissues by Demon’s EDSEL label in the UK (see PS below). Most of the albums seem to be focusing on the year 1975.

Released April 2010, Edsel EDSM0002 breaks down as follows (50:21 minutes):

Tracks 1 to 7 are the album “Wake Up Everybody” released November 1975 on Philadelphia International Records PZ 33808 in the USA and early 1976 on Philadelphia International Records S PIR 69193 in the UK. It was their 4th and final studio LP for the famous soul label – and easily their most successful and fondly remembered - reaching the coveted Number 1 spot on the US R’n’B charts that Christmas.

Track 8 is “Don’t Leave Me This Way (The Tom Moulton Mix)”, an 11:02 minutes extended version remixed in 1977

The 20-page booklet provides you with band snaps, lyrics, pictures of the LP label and 7” singles taken off it - as well as superb liner notes by noted soul expert TONY ROUNCE. The CD has been mastered by TALL ORDER of the UK and the sound quality is fantastic – clear and hiss free – and it really allows the lush Gamble/Huff MFSB production values to shine.

Philly’s ace song-writing team – John Whitehead, Gene McFadden and Victor Carstarphen provided tracks 1, 2, 5 and 6 - while label founders Kenneth Gamble and Leon Huff stumped up production and writing credits for tracks 3, 4 and 7.

The lovely SHARON PAIGE provided duet vocals on “You Know How To Make Me Feel So Good” and “I’m Searching For Love”, but it was (Theodore) TEDDY PENDERGRASS who shone with lead vocals on all tracks – especially the huge title track “Wake Up Everybody” (which effectively launched Pendergrass as a solo star).

But for me one of the unheard gems on this album is Track 2 on Side 1, “Keep On Lovin’ You” – as brill a Seventies soul tune as you can get (lyrics above). It’s so good to hear it with such top sound quality.

Niggles – both “Tell The World How I Feel About ‘Cha Baby” and “Wake Up Everybody” have 7” single edits which AREN’T included as bonus tracks and I would have preferred those than the rather tiresome extension of the overly familiar “Don’t Leave Me This Way”.

Other than that – this is a superb Philly album – and pitched at a marketplace price that’s less than a fiver – it’s an absolute steal.

Recommended.

PS: other titles in the series are/will be…
1. Dance Your Troubles Away – ARCHIE BELL and THE DRELLS (1975) [due Summer 2010, Edsel EDSM0006]
2. Philadelphia Freedom – M.F.S.B. (1975) [due Summer 2010, Edsel EDSM 0005]
3. When Love Is New – BILLY PAUL (1975) [April 2010, Edsel EDSM0003]
4. Family Reunion…Plus – THE O’JAYS (1975) [April 2010, Edsel EDSM0001]
5. The Three Degrees Live [aka Live In London] (1975) – THE THREE DEGREES (due Summer 2010, Edsel EDSM0004)

“The Complete Chess Masters (1950 – 1967)” by LITTLE WATER. A Review of the USA-Only 2009 Hip-O Select Label 5CD Mini Box Set.

"…I Hear That Man Blow!"

Released March 2009 in the USA-only, “The Complete Chess Masters (1950 – 1967)” is a non-numbered limited edition of 5000 copies - and 41 years after his death in 1968 - is 'the' definitive retrospective for his entire output on the Chess offshoot label Checker.

Hip-O Select/Geffen B0012636-02 is a 5CD mini box set with 126 tracks (10 previously unreleased, 8 previously unreleased in the USA) and breaks down as follows:

Disc 1: has a 'Checker Records Co.' Red Label Design, 25 Tracks, 74:52 minutes
[Tracks 12, 13 and 17 are Previously Unreleased]

Disc 2: has a 'Checker' Plain Red Label Design, 25 Tracks, 72:11 minutes
[Track 21 is Previously Unreleased]

Disc 3: has a 'Checker' Plain White Label Design, 26 Tracks, 74:33 minutes
[Tracks 22 is Previously Unreleased while Tracks 18, 23 and 24 are Previously Unreleased in the USA]
NOTE: Tracks 12, 19 and 20 are mistakenly missing their track info in the booklet

Disc 4: has a 'Checker' Light Blue Label Design, 27 Tracks, 71:59 minutes
[Tracks 3, 11 and 14 are Previously Unreleased; Tracks 22 and 24 are Alternate Takes 1 and 2 and are Previously Unreleased in the USA]

Disc 5: has a 'Checker' Multi-Colour Label Design, 23 Tracks, 68:01 minutes
[Tracks 21 and 22 are Previously Unreleased while Tracks 17, 18 and 19 are Previously Unreleased in the USA]
NOTE: Tracks 21 and 22 “Feel So Bad” and “Make It Alright” (from January 1964) feature DO DIDDLEY

PACKAGING:
When you take off the “Little Walter” Obi that wraps around the outside, you get a chunky gatefold card sleeve that folds out into three flaps on either side – the first 5 flaps contain a label-themed CD in each (as listed above the colour is appropriate to the years involved) and the last flap to the right houses a 36-page booklet by noted biographers TONY GLOVER, SCOTT DIRKS and WARD GAINES who co-authored the 2002 book “Blues With A Feeling – The Little Walter Story”.

AUDIO:
The sound is GLORIOUS throughout, the original master tapes remastered by tape expert ERICK LABSON (has over 850 restoration and mastering credits to his name - including most of the Chess catalogue). Each track has extraordinary power and presence – his amplified harmonica blasting out through your speakers. Apart from the totality of the package, the really great sound quality is for me one of the best reasons to buy this set.

CONTENT:
Three major USA Chess retrospectives are all here in their Little Walter entirety (including their previously unreleased tracks at the time) – the 2CD set “The Essential Little Walter” and tracks from the 4CD Box Set “Chess Blues” (both from 1993) and the 2CD set “Blues With A Feeling: Chess Collectibles, Vol.3” from 1995. In between those songs are the A & B sides of every one of his Checker singles, exclusive LP cuts and the Previously Unreleased Versions listed above.

The sessions also featured Chess legends WILLIE DIXON, OTIS SPANN and BO DIDDLEY along with other great session men like Jimmy Rogers on Guitar and Fred Bellows on drums. The mighty MUDDY WATERS turns up here and there too - the opening track on CD1 is “Evan’s Shuffle” (pictured below), the B-side of Muddy’s "Louisiana Blues" 78 on Chess 1441 which first charted in January 1951 – it’s Little Walter’s first appearance and it’s a blast (the title to this review is Muddy shouting enthusiastically during the track).

In truth of course it’s hard to take this amount of harmonica blues on one CD let alone five, but just when you think you can take no more, he hits you on CD2 with “Rocker” - a 1954 single on Checker 793 – it’s a raucous instrumental with his trademark warbling harmonica technique that is absolute mind-blowing. I played it on a shuffle play in our shop and I could see customers foot-tapping and boogieing along to it as they browsed through our record racks…

Downsides – for customers outside of the USA, “Complete…” is a very expensive import – the track info missing on some songs is sloppy (something Hip-O Select has been accused off before), there’s some nice colour photos in the booklet and on the some of the flaps, but 5 are blank when they could have been filled with ‘something’. There’s no album sleeves pictured, the track-by-track annotation doesn’t tell you what’s the A or B of a single, its year of release, chart position attained if any - so from an informational standpoint, the whole thing feels a little too lightweight for such an important release. Having said all of that – the musical content is a genuine thrill. And yet despite booklet and packaging niggles, this is a huge Blues release – and at last gives respect to one of the genre’s most mercurial and brilliant of musicians.

Born Walter Jacobs in Louisiana in 1930, he’d formed his first band at age 11 and was a star by 1951. He died of a head injury from a fight in February 1968 – a lifetime of drinking, gambling, womanizing and gun toting having finally caught up with him…

Little Walter literally dragged the blues harmonica kicking and screaming into play and there will always be millions of people around the world who will love him forever for it.

Nobody blew the blues harp like him and “The Complete Chess Masters” is a fabulous celebration of that. Big time recommended.

“Do It Again” by EUMIR DEODATO. A Review of the Universal CD compilation.

After he left the CTI label - and just before his "Night Cruiser" stuff on Warner Brothers - Brazilian multi-keyboardist EUMIR DEODATO punched out a string of jazz-funk albums for MCA in the mid Seventies - and that's where this 2007 European CD comes in.

Digitally remastered and at mid-price, Universal Verve Jazz Club 06007 5300715 breaks downs as follows (76:15 minutes):

1. Do It Again
2. Peter Gunn
3. Amani
4. Moonlight Serenade
5. Havana Strut
6. Whirlwinds
7. Juanita
8. Theme From Star Trek
9. Adam's Hotel
10. Funk Yourself
11. Speak Low
12. Black Widow
13. St. Louis Blues
14. Super Strut

1, 4, 5 and 6 are from "Whirlwinds" (1974)
2, 3, 7, 8 and 12 are from "Very Together" (1976)
9, 10 and 11 are from "First Cuckoo" (1975)
13 and 14 are live tracks from "Artistry" (1974)

His covers of Steely Dan's "Do It Again" and Henry Mancini's "Peter Gunn" open the jazz-funk proceedings very nicely, followed soon afterwards by a particular favourite of mine - the speedy synth funk of "Whirlwinds" - and it pretty much continues like that all the way to the enthusiastic crowd on the live "Super Strut" track that ends the disc. The smooth lurch of "Adam's Hotel" may be a little too elevator music for some, but it's soon redeemed by the brilliantly foot-tapping "Funk Yourself" and slinky almost Steely Dan's "Aja" feel of "Black Widow". Very nice stuff indeed.

The remastered sound is fabulous throughout - really clean and muscular - which in turn brings out the great musicianship contained within - guitarist John Tropea, drummer Billy Cobham, Tony Levin on bass - and many, many others.

Disregard the naff 'luscious lips' artwork - this dinky little compilation delivers where it matters - great track choices coupled with top sound - and it's a steal at less than four pounds/six dollars.

“Deutsche Elektronische Musik – Experimental German Rock And Electronic Musik 1972-83” by VARIOUS ARTISTS. A Review of the Soul Jazz 2CD Set from 2010

This review 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

Working in a second-hand record shop in the West End of London, one of the questions we’re most frequently asked is to be pointed in the right direction of a decent KRAUTROCK vinyl or CD compilation - with perhaps a little bit of Electronic, Experimental, Avant Garde and Trippy Soundtrack stuff thrown in for good measure. Well look no further music lovers, because this little sensation from Soul Jazz Records of London is the answer.

Details first - originally credited as “Elektronische Music” on 2CD card promos that circulated in March 2010, it was scheduled for Monday, 5 April 2010 release, but then delayed to 12 April and the word “Deutsche” added on at the beginning. For this review I’ve included track timings, the original vinyl LP each song is taken from and the year of release.

Soul Jazz SJR CD213 breaks down as follows:

Disc 1 (77:31 minutes):
1. A Spectacle by CAN [5:39 minutes] (from “Can”, 1978)
2. Devotion by BETWEEN [3:46 minutes] (from “And The Waters Opened”, 1973)
3. Dino by HARMONIA [features Michael Rother of Neu! and Hans-Joachim Roedelius of Cluster] [3:29 minutes] (from “Musik Von Harmonia”, 1974)
4. This Morning by GILA [5:45 minutes] (from “Bury My Heart At Wounded Knee”, 1973)
5. Rambo Zambo by KOLLECTIV [11:39 minutes] (from “Kollectiv”, 1973)
6. La Chasse Aux Microbes by MICHAEL BUNDT [8:30 minutes] (from “Just Landed Cosmic Kid”, 1977)
7. Filmmuzik by E.M.A.K. [Elektronische Musik Aus Koeln] [3:15 minutes] (from “E.M.A.K.”, 1982)
8. Morgengruss by POPOL VUH [2:57 minutes] (from “Einsjager Und Siebenjager”, 1974)
9. Auf Dem Schwarzen Canal by CONRAD SCHNITZLER [3:12 minutes] (on a German-only RCA Records 12” single of the same name, 1980)
10. Rheinita by LA DUSSELDORF [7:37 minutes – Full Version] (from “Viva”, 1978)
11. Veterano by HARMONIA [3:55 minutes] (as per 3)
12. It’s A Rainy Day, Sunshine Girl by FAUST [7:26 minutes – Full Version] (from “So Far”, 1972)
13. Hellogallo by NEU! [10:03 minutes] (from their debut “Neu!”, 1972)

Disc 2 (59:56 minutes):
1. Heisse Lippen by CLUSTER [2:21 minutes] (from “Zuckerzeit”, 1974)
2. High Life by IBLISS [13:01 minutes – Full LP Version] (from “Supernova”, 1972)
3. Hasenheide by DIETER MOEBIUS [of Cluster] [2:36 minutes] (from “Tonspuren”, 1983)
4. Fly United by AMON DUUL II [3:29 minutes] (from “Vive La Trance”, 1973)
5. Aguirre 1 by POPOL VUH [6:13 minutes] (from “Aguirre”, 1975)
6. Daydream by ASH RA TEMPLE starring ROSI [5:22 minutes] (from “Ash Ra Temple starring Rosi”, 1973)
7. No Man’s Land by TANGERINE DREAM [9:05 minutes] (from “Hyperborea”, 1983)
8. Wie Der Wind Am Ende Einer Strasse by AMON DUUL II [5:43 minutes] (from “Wolf City”, 1972)
9. Geradewohl by [Hans-Joachim] ROEDELIUS [of Cluster] [3:31 minutes] (from “Selbstportrait Vol.III – “Reise Durch Arcadien””)
10. I Want More by CAN [3:30 minutes] (from a 7” single on Virgin, 1976)
11. Soham by [Georg] DEUTER [4:55 minutes – edit version] (from “Aum”, 1972)

The outer card wrap houses an inner 2CD plastic holder which looks like a mini-DVD case and sitting alongside that is an over-sized 38-page booklet jam-packed with knowledgeable details on the artists and the scene by STUART BAKER and ADRIAN SELF. All the great labels of Krautrock are represented here – Germany’s Brain, Metronome, Sky, Ohr, Kuckuck, EMI Electrola etc – and of course Britain’s Virgin and United Artists. The set was mastered by DUNCAN POWELL and PETE REILLY at Sound Mastering in London and despite the varying dates and tape sources; the audio quality is uniformly excellent.

The track choices are diverse and clever too – much of it very rare and hugely expensive on original vinyl – and while the usual suspects like CAN, POPOP VUL, TANGERINE DREAM and AMON DUUL II are to be expected, it’s nice to see the piano and synth groove of Conrad Schnitzer’s ultra-rare 12” single featured and the slightly cheesy but utterly hypnotic Kollectiv track in its entirety (SJ have gone for the more desirable full album versions in most cases). And Popol Vuh’s short instrumental “Morgengruss” is shockingly beautiful.

Downsides – there’s none of those gorgeous and weird LP sleeves pictured which is a shame – and the outer artwork of the compilation itself is genuinely garish (does itself no favours) and doesn’t really give you any indication of the rare goodies contained within. Also - as you can see from the playing time above, the 2nd disc is a good 20-minutes short and both CDs are lessened by the huge absence of Kraut-monsters Kraftwerk - but I suspect that this has had more to do with licensing difficulties than Soul Jazz not wanting to cram both discs to the rafters.

For vinyl junkies the other good news is that CD 1 and 2 have been issued as 2LP sets on Soul Jazz SJR LP213 Vol.1 and SJR LP213 Vol.2 respectively with no tracks omitted. Each is a tasty gatefold sleeve and the full CD booklet is spread across the inner gatefold of one and continued onto the other. Also, because each is a double album, the tracks get the space they need to breath (I’ve acquired both because they’re future collectables for sure).

So there you have it - very rare and hugely desirable music made available to a panting public via a great British reissue label. I can’t stop playing it – and our discerning punters are absolutely loving it (I’ve not seen a reaction like this by the public in years). Genius stuff boys and well done.

For me, “Deutsche Elektronische Musik – Experimental German Rock And Electronic Musik 1972-83” is already one of THE reissues of 2010.

"Michael Clayton". A Review of the UK's 2010 BLU RAY Reissue.

MICHAEL CLAYTON: “I’m Not The Enemy!”
ARTHUR EDENS: “Then Who Are You?”

Late at night on the one-millionth floor of a city skyscraper, a trolley chock full of legal papers is being wheeled through the immaculate corridors of a huge US Law firm. A voice-over is having a full-on meltdown as the big wheels of this little cog roll ever forward.
The educated tones are that of a man in his late 50’s; he’s obviously hugely intelligent, yet there’s only half-coherence in his lengthy fast-spoken sentences. The voice babbles on and on about morals and death and epiphanies. He talks of searing personal clarity, of monsters, of ordinary people being screwed by the system.
He’s drowning in a river of shit that he’s been swimming in for years and can stand it no more. This man is clearly unhinged. Or is he?

The voice you vaguely recognise is that of the superlative British actor TOM WILKINSON (an inspired piece of casting) and he’s playing top Personal Injury lawyer Arthur Edens. Arthur is a man who got into the law for the right reasons when he started out as a young man, but now, in the twilight of his long and acknowledged career, finds that his brilliance is being used. It seems that he has finally been driven mad by 12 long years of evasion and counter tactics in what he knows to his very marrow is an indefensible lawsuit.

The case is a class-action suit pending against a huge agro-chemical company called U-NORTH whose ‘odourless/tasteless’ weed product may/may not have killed 450 unwitting US farmers - despite U-North’s glossy ‘for the people’ TV advertisements. Billions of dollars are at stake here and the very soul of the law firm itself.
And that is of course one of the problems – unlike some of the other lawyers in Kenner, Back & Ledeen - Arthur still has a soul - and now – maybe even documentary evidence to settle the case once and for all. But the truth - like him - has become a liability - and Arthur may need ‘to be dealt with’…

The opening dialogue is stunning and it should be. “Micheal Clayton” is written and directed by TONY GILROY who penned all three of the “Bourne” scripts, “Dolores Claiborne” and the well-underrated “Proof Of Life”. You couple really great material like this with a stunning cast and you get a film that’s firing on all sixes. Even the minor roles are a sensation. But it’s the principal lead GEORGE CLOONEY who drives the movie forward; he is utterly compelling as the law firms floating fixer “Michael Clayton” dispatched pronto to ‘get a grip’ on the situation and his friend, Arthur.

Clayton has arrived at 45 years of age with no real life other than his job, his wife is with another man and his kids are something he gets visiting rights to rather than actual parenting of. Clayton’s previous bad habits include reckless gambling - and now - he has an expensive failed restaurant to deal with (a hoped-for alternate life). As the firm’s ‘janitor’ he spends most of his working day on the phone calling in favours or flying in private planes to places in the middle of the country in the dead of night to sort out messes made by other odious rich people. Clayton’s every action is filed in a corporate drawer marked ‘necessary evil’. Worse, because of his restaurant shambles and card-table losses, he now needs $75,000 dollars in a week or debt people will come to ‘fix’ him.

But the real lose of course is his humanity - his very soul. Clooney’s character is morally disintegrating like his friend Arthur Edens and just doesn’t know it yet. There’s a fantastic sequence in an alleyway when Clayton finally catches up with the AWOL Edens, and while the conversation begins with Clayton saying to his friend that he’s acting like a madman who doesn’t know what he’s saying, Arthur turns it around… Clayton shouts “I’m not the enemy!” But Arthur says softly in reply, “Then, who are you?” Clayton’s jaw drops open, because (a) he doesn’t know anymore, and (b) he does know, but just can’t bring himself to say it, let alone do something about it…either way he’s screwed.

Now we throw into this heady mix the Oscar winning talents of TILDA SWINTON, who is a ruthless corporate player prepared to stoop to any deed to get her job done and it’s not too difficult to see what will happen to Arthur and his new found enlightenment…

There’s also a deliciously ambiguous SYDNEY POLLOCK playing one of law firms Senior Partners Marty Bach, who on hearing of Arthur’s filmed meltdown in a deposition meeting (he strips down to his socks in front of a teenage girl) - simply frowns. Immediately you get from his scrunched up eyebrows that Arthur’s mental health doesn’t really concern Mister Bach, but the consequences to their law firm and therefore by extension to their rich and comfortable lives…does. The level of writing is like this all the way through – rich, deep and filled out.

And now – at last - it arrives on the High Definition format of BLU RAY (it was only available on an American HD DVD up until now) and it looks fabulous - a lot more defined and rich to the eye. Even in the dark night scenes, the clarity is glorious. It’s a classy looking film.

Disappointingly, the extras are only good rather than great. You get three deleted scenes (one contains the English actress Jennifer Ehle of TV''s "Pride & Prejudice" fame) and then three commentaries on those scenes by Tony and John Gilroy as a separate feature. But there’s no “making of”, no feature-length commentary, no input from the actors - when all would have been truly fascinating things to watch. Subtitles are English and English for the Hard-of-Hearing.

Still – with the hugely enhanced picture quality - “Michael Clayton” is a superb movie and a career best for all the leads. A superlative BLU RAY reissue I urge you to seek out.