"Exile On Main St.: Deluxe Edition" by THE ROLLING STONES (May 2010 Polydor 2CD Remasters) - A Review by Mark Barry...

"…It's My Heart That You Stole…"

Following an album like 1971's magnificent "Sticky Fingers" was always going to be a tall order - but The Stones did it with swagger and panache. "Exile On Main St" was released 12 May 1972 as a 2LP set on Rolling Stones Records COC 69100 in the UK and on COC 2-2900 in the USA. It reached the coveted number 1 spot on both sides of the pond - and like The Beatles "White Album" before it - is a flawed and sprawling thing but considered by most to be a masterpiece nonetheless. And this fabulous Expanded 2CD Reissue/Remaster is only going to cement that legendary reputation even more. Here are the big red rubber lips, double entendres and three balls in a man’s mouth…

Released 17 May 2010 – "Exile On Main St.: Deluxe Edition" by THE ROLLING STONES on Rolling Stones/Polydor 273 429-5 (Barcode 602527342955) is a 2CD Deluxe Edition and breaks down as follows:

Disc (67:18 minutes):

1. Rocks Off

2. Rip This Joint

3. Shake Your Hips

4. Casino Boogie

5. Tumbling Dice

6. Sweet Virginia [Side 2]

7. Torn And Frayed

8. Sweet Black Angel

9. Loving Cup

10. Happy [Side 3]

11. Turd On The Run

12. Ventilator Blues

13. I Just Want To See His Face

14. Let It Loose

15. All Down The Line [Side 4]

16. Stop Breaking Down

17. Shine A Light

18. Soul Survivor

Disc 2 (41:12 minutes):

1. Pass The Wine (Sophia Loren)

2. Plundered My Soul

3. I’m Not Signifying

4. Following The River

5. Dancing In The Light

6. So Divine (Aladdin Story)

7. Loving Cup – Alternate Take

8. Soul Survivor – Alternate Take

9. Good Time Women

10. Title 5

Disc 1 has the full double-album compliment of 18 tracks while Disc 2 is a new 10-track mixture of previously unreleased outtakes and alternate versions. All songs are by Mick Jagger and Keith Richards except "Ventilator Blues" which is co-written with Mick Taylor, while "Shake Your Hips" and "Stop Breaking Down" are Slim Harpo and Robert Johnson cover versions. As with "Sticky Fingers", the additional musicians and producer (Jimmy Miller) added hugely to the power of almost every song and should be noted for it - Bobby Keys on Saxophone, Jim Price on Trumpet, Nicky Hopkins, Ian Stewart and Billy Preston on Piano and Organ with lady-soul veterans Clydie King and Vanetta Fields on Backing Vocals. Dr. John also sang backup on "Let It Loose".

SOUND:

As with the 2009 reissues STEPHEN MARCUSSEN (over 1000 mastering credits to his name including the “Alfie” soundtrack with Mick Jagger) and STEWART WHITMORE of Marcussen Mastering have remastered the original tapes and the sound is glorious throughout. "Loving Cup" followed by "Happy" are beautifully clear and "Tumbling Dice" is at last full and in your face. Most every track is improved - the instrumentation in your speakers with a fabulous live and shambolic feel. The acoustic and harmonica opening of "Sweet Virginia" and the drums of "All Down The Line" are superb. To me it's a huge improvement, a balls-to-the-wall triumph. Downsides - the hiss level on "Shine A Light" that was there in the first place is now more accented as it is on the frantic "Rip This Joint". Some despised the 2009 remasters, so this will be more of the same for them, but most I suspect will absolutely love it. Wish I could say the same about the presentation...

PACKAGING:

Very poor I'm afraid. The front flap and rear of the original 2LP cover are produced on the outside of the digipak (as they should be) with the inner LP photo spread reproduced on the inside of the digipak, BUT the original vinyl double also had two fantastic inner sleeves and a set of fold-out postcards. Only 1 side of the two inners is reproduced! That the idiots would not bother picturing the 'postcards' seems to be par for the course for Stones reissues these days, but that great shot of Mick & Keith at the mike with whiskey bottle in hand is missing - as is the "I Don't Want To Talk About Jesus I Just Want To See His face" quote on the other side - unbelievable! The supposedly exclusive 12-page booklet is different to all other issues, but turns out to be just black and white photos of the session and no liner notes whatsoever - none! The track-by-track details are now only bland black and white printed listings, which lose all of the inner sleeves magical artwork. It's an insult that this supposedly 'deluxe' reissue cavalierly misses out on crucial visual elements of the original release - it's hugely unimaginative and workmanlike at best.

BONUS DISC:

Although the 10 bonus tracks have the same original backing band - and despite what the track-by-track credits 'don't' tell you - it's obvious that the first 5 have had 'treatment' of some kind - vocal tracks added on/redone recently. 

"Pass The Wine (Sophia Loren)" is an ok opener, but the track that sounds most like a genuine outtake peach is "Plundered My Soul" which is fantastic (it was issued in April 2010 as a limited edition Record Shop Day 7" single in the USA and UK). Best approximation is that it sounds like the B-side "Tumbling Dice" should always have had (lyrics above). "I'm Not Signifying" is ok, but hardly great, but there then follows a genuinely lovely ballad "Following The River" complete with the new girls giving it some soulful backing vocals (Lisa Fischer and Cindy Mizelle). It's far better than you think. "Dancing In The Light" is a jaunty mid-tempo song similar to "Hide Your Love" off "Goat's Head Soup". The opening of "So Divine (Aladdin Story) is closer to Brian Jones Rolling Stones circa "Dandelion" and its really interesting - Jim Price on vibes and Bobby Keys on some kind-of treated saxophone sound. There follows two "Alternate Takes" of "Loving Cup" and "Soul Survivor". Now these are far closer to what we want - "Loving Cup" opens with a lovely Nicky Hopkins piano refrain and suddenly it's "there" - that shambolic feel to everything - especially the guitars of Richards and Taylor dueling to the end yet complimenting each other so perfectly. Now this I will love.  And then another gem - Keith carrying the vocals and sloppy stuff on "Soul Survivor" instead of Mick - and it works - and when that riffing guitar kicks in, I'm balling my eyes out and there are chills on my arms. "Good Time Women" is a forerunner for "Tumbling Dice" and is fab - rough and tumble as well. "Title 5" opens with studio chatter of "Take 1" and is a strange little rocking instrumental which kind of peters out, interesting but that's all...

Ok - so there's no live stuff and there should be (legendarily good), the "All Down The Line" Alternate Take that's on the B-side of the "Plundering My Soul" 7" single isn't on here either, which is just stupid - and the 4-track Excerpts 7" Flexi single from the April 1972 NME in the UK with song edits and an exclusive "Exile On Main Street Blues" track is nowhere to be seen let alone pictured either. But overall - I'm kind of shocked at how good Disc 2 is. I'll ignore some of these newer makeovers for sure, but those Alternate Takes are thrilling.

In May 2012, "Exile" will be 40 years old and Mick and Keef will be more Zimmer Frames than Glimmer Twins. But that won't stop this coolest of double-albums from being the absolutely business. I suspect the real truth about this 2CD reissue is far simpler - men around the world will see this digital temptress pouting on the shelf of their local megastore, feel a quickening of the pulse and a movement in their trouser area - and be unable to resist.

And you know - you can't help but feel that these two canny English lads already know this…

PS:

HMV in the UK have issued "Exile" with the digipak inside an exclusive card slipcase (Polydor 274 102-3). I've pictured both sides of it for fans.

The Japanese, however, have not surprisingly got the most desirable version of them all; it’s inside a 14-disc box set called “From The 70’s To 00’s” which contains all their albums from “Sticky Fingers” through to “A Bigger Bang”. They are all on the SHM-CD format (Super High Materials) and each has the original album artwork repro’d on one of those 5” Mini LP sleeves we so love (UICY-91558). “Exile” is included - being the 2010 Remaster version – and is in a gatefold card sleeve complete with its original foldout postcards and two inner sleeves. 

PS:
HMV in the UK have issued “Exile” with the digipak inside an exclusive card slipcase (Polydor 274 102-3). I’ve pictured both sides of it for fans.



The Japanese, however, have not surprisingly got the most desirable version of them all; it’s inside a 14-disc box set called “From The 70’s To 00’s” which contains all their albums from “Sticky Fingers” through to “A Bigger Bang”. They are all on the SHM-CD format (Super High Materials) and each has the original album artwork repro’d on one of those 5” Mini LP sleeves we so love (UICY-91558). “Exile” is included - being the 2010 Remaster version – and is in a gatefold card sleeve complete with its original fold-out postcards and two inner sleeves.

"Have Mercy – His Complete Chess Recordings 1969 To 1974" by CHUCK BERRY (2010 Hip-O Select 4CD Box Set of Remasters) - A Review by Mark Barry...

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BLUES, VOCAL GROUPS, 
RHYTHM 'n' BLUES and ROCK 'n' ROLL On CD 
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"…She Worked Night And Day To Keep Us Six Kids Alive…"

"Have Mercy..." is the 3rd and final volume of Chuck Berry's Chess recordings. Released in the USA via their website in January 2010 (general release March 2010), Hip-O Select/Geffen B0013790-02 houses 71 tracks across 4CDs, 23 of which are previously unreleased (plus one further track which is previously unreleased in the USA - Track 4, Disc 3). Its packaging consists of a slightly oversized 4-way foldout digipak that is itself tied with a string on a lapel on the front - aping the layout of the two preceding sets (see PS below). It's a non-numbered worldwide limited edition of 6000 copies and Discs 1 to 4 run to 69:23, 71:37, 69:45 and 65:10 minutes respectively.

FRED ROTHWELL and ANDY McKAIE have compiled the set with Rothwell handling the 24-page booklet (he is author of the book “Long Distance Information – Chuck Berry’s Recorded Legacy”). Pictured beneath the see-through trays and on the final flap are the following 5 albums from that period…

1. “Back Home” (November 1970 on Chess LPS-1550 in the USA, February 1972 on Chess 6310 113 in the UK)
2. “San Francisco Dues” (September 1971 on Chess CH-50008 in the USA, March 1972 on Chess 6310 115 in the UK)
3. “The London Chuck Berry Sessions” (June 1972 on Chess CH-60020 in the USA, July 1972 on Chess 6310 122 in the UK)
4. “Chuck Berry/Bio” [aka “Bio”] (September 1973 on Chess CH-50043 in the USA, October 1973 on Chess 6499 650 in the UK)
5. “Chuck Berry” [released as “Chuck Berry ‘75” in the UK] (February 1975 on Chess CH-60032 in the USA, March 1975 on Chess 9109 101 in the UK)

The three volumes of “Golden Decade” doubles are not referenced at all in the booklet neither is the “St. Louis To Frisco To Memphis” album from 1972 with The Steve Miller Band live on one side because that was released through Mercury Records. The studio side of “The London Chuck Berry Sessions” (Side 1) features Derek Griffiths of The Artwoods and Dog Soldier on Guitar, Rick Grech of Traffic and Family on Bass with Ian McLagan and Kenny Jones of the Faces on Piano and Drums respectively. Side 2 of that album was recorded live in Coventry in England and features the Average White Band as Berry’s backing group. Elliott Randall of Steely Dan’s “Reelin’ In The Years” guitar-solo fame plays Pedal Steel guitar on “I’m Just A Name” and “Too Late” on Disc 4, while Jazz Fusion favourite and multi-instrumentalist Phil Upchurch plays Bass on Tracks 1 to 8 on Disc 1.
A rarity for US collectors is the UK-only 7” single live version of “South Of The Border” (Chess 6145 027), which features Jimmy Campbell of Vertigo Spiral Label fame on Guitar (its the previously unreleased in the USA track).

The A & B sides of the US 7” single Chess 2090 (“Tulane” and “Have Mercy Judge”) start things off strongly on Disc 1 and you immediately hear the quality song-writing and the cool sound upgrade. The 1st-generation master tapes have been remastered by ace-engineer ERICK LABSON (has over 850 credits to his name including the majority of the Chess catalogue) and his work here is again exemplary – the sound is great. There’s hiss on a few tunes for sure and the unreleased live stuff is untreated so it sounds very rough – but there’s a fab little instrumental called “Woodpecker” tucked away on Side 2 of “Bio” that I’ve been trying to get a good CD copy of for years – and here it is at last – and (if you’ll forgive the pun) it’s ring, ringing like a bell. So too when the British band back up Berry on the T-Bone Walker cover of “Mean Old World” (off “The London Chuck Berry Sessions”) – you can really feel and hear that as well – thrilling stuff.

More than a few of the 23 previously unreleased tracks are shockingly good – “Untitled Instrumental” features the fab piano playing of Ellis “Lafayette” Leake with great harmonica fills from Robert Baldori, while the 9-minute instrumental “Turn On The Houselights” sees Chuck play a blinding lead guitar. It’s not all good of course - from the “Chuck Berry” LP sessions in 1975 (all of Disc 4) both outtakes “Jambalaya” and “The Song Of My Love” are truly awful, while the abomination that is “My Ding A Ling” on Disc 3 is on here in its full album length version of eleven minutes and the 7” single edit too and even has an added previously unreleased studio version. But it is to this day quite possibly the worst song ever made – and cringing to listen to (I dare say his bank balance rather enjoyed it though). But overall – the outtakes are excellent – and along with the largely unheard remastered album tracks – it all makes for a rather spiffing listen.

Niggles and speculation – like the other two sets, the packaging is ok rather than great and had Bear Family of Germany gotten their hands on this project, we would have had a 9 disc box (instead of 12) with a 180-page 12” x 12” hardback book for about the same cost – and it would have been complete with visuals that would have taken 2 years to compile rather than two days to dash off. A fantasy reissue I know, but worth making the comparison…

Having said that - as it stands “Have Mercy” is far better than I thought it would be – his Rock’n’ Roll mojo and lyrical brilliance still intact in the Seventies (the 6-minute poem “My Pad” is deep and prophetic as are the lyrics from “Bio” which titles this review). And if you were to make up a single disc representing the best of what’s on this mini box set – then I guarantee you’d shock certain people as to how good it is.

So there you have it - fabulous in places, a let down in others – 2010’s “Have Mercy” does at least see Chuck Berry’s Seventies’ legacy be given some proper respect at last.

Recommended.

PS: His initial output for the famous label was released in 2008 as "Johnny B. Goode - The Complete 50's Recordings" - then followed in 2009 by the 2nd set - “You Never Can Tell – The Complete Chess Recordings 1960 to 1966” (see separate review for “Tell”)...

“Meridian 1970” by VARIOUS ARTISTS. A Review of the Jon Savage CD Compilation from 2005 – And A Suggested Follow-Up for 1971.

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"…Warm Embraces I Have Found…"

In an overcrowded and weary marketplace, the VARIOUS ARTISTS CD compilation has slowly become something of an unloved and unwanted beast - and to look at “Meridian 1970” you really wouldn’t think very much of it either - and be tempted to pass it by

It doesn’t have a great sleeve to start with - and the track list on the rear is full of names you barely even know - and what’s this stuff in the subtitle about “Protest, Sorrow, Hobos, Folk And Blues”!
Even the liner notes are made up entirely of crumpled pages from 4 rock music insiders who put together a compilation of their favourite childhood tracks and then described each in barely legible hand-written pages (complete with coffee stains).
And who is this Jon Savage geyser anyway?

But then you play it – and man does it ‘so’ work.
It’s genius – it really is.

“Meridian 1970” was released in February 2005 in the UK on Forever Heavenly FHVN2LP CD (through EMI) and its 20 tracks run to 78:23 minutes.

1. Mouthful Of Grass - Free
2. Nobody - The Doobie Brothers
3. Industrial Military Complex Hex - The Steve Miller Band
4. Hamburger Midnight - Little Feat
5. Catch The Man On The Rise - Sir Douglas Quintet
6. 3.10 Smokey Thursday - Danny O'Keefe
7. Message From The Country - The Move
8. Shouldn't Have Took More Than You Gave - Dave Mason
9. Three Hours - Nick Drake
10. One Night Wonder - Meic Stevens
11. Man Of Constant Sorrow - Rod Stewart
12. Cripple Creek - Skip Spence
13. Tulsa County - The Byrds
14. Biloxi - Jesse Winchester
15. Song Of The Wandering Aengus - Donovan
16. Good Shepherd - Jefferson Airplane
17. Black Uncle Remus - Loudon Wainwright III
18. Hear The Wind Howl - Leo Kottke
19. The Moonstone - Tommy Flanders
20. Ashes The Rain And I - The James Gang

So why does it ‘work’? The song choices are brilliant and follow each other magnificently. There’s also the journey into the off-the-beaten track – discoveries that are exactly that – discoveries. Opening with the wonderfully soulful instrumental “Mouthful Of Grass” (the original B-side to Free’s “All Right Now” from May 1970 on Island), the emphasis is very much on ‘good’ songwriting and not just obscurities for the sake of it. And the mixture of American acts with British artists is sweet too – The Move perfectly follow Danny O’Keefe, while the funk of Little Feat and the jangling melody of The Byrds lift the pace when needed. The guitar-driven rock of Sir Douglas Quinter on Track 5 matches the 12-string instrumental of Leo Kottke later on Track 18 - but in different ways.

You could of course argue endlessly about the song choices (I wouldn’t have used that Donovan track), but mostly it’s all good. There’s beautiful stuff on here too - ex Blues Project Tommy Sanders released his lone album in early 1970 on Verve and it sank without a trace – unfair – especially considering just how good “The Moonstone” is (lyrics above). Ending with the moody string-filled gem “Ashes, The Rain And I” by The James Gang (featuring Joe Walsh) is a superb choice too.

Given the varying sources and production values, the sound quality wavers between good only (Meic Stevens) to superb (The Doobie Brothers, Nick Drake, Dave Mason and Leo Kottke).

It may seem silly to say this, but getting a compilation like this ‘right’ is far more difficult than you would imagine – and as a voracious compilation maker myself - I was more than impressed when I only recently stumbled upon this unassuming little gem.

Do yourself a favour and spend a fiver on “Meridian 1970” – and enjoy the journey these 4 guys began over 40 years ago – and are still geed-up about to this day.

PS: I’ve listed below a suggested follow up compilation “Meridian 1971” – I’d welcome suggestions – it took me 30 tries!

MERIDIAN 1971
A Compilation of Tracks From Not-So-Well-Known 1971 LPs
(A suggested follow up compilation to Jon Savage’s CD “Meridian 1970”)

Posted 5 May 2010 – 20 Tracks, 75:47 minutes

1. Old, Old Woodstock - VAN MORRISON
(From the album “Tupelo Honey”
November 1971 UK LP on Warner Brothers K 460114)

2. It Ain’t Easy - JOHN BALDRY [aka Long John Baldry]
[Features MAGGIE BELL of STONE THE CROWS on Duet Vocals with RON WOOD of THE ROLLING STONES on Guitar; Produced by ROD STEWART]
(From the album “It Ain’t Easy”
June 1971 UK LP on Warner Brothers K 46088)

3. Really Wanted You - EMITT RHODES
(From the album “Mirror”
December 1971 UK LP on Probe SPBA 6262)

4. Born Under A Bad Sign - RITA COOLIDGE
[Written by Booker T Jones and William Bell, covered by Albert King & Cream]
(From her debut album “Rita Coolidge”
1971 UK LP on A&M Records AMLS 2015)

5. Walk To The Point – DAVE MASON and CASS ELLIOTT
[From the album “Dave Mason and Cass Elliott”
May 1971 UK LP Probe Records SPBA 6259)

6. Are You Leaving For The Country – KAREN DALTON
[From the album “In My Own Time”
1971 USA-only LP on Just Sunshine Records PAS 6008)

7. A Hundred Mountains – JACKIE LOMAX [features Bryn Haworth on Guitar]
(From the album “Home Is In My Head”
1971 UK LP on Warner Brothers K 46091)

8. Anymore - BOB LIND
(From the album “Since There Were Circles”
1971 USA LP on Capitol ST-780)

9. Gu Gu Gu – TUCKY BUZZARD
(From the album “Tucky Buzzard”
1971 USA LP on Capitol ST-787)

10. Mr. Skin – SPIRIT
(From the album “The Twelve Dreams Of Dr. Sardonicus”
1971 UK LP on Epic Records S EPC 64191)

11. Dawn Of Another Day – BRIAN AUGER’S OBLIVION EXPRESS
(From the album “A Better Day”
1971 UK LP on Polydor 2383 062)

12. Midnight – THREE MAN ARMY [featuring Adrian Curtis on Guitar]
(From the album “Third Of A Lifetime”
1971 UK LP on Pegasus PEG 3)

13. If I Laugh – CAT STEVENS
(From the album “Teaser And The Firecat”
September 1971 UK LP on Island Records ILPS 9154)

14. Back Down The River - JOHN MARTYN
(From the album “Bless The Weather”
November 1971 UK LP on Island ILPS 9167)

15. Black Woman (The Wild Ox Moan) – ALEXIS KORNER
[Acapella version of a Blues song sung in the 1930’s by Vera Hall Ward]
(From the album “Alexis”
1971 UK LP on Rak Records SRAK 501)

16. Change – TONY JOE WHITE
(From the album “Tony Joe White”
1971 UK LP on Warner Brothers K 46068)

17. Better Days – GRAHAM NASH [feat Neil Young [credited as Joe Yankee] on Piano with Rita Coolidge and Dallas Taylor on Backing Vocals]
(From the album “Songs For Beginners”
June 1971 UK LP on Atlantic 2401 011)

18. Orleans – DAVID CROSBY
(From the album “If I Could Only Remember My Name”
February 1971 UK LP on Atlantic Records 2401 005)

19. Love Ain’t For Keeping – THE WHO
(From the album “Who’s Next”
August 1971 UK LP on Polydor 2408 102)

20. Moonlight Mile – THE ROLLING STONES
(From the album “Sticky Fingers”
April 1971 UK LP on Rolling Stones Records COC 59100)

“Dando Shaft” by DANDO SHAFT. A Review Of Their Rare 1971 Folk Album On RCA’s Neon Label Now Reissued by Akarma of Italy in 2003.

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:

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"…Bide Your Time…The Sun Will Shine Among Them…"

RCA’s answer to the progressive rock craze that was sweeping music in the late Sixties and early Seventies was the ill-fated “Neon” label which managed only 11 albums in 2 years (1971 to 1972). Complete with weird artwork in a lavish gatefold sleeve (obligatory for all these releases it seemed) - names such as Centipede, Fair Warning, Shape Of The Rain and Tonton Macoute – don’t exactly role off the tongue - even now. None of them sold jack – and the oddball folk ensemble Dando Shaft and their self-titled 2nd album - was no different.

Released in the UK in 1971 on RCA Neon NE 5, “Dando Shaft” has therefore long since been a genuine rarity and is presently listed at £100 in the 2010 Record Collector Rare Record Price Guide (I’ve seen copies maybe twice in my life), and it will no doubt triple that value in the 2013 edition due September 2010. That said - this limited edition European CD is a welcome reissue because this is one of those rare occasions where even three figures on a disc is money well spent. It’s a beautiful album and this reissue does it proud.

Details first…
DANDO SHAFT were formed in 1969 in Cambridge, England and featured:
POLLY BOLTON – Lead Vocals
MARTIN JENKINS – Lead & Backing Vocals, Mandolin and Violin
DAVE COOPER – Lead & Backing Vocals and Guitar
KEVIN DEMPSEY – Lead & Backing Vocals, Guitar and Bass
ROGER BULLEN – Bass
TED MAY – Percussion

Akarma AK 255 was released in June 2003 in Italy and features a repro 5” hard-card gatefold sleeve with a slightly stippled effect (the inner bag advertises other Akarma rarity reissues). It breaks down as follows (42:48 minutes):

1. Coming Home To Me [Polly Bolton and Martin Jenkins on Shared Lead Vocals]
2. Railway [Polly Bolton only on Lead Vocals]
3. Whispering Ned [Martin Jenkins only on Lead Vocals]
4. Sometimes [Dave Cooper on Lead Vocals, Polly Bolton on Backing Vocals]
5. River Boat [Polly Bolton on Lead Vocals]
6. Kalyope Driver [Martin Jenkins on Lead Vocals, Polly Bolton and Dave Cooper on Backing Vocals]
7. Waves Upon The Ether [Martin Jenkins on Lead Vocals, Polly Bolton and Dave Cooper on Backing Vocals]
8. Dewet [an instrumental, Kevin Dempsey on Acoustic Guitar with Martin Jenkins on Mandolin]
9. Till The Morning Comes [Kevin Dempsey and Polly Bolton on Shared Lead Vocals]
10. Pass It On [Dave Cooper on Lead Vocals, Polly Bolton and Kevin Dempsey on Backing Vocals]
11. Prayer [Dave Cooper only on Lead Guitar and Vocals]

BONUS TRACKS:
12. Lullaby [“Spring Clog Dance” Demo]
13. Thruxton [Instrumental]
14. Spring Clog Dance (1970 UK 7” single version on RCA Records RCA 2246)
15. Sun Clog Dance [Original Demo For “Spring Clog Dance”]

The repro artwork is very tastily done and the inside gatefold gives music and production credits. It doesn’t advise who remastered this or where, but the sound is shockingly clear – really clean and hiss free – and because it’s all acoustic instrumentation, it sounds glorious. Even the rare bonus tracks are sweet as…

Musically this is English folk for sure, but not overtly so – there’s a Pentangle rock-song feel to a lot of it somehow. Another comparison would be to a lovely Irish duo called "Tir Na N'Og" (it’s Gaelic for "Land Of The Young") who had three albums on Chrysalis Records in the early Seventies and later morphed into the wonderfully eccentric "Scullion" (a further 3 albums). Those references may be a little vague I know, but that’s what Dando Shaft sound like - Folk with an eccentric rock twist.

They also housed (as you can see from the details) no less that THREE lead vocalists and had lovely – even beautiful – songs. “Sometimes” is very simple and gorgeous, while “Kalyope Driver” is driven by folk mandolin and a relentlessly upbeat set of lyrics (title above). The less-than-one-minute instrumental “Dewit” shows off their playing virtuosity while “Till The Morning Comes” features superb counter-vocals from Polly Bolton and Kevin Dempsey with flute and bass backing them up. It ends in the very short but sweet “Prayer”.

I doubt “Dando Shaft” will be to everyone’s tastes, but it’s an album I’d suggest you try to rediscover. If you want an audio taster, try iTunes for the track called “Rain” – it’s off the superb “Anthems In Eden” CD box set – and that’ll give you a real indicator to their sound…

A lovely thing really – and well worth seeking out.

“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:

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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