“Vagabonds Of The Western World” by THIN LIZZY. A Review Of The Long-Delayed 2010 2CD DELUXE EDITION Of Their 3rd Album From 1973.

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

 "… Ooh! I’d Do Anything For You…'Cause You’re A Rocker…"

To my knowledge this troubled “DELUXE EDITION” (Decca 984 194-9) has had no less than 7 release dates - May, July and November of 2007 were first cited, then January, February and April of 2008 - and now it finally arrives Monday 18 October 2010 without the tiniest bit of fanfare. It has a 2007 Copyright date on the rear so it’s effectively been delayed three and a half years. But has it been worth the wait – yes absolutely. But to the considerable details first…

DISC 1 - Decca 984 195-0 (77:52 minutes):
Tracks 1 to 8 are their 3rd album “Vagabonds Of The Western World” released 21 September 1973 in the UK on Decca SKL 5170.
(It was released as London XPS 636 in the USA, but contained a very-slightly edited version of “Little Girl In Bloom”; it’s the full UK version that is used here)

Tracks 9 and 10 are their 2nd UK 7” single from May 1973, “Randolph’s Tango” and “Broken Dreams”. Both tracks on Decca F 13402 were non-album at the time.
(Note: the version of “Randolph’s Tango” that is used here is known as the ‘Full Version’ at 3:49 minutes - the promo-only 7” edit at 2:25 minutes is Track 17)

Tracks 11 and 12 are their 3rd UK 7” single and the first to feature a track off the album. “The Rocker” was issued as a 7” single in the UK in November 1973 on Decca F 13467 and is an edited version (2:41 as opposed to the album’s 5:12 minutes). It was backed with another non-album Phil Lynott track, the jaunty “Here I Go Again”.

Track 13, “Cruising In The Lizzymobile” is non-album also. It’s correct title is “A Ride In The Lizzy Mobile” and is a genuine Thin Lizzy vinyl rarity as it was only ever issued on the B-side of the 7” GERMAN release of “The Rocker”. Its CD debut first came on the “Vagabonds Kings Warriors Angels ” 4CD box set in 2001. Its rare picture sleeve is reproduced in the booklet.

Tracks 14 and 15 are from the GARY MOORE period of Thin Lizzy. “Little Darling” (featuring superb brass arrangements by Fiachra French) was originally issued 11 April 1974 in the UK as a 7” SINGLE-ONLY release on Decca F 13574 (it’s B-side “Buffalo Girl” is on the 2010 remaster of “Shades Of A Blue Orphanage”). “Sitamoia” first turned up in August 1976 as an exclusive track on the compilation LP “Remembering Part 1” on Decca SKL 5249 and was also later issued on a UK 3-track 7” EP in January 1978 on Decca F 13748.

Track 16 is the ‘December 1977 Overdubbed & Remixed Version’ of “Slow Blues” which features Gary Moore on Guitar and Keyboards (it’s released for the first time on CD here).

Tracks 17 and 18 are the UK ‘Radio Promotional Edited Versions’ of “Randolph’s Tango” (2:25 minutes) and “Whisky In The Jar” (3:43 minutes)
[Note: “Whisky In The Jar” and its non-album B-side “Black Boys On The Corner” are on the 2010 CD remaster of “Shades Of A Blue Orphanage”].

DISC 2 - Decca 984 195-1 (64:02 minutes):
Tracks 1 to 5 are a “BBC Radio 1 In Concert” (recorded live 26 July 1973 at the Golders Green Hippodrome in London)

Tracks 6 and 7 are a “BBC Radio 1 John Peel Session” (recorded 31 July 1973)

Track 8 is a “BBC Radio 1 Rock On Session” (recorded 26 February 1974)

Tracks 9 to 12 are a “BBC Radio Bob Harris Session” (recorded 6 March 1974)

Track 13 is a “BBC Radio 1 John Peel Session” (recorded 4 April 1974)

[Notes: tracks 5 and 12, “Suicide” and “Showdown” feature Scott Gorham and Brian Robertson]

PACKAGING:
There isn’t a plastic wrap like previous Deluxe Editions, instead there’s a similar-looking ‘Deluxe Edition’ paper band running around the entire double digipak at the bottom and you have to cut it from sealed to open the side. Both inner flaps contain the lyrics and black & white session photos that were on either side of the rare insert that came with original UK LPs. The “Legend Of The Vagabond” story on the rear cover of the album artwork is reproduced too and the 16-page booklet has a detailed assessment of the album and the band’s history to that point by compiler and noted writer MARK POWELL. The power trio of Phil Lynott, Eric Bell and Brian Downey are also pictured.

The iconic and especially commissioned artwork of Dublin artist Jim Fitzpatrick (a theme followed through to Jailbreak, Johnny The Fox and Black Rose) is fully displayed. Fitzpatrick’s artwork was steeped in romantic Gaelic folklore and he was kind of Ireland’s answer to England’s Roger Dean (Yes, Badger, Greenslade album sleeves). Fitzpatrick and Lynott were lifetime friends and he produced over 250 pieces of art for Lizzy and Phil.

SOUND:
The original 1991 CD reissue has been sounding decidedly dated for decades, the 2001 box set versions were an improvement, but these 2007 polish-ups are subtly wonderful. I’ve raved about PASCHAL BYRNE’S work before (see my reviews for “Ain’t No Saint” the 4CD John Martyn box set and “Blues From Laurel Canyon” by John Mayall), and this set is no different. The first generation tapes have been remastered – not too brash – fantastic presence – each track a revelation. As a rabid fan of this album since a spotty teenager in Dublin, to hear these tracks punch above the belt like this is a genuine thrill. As the blistering slide guitar work of Eric Bell opens “Mama Nature Said”, you can at last hear the organ work of JAN SCHELHAAS in the background (ex Gary Moore band, later with Caravan & Camel) and the clarity of Downey’s drumming on “Gonna Creep Up On You” is awesome. The rather silly Kid Jensen talking track “The Hero & The Madmen” is probably best left alone (whether it sounds good or not), but Eric Bell’s truly fantastic guitar work on the full version of “The Rocker” still astonishes (lyrics above).

CONTENT:
The previously unreleased remake of “Slow Blues” is OK, but you can’t help but feel that something already good should have been left well enough alone. The single edits and very cool non-album B-sides are a huge bonus and the sound quality is ace throughout. But what I wasn’t prepared for was the quality of the live stuff on Disc 2. Powell’s liner notes describe the July 1973 Hippodrome set as ‘blistering’ and he’s not joking – absolutely on fire, Eric Bell comes out doing an almost note for note version of “The Rocker” that is stunning. And it’s also great to hear live versions of “Sitamoia” and “Little Darling” at last sounding so alive. Speaking of which - although it doesn’t say in the liner notes, I’d swear the incredible guitar work between tracks 9 and 13 (especially on the unbelievably good “Black Boys On The Corner”) - is Gary Moore.

To sum up – die-hard fans may have a lot of it already, but the improved sound will be a big draw. The 8-track album by itself may not tempt many newcomers, but for me the huge amount of truly excellent bonus material make it another 2010 'Reissue Of The Year'.

God bless you Phillip Paris Lynott wherever you may be – and what a band.


PS: The last compilation album touching on the 1971-1974 period of Thin Lizzy was called "The Continuing Saga Of The Ageing Orphans" released in the UK in 1979 on Decca SKL 5298. Of it's 11 tracks, 3 were untouched cuts off the "Vagabonds Of The Western World" album - "Mama Nature Said", "The Hero And The Madman" and "Vagabond Of The Western World". But the other 8 tracks were December 1977 remixes and remakes of old Decca material. They contained guitar and keyboard contributions from Gary Moore and Midge Ure. The purchase of this Deluxe Edition of "Vagabonds..." AND the '2010' extended editions of their debut "Thin Lizzy" and their 2nd album "Shades Of A Blue Orphanage" will finally allow fans to acquire the missing 8 tracks and along with the 3 from "Vagabonds..." sequence the entire album. See also my separate reviews for "Thin Lizzy" and "Shades Of A Blue Orphanage".

"The Continuing Saga Of The Ageing Orphans"
Compiling The 1979 Decca LP From The 3 x 2010 Thin Lizzy CD Remasters.

Side 1:
1. Things Ain't Working Out Down On The Farm (Track 19, "Thin Lizzy" 2010)
2. Buffalo Gal (Track 12, "Shades Of A Blue Orphange" 2010)
3. Sarah (Track 13, "Shades Of A Blue Orphanage" 2010)
4. Honesty Is No Excuse (Track 17, "Thin Lizzy" 2010)
5. Look What The Wind Blew In (Track 16, "Thin Lizzy" 2010)
6. Mama Nature Said (Track 1 - Disc 1, "Vagabonds Of The Western World" 2010 2CD Deluxe Edition)
[Note: 1 to 5 are all 1977 remixes and reworkings - 1 features MIDGE URE of Ultravox on Guitar]

Side 2:
1. The Hero And The Madman (Track 2 - Disc 1, "Vagabonds Of The Western World" 2010 2CD Deluxe Edition)
2. Slow Blues (Track 16 - Disc 1, "Vagabonds Of The Western World" 2010 2CD Deluxe Edition)
3. Dublin (Track 18, "Thin Lizzy" 2010)
4. Brought Down (Track 14, "Shades Of A Blue Orphanage" 2010)
5. Vagabond Of The Western World (Track 5 - Disc 1, "Vagabonds Of The Western World" 2010 2CD Deluxe Edition)
[Note: 2, 3 and 4 are all remixes and reworkings - 2 features Gary Moore on Guitar and Keyboards and 3 features Midge Ure of Ultravox on Guitar]

“1967 – 1970” by THE BEATLES. A Review Of The 2010 2CD Reissue Of 1973’s Iconic “Blue” Album.

"…Mother Mary Comes To Me…Speaking Words Of Wisdom…"

Commonly known as the "Blue Album", the 2LP vinyl set "1967 - 1970" became an instant classic when it was first released in April 1973 (as did its "Red" counterpart "1962-1966"). When they were finally reissued onto the new CD format in 1993 however, they caused consternation because of their extortionate full price.

So is this newly remastered 2010 mid-priced 2CD reissue on EMI/Apple 5099990674723 any better - the answer is an emphatic 'yes'.

PACKAGING:
The first thing you notice is that the clunky double jewel-case of the 1993 reissue has been dumped for a three-way foldout card sleeve. The centre and right flaps picture the photograph on the inner gatefold of the original vinyl double album (St. Pancras Old Church in London, 27 July 1969, The Beatles with the public looking through the railings - it's the same photo on the "Red" album). It also houses the two CDs - CD1 has the full Apple label (14 tracks, 51:15 minutes) and the 2nd CD has the half Apple logo (14 tracks, 48:43 minutes). The vinyl set is yet to come, the Digital Download versions are available from 25 Oct 2010 and there's also an issue that lumps both the Blue & Red reissues together as one package in late November.

The left flap houses a new 32-page booklet. The lyrics are intact from the inner sleeves of the original album issue, there's new liner notes by BILL FLANAGAN the MTV Executive and author of "Evening's Empire" (a book on Rock in the Sixties) and there's plenty of superb colour photos from the period - it's impressively done. Downsides - some complained that the 09/09/09 card digipak sleeves for The Beatles reissues were easy to smudge once out of the shrinkwrap and worse - the inner flaps easy to tear as you removed the disc. I'm afraid these are the same. I suppose I would have been naïve of us to think that EMI would actually listen to the complaints of 2009 about packaging, but they haven't - the need for these issues to look the same as the preceding ones has overridden all considerations... Having said that, I still think they look great - substantial even...

PLAYING TIMES:
Unlike the "Red" issue which could easily have fitted onto 1CD (and even included bonus tracks), as you can see from the playing times provided above, it would not have been possible with this set. Anyway - EMI would of course argue that a single CD issue of this most `iconic' of double albums would fundamentally alter the aesthetic of the original release. At least this time, this 2CD reissue is at mid price, so we're not being charged for the privilege of separation.

TRACK CHOICES:
The compilation itself is basically the A-sides of all their UK 7" singles releases between 1967 and 1970 in chronological release date order with a few key album tracks thrown in for good measure. Eagle-eye fans would therefore note that up to and including "Get Back" - ALL Beatles UK 7" singles for that period were issued only in MONO ("The Ballad Of John & Yoko" was their 1st STEREO single in the UK). So the tracks on the album should reflect that - the MONO single mixes. But EMI did nothing of the sort. They're all in STEREO (there's 4 MONO on the "Red" set) and i would argue that accuracy's loss is the listener's gain, because the STEREO versions used here are awesome.

SOUND:
Although the compilation is copyrighted to 2010 (released Monday 18 Oct 2010 in the UK and 19 Oct 2010 in the USA), the liner notes don't try to hide that these are the 2009 remasters by the same team who did the much-praised Beatles catalogue of 09/09/09. The sound quality is fantastic - breathtaking clarity on instruments - the piano and guitars on "Lady Madonna", the jet screeching in at the opening of "Back In The U.S.S.R", the brass on "All You Need Is Love", Billy Preston's superb keyboard work on "Let It Be", the wonderfully loose live feel of "Don't Let Me Down" (best B-side ever?) - and so on.

CONTENT:
But what impresses most is the actual listen itself. Even now, it's truly shocking to hear just how accomplished The Beatles became during this ludicrously productive period.
And diversity of writers crept in too. There's the 3 Harrison gems "While My Guitar Gently Weeps", "Old Brown Shoe" and the magical "Something" while Ringo gets the witty "Octopus' Garden". Leaving the rest as Lennon-McCartney originals. And what an embarrassment of riches they are...

7" perfection comes twice - "Strawberry Fields Forever" b/w "Penny Lane" and arguably the greatest single ever released - "Hey Jude" b/w "Revolution" (melodious Paul on the A with rockin' blistering John on the B). Most bands would kill a close relative to get anywhere near this level of genius. And by the time you get to the ballads at the end of Disc 2 - "The Long And Winding Road" and "Across The Universe" - adjectives begin to fail you... Were The Beatles really 'this' good - the answer is yes - and always will be.

To sum up - the sound on these new reissues is fabulous; the packaging better than the 1993 versions and each is being sold at mid-price - available in most places for less than the price of a single new album. You can't help but think that millions of people globally will take one look at these beauties on a shelf somewhere and slap them straight into their shopping baskets. And rightly so...

I've loved re-hearing these classic Beatles songs in this beautiful sound quality - I really have - and despite some minor packaging quibbles - the 2010 version of the "Blue" album is wholeheartedly recommended.

See also my review for the "Red" album

"1962 – 1966" by THE BEATLES - April 1973 'Red Album' 2LP Set on Apple Records - Companion to "1967 - 1970" 2LP 'Blue' Album on Apple (October 2010 UK EMI/Apple 2CD Reissue in Gatefold Panel Card Sleeves Using 2009 STEREO Remasters) - A Review by Mark Barry...

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Commonly known as the "Red" and "Blue" albums - the 2LP vinyl sets "1962 - 1966" (Apple PCSP 717) and "1967-1970" (Apple PCSP 718) by THE BEATLES became instant classics when they were first released in April 1973 on both sides of the pond. Balls to the wall with chart hits, number ones and moments of undeniable album genius – both double-albums have been beloved by the globe ever since. Based on the A&B of singles worldwide, both doubles also finally gave an 'album' placing to many fantastic Non-LP tracks like "We Can Work It Out" and the unbelieveibly good "Don't Let Me Down".

 

And now in October 2010 - finally free of those cumbersome 1993 double jewel-cases and an extortionate full price tag – we get the pair of them again. But this time the "Red" and "Blue" 2CD sets are in natty looking three-way Foldout Card Digipaks, pitched at a much more reasonable 'mid-price' - and most important of all – come resplendent with the fabulous remasters the full catalogue received in 2009 (see photos). 1st Prize rosettes for both! Here are the details for all our Yesterdays on the Long and Winding Abbey Road…

 

Disc 1 of "1962-1966" (31:02 minutes):

1. Please Please Me

2. She Loves You

3. All My Loving

4. Love Me Do

5. From Me To You

6. I Want To Hold Your Hand

7. Can't Buy Me Love

8. A Hard Day's Night [Side 2]

9. Eight Days A Week

10. Ticket To Ride

11. And I Love Her

12. I Feel Fine

13. Yesterday

 

Disc 2 of "1962-1966" (31:45 minutes):

1. You've Got To Hide Your Love Away [Side 3]

2. Day Tripper

3. Norwegian Wood (This Bird Has Flown)

4. Help!

5. We Can Work It Out

6. Drive My Car

7. Nowhere Man [Side 4]

8. In My Life

9. Paperback Writer

10. Yellow Submarine

11. Michelle

12. Girl

13. Eleanor Rigby

2CD set released Oct 2010 on EMI/Apple 5099990675225

 

Disc 1 of "1966-1967" (51:15 minutes):

1. Strawberry Fields Forever

2. Sgt. Peppers Lonely Hearts Club Band

3. Lucy In The Sky With Diamonds

4. All You Need Is Love

5. Penny Lane

6. With A Little Help From My Friends

7. A Day In The Life

8. I Am The Walrus [Side 2]

9. The Fool On The Hill

10. Lady Madonna

11. Revolution

12. Hello Goodbye

13. Magical Mystery Tour

14. Hey Jude

 

 

 

Disc 2 of "1966-1970" (48:43 minutes):

1. Back In the U.S.S.R. [Side 3]

2. Ob-La-Di, Ob-La-Da

3. Don't Let Me Down

4. Old Brown Shoe

5. While My Guitar Gently Weeps

6. Get Back

7. The Ballad Of John And Yoko

8. Here Comes The Sun [Side 4]

9. Something

10. Let It Be

11. The Long And Winding Road

12. Come Together

13. Octopus's Garden

14. Across The Universe

2CD set released October 2010 on EMI/Apple 5099990674723

 

The left flap in each set houses a new 32-page booklet. The lyrics are intact from the red and blue inner sleeves of the original album issues, the photo of the Beatles at St. Pancras Old Church in London looking out through the railings at the public (taken 27 July 1969) is there in the centre flaps, there's new liner notes by BILL FLANAGAN the MTV Executive and author of "Evening's Empire" (a book on Rock in the Sixties) and there's plenty of superb colour photos from the period - it's impressively done.

 

It doesn't take a particular genius to work out from the playing times provided above (especially on the "Red" album) that the first set could easily have fitted onto 1CD and even included bonus tracks. But EMI would of course argue that this would fundamentally alter the aesthetic of the original 1973 double-vinyl release. At least this time – with the reissue being mid price - we're not being charged for the privilege.

 

The compilations are basically the A-sides of all their UK 7" singles releases between 1962 and 1970 in chronological release date order with a few key album tracks thrown in for good measure. Eagle-eye fans would therefore note that as ALL Beatles UK 7" singles for that period were issued only in MONO, so the tracks on the album should reflect that - the MONO single mixes. But EMI did nothing of the sort. In fact the original 1973 albums stated only STEREO on the labels and only the STEREO code was reflected in their catalogue numbers too. At least this time this new 2010 issue notes that Tracks 1 to 4 on Disc 1 are in MONO, while all other are in STEREO ("Love Me Do" is the album mix and not the single version). Bottom line - I would argue that accuracy's loss is the listener's gain because the STEREO versions used here are awesome.

 

The sound quality is fantastic - breathtaking clarity on instruments - George Harrison's sitar on "Norwegian Wood (This Bird Has Flown)" - the string quartet on "Eleanor Rigby" and so on. But what impresses most is the actual listen itself. Even now it's truly shocking to hear just how accomplished The Beatles were. Re-listening to each disc in straight order is a gobsmacking experience – from the mop-tops of "Love Me Do" and "She Loves You" to the accomplished polish of “Ticket To Ride", “Michelle” and "Yesterday" (the song that single-handled shut all the begrudgers up) – it's all so incredibly sweet a listen. "We Can Work It Out" and "Day Tripper" were a single for God's sake - not on any English album at the time of release. "Paperback Writer", "Girl", the harmonizing on "Nowhere Man" - track after track of brilliance. Were The Beatles really this good and so early on? The answer is yes - and always will be.

 

In fact the second volume ("Blue") more than the first shows the rapidity with which they had matured as songwriters and innovators of recording techniques. The piano and guitars on "Lady Madonna", the jet screeching in at the opening of "Back In The U.S.S.R", the brass on "All You Need Is Love", Billy Preston's superb keyboard work on "Let It Be", the wonderfully loose live feel of "Don't Let Me Down" (best B-side ever?)

 

There's the truly beautiful and evocative "Across The Universe", Ringo's "With A Little Help From My Friends", Harrison's 'Abbey Road' double-whammy of "Here Comes The Sun" and "Something" while the epic 'Sgt. Peppers' finisher "A Day In The Life" still astounds. And I haven't even touched on the flute loveliness of McCartney's "The Fool On The Hill" or the monster guitar on Lennon's "Revolution"…

 

To sum up - the sound on these new reissues is fabulous - the packaging better than the 1993 versions and each is being sold at mid-price - available in most places for less than the price of a single new album. You can't help but think that millions of people globally will take one look at these beauties on a shelf somewhere and slap them straight into their shopping baskets. The world’s most collectable and revered band - and on the evidence presented here in these one-two double sucker punches - rightly so...

“Blowing The Fuse – 27 R&B Classics That Rocked The Jukebox In 1949” by VARIOUS ARTISTS (2004 Bear Family CD Compilation, Volume 5 of 16, Jurgen Crasser Remasters) - A Review by Mark Barry...

"…Boogie Woogie…It's In Him…And It's Got To Come Out…"

Bear Family's truly fabulous "Blowing The Fuse" series of CD compilations chronicles the transition of minority ghettoized Blues into national Rhythm 'n' Blues and stretches across 16 individual single-disc volumes that cover the years 1945 to 1960. Released across 2004 and 2005 –"Blowing The Fuse" was then followed in 2008 and 2009 by Bear’s equally magnificent "Sweet Soul Music" series of 15 sets from 1961 to 1975 - complimented in turn by their spiritual and musical partners - 15 volumes of Vocal Group sets called "Street Corner Symphonies" covering 1939 to 1963 (released 2012 and 2013). I suppose you could argue that I just say, "Buy the lot man!" in a very loud voice - but bluntly they're so good - each deserves a thorough review (and that’s what I’ve done). So here goes with Volume 1 of the R&B Series "Blowing The Fuse"…

"Blowing The Fuse - 27 R&B Classics That Rocked The Jukebox In 1949" is on Bear Family BCD 16704 AS (Barcode 4000127167040) and was released November 2004 in Germany. Each US-based yearly compilation comes in a 3-way foldout card digipak sleeve. The left flap pictures an original record relevant to the year (1949 has "Rockin At Midnight" by Roy Brown on DeLuxe), the centre flap holds a 70 to 90 page oversized booklet that slips out so you can read it separately and the right flap a colour-themed CD that matches the outer packaging. As with the "Sweet Soul Music" and "Street Corner Symphony" setes of compilations, each of the 16 R&B spines makes up a whole photo when placed alongside each other (a fantastic black & white shot of a crowd of hip dudes and their gals dancing at some Saturday night bar). As you can see from the cover photos of these compilations too, the theme of people dancing and artists enjoying themselves is repeated right across all of these wonderfully restored photographs (they're from The Showtime Music Archive in Toronto). This 1949 issue has 72-pages in its booklet and the CD runs to a fulsome 79:10 minutes.

THE SOUND and TRACK CHOICES:
Bear Family have gotten all the ORIGINAL master tapes from each record company (or the best disc available) and their resident expert JURGEN CRASSER has mastered them with care - and given their age and the wildly varying sources, the sound quality is uniformly great. But - it has to be said that in comparison to 1951 to 1960, the sound on both 1949 and 1950 is a lot rougher, especially when it’s off a 78”…

The first indication of this is on Track 3 – the ballad “Bewildered” by Red Miller (originally a hit for Tommy Dorsey 10 years earlier) – it’s rough sounding, but the charm is there and still remains a lovely listen. But then things jump straight into the legendary – the awesome one-chord, foot-stomping “Boogie Chillen” by John Lee Hooker - sounding like Blues was literally invented right here.
As if sensing its importance, the Modern Records 78” is pictured alongside an early shot of him on Pages 12 and 13. Over 60 years old and this simplest of Blues stomps still has incredible power and mojo (lyrics above).

Outside of Blues (Jimmy Witherspoon) and Vocal Groups (The Orioles) - the other order of the day was shuffling boogie tunes – most of which were instrumentals. There’s “Texas Hop” by Pee Wee Clayton (with Buddy Floyd on Tenor Sax), “The Hucklebuck” by Paul Williams (a tremendous dancer that was No.1 for weeks) and “T.J. Boogie” by Georgia piano player T.J. Fowler, where you can literally hear Glenn Miller and Lionel Hampton receding into the background, blurring into that new rocking Rhythm ‘n’ Blues sound – and even Rock 'n' Roll…

Criminally forgotten gems go to "The Spinach Song" by the witty and saucy Julia Lee. Sounding fantastic (top Capitol Records production values), it’s a master class in double-entendre lyric writing – sex disguised as a song about a hot vegetable on a dinner plate (“I didn’t like it at first, but oh how it grew on me…”). It’ll have you grinning and running to the confessional. Speaking of likeable sinners, habitual womanizer and whiskey drinking Wynonie Harris gives us his fantastic voice and another irresistible bopper in “All She Wants To Do Is Rock” – where he also uses the lyric couplet “rock ‘n’ roll” six years before its explosion. “Numbers Boogie” sounds like a nine-year old singing, because it is… Sugar Chile Robinson was a piano-playing child prodigy born in Detroit and Capitol rather cutely advertised him as needing his stool to be propped up by two telephone directories in order to reach the keys. He was a smash though – and even headlined in England’s West End in 1951 (great advert and publicity photo on Pages 54 and 55). Ruth Brown’s “So Long” on Atlantic sounds far better here than it has done on any other compilation I have by her. And of course, there’s the perfection of Louis Jordan on “Saturday Night Fish Fry” – it’s easy to see why he was so beloved and shifted so many units – everything about his songs was right – catchy tune, great lyrics, huge personality…

But my favourites are two criminally forgotten blues shouters - Billy Wright and Charles Brown. Now a footnote in history, the openly gay Billy Wright looked like a younger Little Richard. Wild showmanship, Pancake 31 makeup to lighten his face, even his singing style was lifted by Richard a few years later (James Brown and Otis Redding name-checked him too). His “Blues For My Baby” on Savoy is exactly the kind of great choice the compilers should make. Charles Brown was a ‘classy’ Blues singer – his “Trouble Blues” has a real beauty about it - the great bluesman even received a letter of consolation written by President Clinton, which was read out at his funeral in 1999.

THE BOOKLET:
Although slightly different in layout, like the "Sweet Soul Music" series, the booklet is to die for. There's an intro on Page 4 with the text for the songs beginning on Page 5 and ending on Page 70, so there's almost no wasted space. Each artist is pictured using quality publicity shots, and every now and then, a beautiful full colour plate of lesser-seen records and their label bag graces an entire page (“Drinkin’ Wine, Spo-Dee-O-Dee” by “Stick” McGhee on Atlantic and "Rock The Joint” by Jimmy Preston on Gotham and are on Pages 36 and 58). Each song then has an essay on its history by noted writer COLIN ESCOTT and because the booklet allows him to spread out on each song, the details come thick and fast - it's a fabulously entertaining and informative read.

To sum up - even though they're expensive as imports, I think once long-time collectors actually get their hands on even one of these compilations (no matter what the date) - they'll be irresistibly hooked. For the casual buyer just looking for a great one-stop account of R&B Music for a given year - "1949" is 'the' place to start.


Detailed track list for the Bear Family CD compilation “Blowing The Fuse - 1949"
Label & Catalogue Number () for the USA 78" follow the Title and Artist Name.
If there's TWO Catalogue Numbers, the first is the Original; the 2nd is the Reissue.

1. Up Above My Head, I Hear Music In The Air – SISTER ROSETTA THARPE and MARIE KNIGHT with the Sam Price Trio (Decca 48090)
2. Texas Hop – PEE WEE CRAYTON and his Guitar (Modern 643)
3. Bewildered – RED MILLER TRIO (Staff 607/Bullet 295)
4. Boogie Chillen – JOHN LEE HOOKER (Modern 627)
5. Deacon’s Hop – BIG JAY McNEELY (Savoy 685)
6. Ain’t Nobody’s Business, Part 1 – JIMMY WITHERSPOON (Supreme 1506)
7. The Hucklebuck – PAUL WILLIAMS and his Hucklebuckers (Savoy 683)
8. The Spinach Song – JULIA LEE and her Boyfriends (Capitol 15367)
9. Rockin At Midnight – ROY BROWN and his Mighty, Mighty Men (DeLuxe 3212)
10. Tell Me So – THE ORIOLES (Jubilee 5005)
[Featuring Sonny Til and Norman Bridges on Lead and Bridge Vocals]
11. T-Bone Shuffle – T-BONE WALKER (Comet T-53/Capitol 57-70042)
12. Pot Likker – TODD RHODES and his Orchestra (Sensation 15/King 4287)
13. Trouble Blues – CHARLES BROWN TRIO (Aladdin 3024)
14. Drinkin’ Wine, Spo-Dee-O-Dee – "STICK" McGHEE and his Buddies (Atlantic 873)
15. T. J. Boogie – T.J. FOWLER and his Orchestra (National 9075)
16. So Long – RUTH BROWN with Eddie Condon’s N.B.C. Television Orchestra (Atlantic 879)
17. All She Wants To Do Is Rock – WYNONIE HARRIS (King 4304)
18. Roamin’ House Boogie – AMOS MILBURN (Aladdin 3032)
19. Baby Get Lost – DINAH WASHINGTON (Mercury 8148)
20. Why Don’t You Haul Off And Love Me – BULL MOOSE JACKSON and his Buffalo Bearcats (King 4322)
21. Numbers Boogie – SUGAR CHILE ROBINSON (Capitol 70037)
22. Rock The Joint – JIMMY PRESTON and his Prestonians (Gotham 188)
23. Blues For My Baby – BILLY WRIGHT (Savoy 710)
24. Saturday Night Fish Fry, Parts 1 & 2 – LOUIS JORDAN and his Tympany Five (Decca 24725)
25. Cuttin’ Out – ANNIE LAURIE with The Paul Gayten Orchestra (Regal 3235)
26. For You My Love – LARRY DARNELL (Regal 3240)
27. Mary Is Fine – CLARENCE 'GATEMOUTH' BROWN, his guitar and Orchestra (Peacock 1504)