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Tuesday, 17 June 2014

2014 Panasonic Viera A400 Widescreen LCD TV (50" and 42" Models) - A Review


I wanted to live with this 2014 Panasonic Viera A400 LCD Television Set (50" Model) for a few weeks before doing a review and I'm glad I did. In a nutshell - I'm really pleased with it and enjoying its huge range of facilities - but there are few things worth discussing and pointing out for prospective buyers.

Our home was previously the proud owner of a Sony BRAVIA LED 42" TV for over five years and going to another brand was going to be a gamble. So why move? The reason is price. These big televisions used to be £2000 two years ago - now the 2014 42" Panny is £350 and their 50" model is less than £500 (we actually got ours for £480 through a large retailer). That's incredible value for money for what you're getting.

The first couple of days made me feel disappointed after the clarity of the Sony - but of course it took a while for the screen to burn in and the picture quickly graduated to gorgeous. For instance the World Cup on ITV HD looks fabulous - as clear and as steady as you could hope for. But when you go back to Freeview and standard mode on Terrestrial TV - the quality naturally dips. But this will be the same on all TVs - and that's unfortunately a source problem few of us can do anything about (once you discover HD - you'll find it hard to watch anything else).

It's wide and skinny - and despite the sheer size of the outer box - deceptively light. The Panasonic has 5 Picture Aspects to choose from - Dynamic, Normal, Cinema, True Cinema and Game. I personally found anything except Dynamic too dull for my tastes. There are controls on Backlight, Contrast, Sound and even a Child Lock (and loads more). The 'Guide' Button throws up a TV Channels Menu that is easy to use and very clean once onscreen - and I personally like that the remote is small rather than long (easier to navigate). The set itself comes with its own stand (two people needed to mount it) or you can wall hang too of course (needs brackets). It searched out the channels during set-up automatically and we were off and running in minutes.

It has 2 HDMI sockets at the rear (when ideally it should be three) - so when both your DVD/BLU RAY player and your set-top box are plugged in - both HDMIs are used and there's no room for a games console. You can of course remove one HDMI lead and stick in another but that's a hassle few want. Machines with three HDMI sockets usually cost more. With regard to socket connectivity - here's what you actually get on the rear panels:

1. Digital Audio
2. Two x HDMI
3. AVI (Scart)
4. Ethernet
5. AV2 (Component / Video)
6. Terrestrial Aerial Socket
7. Headphone Jack
8. USB Port
9. CI Slot.

There is also Media Player Aspects to the television accessible via the remote. Insert a USB Flash Memory Stick and you can use Photo, Music and Movie Modes. I couldn't detect any Apps other than Freeview (I'm open to correction on this) - we get iPlayer etc. via our BLU RAY player.

The next thing to discuss is size. It depends completely on the room you're in. If you're telly room is small - then go for the 42" version of the A400 and don't think twice about it. It's truly staggering value for money and when using full 1080 HD - has a picture to die for. But if you've a room large enough to accommodate the 50" and enough distance to sit away from it - then go for that because it's a game changer - especially when you're viewing movies either from a download or a DVD or BLU RAY.

To give a simple example of this - I bought the BLU RAY reissue of "One Fine Day" starring George Clooney and Michelle Pfeiffer - which looked very good indeed on the 42". It's defaulted to Full Aspect Ratio so the picture fills the entire screen. But when allowed the stretch to 50”, which extends the view on both the left and the right - it becomes an altogether different cinematic beast. It absolutely rocks because it's the first time we've felt cinema has actually come into our home. The detail and hugeness is amazing. Of course - it can also have the opposite effect - be 'too' big. Stretching of the image can be a problem - and you do need space away from the screen to 'not' see the blemishes. But in truth - once you've gone big (if you'll forgive the phallic pun) - it's hard to go back to the little guy. In place of a Soundbar - we've also hooked the stereo (via a Marantz Amp) to the speaker jacks at the back of the telly (using QED Silver Anniversary cables with quality plugs) and the audio is rocking too.

The other aspect to all TV sets nowadays is downloads. As there are no Apps on the Panasonic (this is not one of the Sony Smart TVs that charges you handsomely for the privilage) - we used our cheap £70 Sony BLU RAY player to stream BBC iPlayer, Netflix and Amazon's Love Film/Prime. I find the quality on Amazon to be average at best - and the TV choices old and useless. In comparison to Netflix they really need to get their act together. They also charge handsomely for anything that's relatively new or half decent and their 'no pence' film offerings are uninspired and often dire.

Netflix is the opposite. Whoever chooses the movies for them looks for goodies the viewers have either forgotten or not seen at all ("Ondine", "IQ", "The Secret In Their Eyes", "Dot The I", "Love Is All You Need", "Gone Baby Gone" etc.) Also - when you're downloading from Netflix the Super HD mode will kick in - and this Panasonic with its full 1080 HD quality puts a picture on screen that defies belief (Season 2 of "Orange Is The New Black" and "House Of Cards" both look incredible). You're sat there thinking - is this really a download - because its hard to tell the difference between a stream and a BLU RAY. Good examples of films looking stunning on the Panny from download are "Seabiscuit", "Priceless", "Moonstruck", "Populaire" and "The Giant Mechanical Man" (or "Love In Detroit" as its called in some territories - see review). For TV with super picture quality - check out "Parade's End", the BBC's "Emma" with Romali Garai and Jonny Lee Miller and of course "Breaking Bad". 


Overall - this is a fabulous television set that's within most people's budget. Whether you chose a 50" or a 42" model - these new Panasonics make for a dynamic duo indeed...

Friday, 13 June 2014

"Matthews' Southern Comfort/Second Spring" by MATTHEWS SOUTHERN COMFORT [feat Ian Matthews] (1996 and 2008 Beat Goes On CD Reissue and Remaster) - A Review by Mark Barry...






"…Leave This Troubled World Behind…"

Few bands got to release three albums in one year (Fairport Convention and Creedence Clearwater Revival did it in 1969) – but Britain's Folk-Rock outfit MATTHEWS SOUTHERN COMFORT featuring Ian Matthews (ex Fairport Convention) managed it in 1970. And that’s where this fabulous Beat Goes On '2LPs-on-1CD' Reissue comes in. Here are the comforting details...

Originally UK released June 1996 - "Matthews Southern Comfort/Second Spring" by MATTHEWS SOUTHERN COMFORT on Beat Goes On BGOCD 313 (reissued December 2008 with the same Catalogue No and Barcode 5017261203137) offers two full albums onto 1CD Remaster and plays out as follows (76:06 minutes):

1. Colorado Springs Eternal
2. A Commercial Proposition
3. The Castle Far
4. Please Be My Friend
5. What We Say
6. Dream Song
7. Fly Pigeon Fly
8. The Watch
9. Sweet Bread
10. Thoughts For A Friend
11. I’ve Lost You
12. Once Upon A Lifetime
Tracks 1 to 12 are their debut vinyl album "Matthews' Southern Comfort" - released January 1970 in the UK on Uni Records UNLS 108 and Decca DL 75191 in the USA (both in gatefold sleeves and with an insert)

13. The Ballad Of Obray Ramsey
14. Moses In The Sunshine
15. Jinkson Johnson
16. Tale Of The Trial
17. Blood Red Roses
18. Even As
19. D’arcy Farrow
20. Something In The Way She Moves
21. Southern Comfort
Tracks 13 to 21 are their 2nd LP "Second Spring" - released June 1970 in the UK on Uni Records UNLS 112 and Decca DL 75242 in the USA (both with an insert)

The eagle-eyed collectors among you will notice that there are two non-album 7" single B-sides from the period that are missing. First is "The Struggle" - a B-side to "Colorado Springs Eternal" - the only single lifted off the debut album on Uni Records UNS 513 issued in January 1970. Second is "Parting" - a B-side to "Ballad Of Obray Ramsey" - the only 7" taken off the 2nd LP on Uni Records UNS 521 issued May 1970. Not to fear - they are both BONUS TRACKS on the "Later That Same Year" Beat Goes On CD remaster (BGOCD 807) along with both sides of their other non-album single - "Woodstock" b/w "Scion" (see separate review).

The 16-page booklet cleverly reproduces the gatefold inner of the debut LP on its inner spread while the lyric sheets that accompanied both original LPs have been reproduced also - but using the drawing face shots on the back sleeve of the 2nd LP in between text (its nicely done). The short but hugely informative liner notes are by noted Musicologist JOHN TOBLER.

The remaster was done back in 1996 at Sound Recording Technology in Cambridge (doesn't say who) and it's really sweet - especially on the far better recorded second LP.

The debut was meant to be an Ian Matthews solo album. In fact the band's name was a mistake - named after the last track on the second LP "Southern Comfort" (written by Sylvia Fricker). But Matthews Southern Comfort somehow stuck. In fact when Ian Matthews left - the group continued as "Southern Comfort" on Harvest Records. And yet despite its lavish gatefold sleeve and the inclusion of heavyweight Fairport Convention players like Gerry Conway, Ashley Hutchings, Richard Thompson and Simon Nichol - the debut LP in my eyes firmly defies flight. Weak songs are the culprits. Looking through the song credits you see the name Steve Barlby - which turns out to be a pseudonym for songwriters Ken Howard and Alan Blaikeley - who were his management team at the time. Part of the recording contract deal was that he had to use some of their songs - and bluntly they're not what the MSC sound was about. The other pseudonym on "Fly Pigeon Fly" is Hamwood - which turns out to be the duo of Albert Hammond and Mike Hazelwood. The organ on "Thoughts For A Friend" is clumsy - "The Castle Far" sounds like some dreadful madrigal - but "A Commercial Proposition" written by Richard Thompson is more like it.

"Second Spring" is everything the debut should have been - it's properly brilliant and has stood the test of time too. The presence of ace guitarist and melody strong Carl Barnwell makes his presence known with "Moses In The Sunshine" and "Even As" - which like "Woodstock" practically defines the mellow sound that people love them for. The Traditional "Blood Red Roses" is done Acapella and is gorgeous - as is the impossibly pretty Matthews original "Tale Of The Trial". I've always felt that their stunning cover of James Taylor's Apple debut song "Something In The Way She Moves" should have been the lead off single instead of the banjo plucking "Ballad Of Obray Ramsey" - it's a gem (lyrics from it title this review). It ends on the epic eight minute "Southern Comfort" which feels like Fairport in full flight meets MSC. Very tasty...

So there you have it - a debut that promises much but delivers little - and a follow up that nails it. Their third and last album "Later That Same Year" followed in November of 1970 and was just as strong as "Second Spring" (the CD remaster of "Later" also contains those four quality bonus tracks - see separate review).

"Matthews' Southern Comfort / Second Spring" is a really lovely CD reissue by Beat Goes On of the UK - and brings back such fond memories...

"The Compleat Tom Paxton – Recorded Live" by TOM PAXTON – A Review Of His 1971 Double Album On Elektra Records – Now Reissued And Remastered Onto 2CDs By Beats Goes On of the UK In 2014...


Here is a link to AMAZON UK to buy this CD at the best price:


"…To Love You Again…" – The Compleat Tom Paxton – Recorded Live by TOM PAXTON

The original vinyl double album "The Compleat Tom Paxton - Recorded Live" was taped across two nights in New York's famous Folk and Rock Venue "The Bitter End" in June 1970 and released in March 1971 on Elektra 7E-2003 in the USA and Elektra EKD 2003 in the UK (later reissued November 1975 as Elektra K 62004 in the UK). This superb 2CD reissue is a straightforward remaster (without bonuses) of his final set for Elektra Records (he then signed to Reprise after that). Here are the Folk Troubadour details...

UK released June 2014 on Beat Goes On BGOCD 1148 (Barcode 5017261211484) - Disc 1 is the first LP  (13 tracks, 43:25 minutes) while Disc 2 is the 2nd (13 tracks, 43:05 minutes). [Note: there is a now deleted Rhino Handmade 2CD reissue from 2004 called "Even Compleater" which offers up more from the concerts - see separate entry and higher price].

As with all these Beat Goes On CD reissues nowadays - it comes in a tasty outer card slipcase and features a very detailed booklet (20 pages) with great liner notes by noted musicologist JOHN O'REGAN. But the big news as ever is the new 2014 gorgeous remaster by ANDREW THOMPSON - it's very clean and warm. There is hiss on some tracks but its neither dampened by noise reduction nor amplified to impress. The music is as it was - just better.

Already a near 10-year musical veteran by the time he made this recording - Tom Paxton was comfortable with his songs, his voice, his conscience and knew exactly how to perform to a literate audience. There's a fabulous intimacy about the gig - and his repartee with the enthralled crowd oozes out of every track (I'm reminded of Don McLean's gorgeous "Solo" double live set from 1976). A good example of this is the long spoken preamble to "Talking Vietnam Pot Luck Blues" called "Bayonet Rap" where its wordplay/political undercurrent is beautifully thought out. It's about pre-training in Kansas for young American men drafted into the US Army and features very funny and perceptive observations ("Crawl in the mud under barbed wire...stuff you can use..."). It also touches on the madness of the war once the naive college kids got there - scared G.I.s discovering 'grass' in Vietnam ("The whole platoon was flying high...chanting something about Hare Krishna..."). Disc 1 finishes on an aural double whammy-high - a stunning story song called "Jimmy Newman" and his popular Sixties hit "Outward Bound".

The ballads are especially pretty - "All Night Long" and the plaintive "Leaving London" - a tune about longing for a girl, returning to her and flying home (lyrics from it title this review). And both "Leaving London" and the lovely "Angie" benefit hugely from the beautifully complimentary piano playing of David Horowitz. Disc 2 continues with more of the same - "About The Children" and "The Last Thing On My Mind" mellow and impressive.

This is a quality reissue by BGO and a good reminder of the power of a man, a guitar and a sharp mind...

"Tim Buckley" by TIM BUCKLEY - October 1966 Debut Album on Elektra Records in Mono and Stereo with Previously Unreleased (January 2011 US Rhino-Handmade 2CD Reissue with Bruce Botnik Remasters) - A Review by Mark Barry...







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"...Old Love...New Love..."
 
There are those who call Tim Buckley's music 'magical' whilst others dismiss his Jazz style arrangements and vocal gymnastics as 'grating' or even 'nonsense'. I'm firmly in the first category (he was a bona-fide genius and true innovator). And despite its reputation as a good 'beginning' or lesser work (even amongst rabid fans) - I'd argue that there's genuine beauty to be rediscovered on his 1966 self-titled debut album "Tim Buckley" - reissued here in grand style and with great respect by Rhino Handmade of the USA. Here are the aural highs and lows...
 
USA released 11 January 2011 - "Tim Buckley" by TIM BUCKLEY on Rhino Handmade/Elektra RHM2 526087 (Barcode 603497947874) is an Expanded Edition 2CD Deluxe Edition of his 1966 Debut Album on Elektra Records that plays out as follows:
 
Disc 1 (69:37 minutes):
1. I Can't See You [Side 1]
2. Wings
3. Song Of The Magician
4. Strange Street Affair Under Blue
5. Valentine Melody
6. Aren't You The Girl
7. Song Slowly Song [Side 2]
8. It Happens Every Time
9. Song For Jainie
10. Grief In My Soul
11. She Is
12. Understand Your Man
Tracks 1 to 12 are the STEREO version of his debut album "Tim Buckley" - released October 1966 in the USA on Elektra Records EKS-74040. Tracks 13 to 24 are the MONO Mix on Elektra Records EK-4040
 
Disc 2 is PREVIOUSLY UNRELEASED (53:01 minutes):
1. Put You Down
2. It Happens Every Time
3. Let Me Love You
4. I've Played That Game Before
5. She Is
6. Here I Am
7. Don't Look Back
8. Call Me If You Do
9. You Today
10. No More
11. Won't You Please Be My Woman
12. Come On Over
Tracks 1 to 12 are by THE BOHEMIANS (his first group) and are Demos recorded 8 November 1965 in Anaheim, California. The line up was: TIM BUCKLEY - Vocal and Rhythm Guitar, JIM FELDER - Bass, LARRY BECKET - Drums and BRIAN HARTZLER - Guitar.
 
13. She Is
14. Aren't You The Girl
15. Found At The Scene Of A Rendezvous That Failed
16. Wings
17. My Love Is For You
18. Song Slowly Song
19. Song Introductions by Larry Beckett
20. I Can't See You
21. Birth Day
22. Long Tide
Tracks 13 to 22 are ACOUSTIC DEMOS recorded during the summer of 1966 in Anaheim, California with Buckley on Vocals and Guitar. LARRY BECKETT provides Lead Vocals on two songs - "Found At The Scene Of A Rendezvous That Failed" and "Birth Day" and the Intro to "Song Slowly Song" (all other vocals by Tim Buckley).
 
The presentation is lovely. An over-sized outer card wrap (rustic cardboard effect) is held in place by a ribbon on the rear. Opening the three-way fold out card sleeve gives you a 5" card repro of the album artwork on the left with a mock-up Elektra Records "Previously Unreleased' sleeve in the centre and on the left - a 20-page oversized booklet with superbly informational liner notes by American Writer THANE TIERNEY (with the overall project handled by Mason Williams). But the big news for fans is the gorgeous sound and the new extras.
 
Remastered from original tapes by original Engineer BRUCE BOTNICK - both mixes of the album reveal lovely detail. There's hiss for sure but it's natural - Botnick has allowed the recordings to breath and the feeling of intimacy is so pronounced as to make you double take (no compression nor loudness). I also couldn't believe how good the straight-out-of-your-speakers Mono mix sounds - so punchy and full of power. "Strange Street Affair Under Blue" sounds so Doors in Mono - while the ethereal and trippy "Song Of The Magician" and "Song Slowly Song" both 'feel' better in Stereo.
 
After cutting his chops on stage - Tim Buckley was only 18 when he was contracted to Elektra Records (allegedly the same day they signed The Doors). The Doors connection continued by having Paul Rothchild and Bruce Botnick as Producer and Engineer respectively. Tracks like the jaunty "Song For Jainie" and "I Can't See You" show a level of songwriting maturity that is spine tingling. The guitar phrases in "I Can't See You" even sound a little like Jeff Buckley's "Grace". But it's the pretty tunes like "Valentine Melody" and "Song Slowly Song" that move you - where his amazing octave range is given flight. The lovely "Wings" also benefits from the string-arrangements of JACK NITZSCHE while "Aren't You The Girl" has VAN DYKE PARKS on various keyboard instruments.
 
The liner notes explain that the Demos on CD2 are just that - crudely cut demos (courtesy of The Bohemians). There are wobbles, dips and instruments buried way back in the mix of the November 1965 session - but historically it's extraordinary stuff to be hearing after all these decades. "I've Played That Game Before" is new, but far prettier is "Here I Am". Thankfully the second batch of personal demos features a far warmer recording and therefore ups the intimacy. Over and over - his voice strikes you. "My Love Is For You" is ok - "Birth Day" is awful and "Long Time" is nice.
 
So there you have it - gorgeous remasters of the original album - with both mixes warranting inclusion - and some nice new songs on CD2.
 
He would go on to greatness with "Happy Sad" (March 1969 USA), the beautifully languid "Blue Afternoon" (November 1969) and "Lorca" (June 1970) and the beginning of the end for me with the mostly unlistenable Jazz Avant Garde "Starsailor" (November 1970) only to spend years in the Seventies trying to play unsuccessful catch up (Tim passed June 1975, very young). And on 17 Nov 1966 - Tim and his wife Mary would bring a son into the world called Jeffrey Scott Buckley, who would also go on to musical greatness - his stunning debut album "Grace" from August 1994 - and life sadness too, just like his mercurial father. But this is where the 'Buckley' legend begins.
 
My only wish is that Rhino Handmade makes good on the rumour that "Happy Sad" and "Blue Afternoon" will both follow in this lavish series. What a thought...
 
PS: check out my review for "The Complete Album Collection" by Elektra/Rhino from October 2017 that contains the fabulous "Works In Progress" CD compilation (Disc 8 of 8). Originally issued October 1999 by Rhino Handmade in the USA-only as a stand-alone limited edition CD - this peach has 16 superbly remastered Studio Outtakes dated from May 1967 through to July 1968 and highlights Buckley and his crew in the very best light...

"The Front Page" on BLU RAY – A Review Of The 1974 Billy Wilder Film – Now On A European BLU RAY (as "Extrablatt")…










Here is a link to AMAZON UK to get this BLU RAY at the best price:

http://amazon.co.uk/gp/product/B00KJNSHNU

"…May The Wind At Your Back Never Be Your Own…" – The Front Page on BLU RAY

It's 6 June 1929 - and Walter Burns is pouring Bromide from one glass into another. Nice guy Editor of the not-so-quality broadsheet The Chicago Examiner - Walter's stomach isn't churning from the 95 cent special he eat that morning - nor the constant Lucky Strike cigarette hanging out of his expletive worn dentures - nor from hearing dire poetry written by a snooty opposition reporter from The Tribune about his 'silver-haired mother'. It's from the way his city is going to execute Earl Williams the following morning at seven a.m. (a naïve socialist whose been hysterically blown up in the media as a Commie threat because he supposedly murdered someone). Chicago has the barefaced gall to hang the be-speckled puny sap - and Walter knows you can't get a decent headline from a hanging. "Now if only it was the electric chair..." Walter enthuses. "EARL WIILIAMS - FRIES! EARL WILLIAMS - ROASTED ALIVE!"

As you can imagine "The Front Page" is old-fashioned funny. Based on the 1928 play by Ben Hecht and Charles MacArthur (itself filmed with Cary Grant as "His Girl Friday" in 1940) - the adapted screenplay by the legendary duo of Director Billy Wilder and Writer I.A.L. Diamond ("Some Like It Hot", "The Apartment" and "Avanti!") offers what you'd expect - rapid-fire dialogue that can only be described as comedic genius. Throw two of Wilder's favourite leading men into this hardboiled hijinx - Walter Matthau and Jack Lemmon - and magic will happen more often than not. But despite its commercial success - critics disliked this retro film - calling it wildly out of place in the harsh reality-filled movie landscape of 1974. But I've always loved it.

The story goes something like this. On the eve of the Earl Williams hanging - Walter Burns' best reporter Hildebrand 'Hildy' Johnson (Lemmon) waltzes into his office whistling a love song. He announces that he's quitting the 'racket' and is heading off to Philadelphia on the midnight train to marry his new fiancé Peggy Grant (an early role for Susan Sarandon) - a pianist who plays a sing-a-long version of "Take Good Care Of Yourself" on the organ at the Balaban and Katz Theatre. Her uncle is in advertising. Burns is unimpressed. "Jesus Hildy! You're a newspaperman! You're gonna write poetry about brassieres and laxatives!"

But then a stroke of luck sees Earl Williams (Austin Pendleton) escape during a bungled psychiatric examination (to see if he's sane enough to hang) with a loony Austrian shrink (Martin Gabel) and Sherriff "Honest Pete" Hartmann (a manic and entirely dishonest Vincent Gardenia). The luckless condemned man ends up in the Press Room of the Cook County Community Court House hiding out in a desk bureau with a bullet in his arm and innocence in his heart. A hooker (Carol Burnett) who befriended him and has a soft spot for the sap takes a dive into the courtyard to distract the press hacks ("Shady lady leaps for love!"). Walter comes over to the Court House to find Hildy hiding Williams there and the two plot a way to get him out of the building and pull off a major Chicago Examiner exclusive (remove Williams and the writing bureau by crane). There's even a reprieve from the Governor for Williams if only he can get it in time. And on it goes...

Much of the humour comes from a series of brilliant lowlife dialogue pieces - Walter calls the bungling Sheriff "Stooge of Stalin or Simply Stupid!" - when highbrow reporter Bensinger from The Tribune (an effeminate David Wayne) calls in to his re-write team - a gutter press hack whose playing poker for nickels nearby listens in on his conversation to nick his ideas (so you get the quality versus the gutter). Bensinger - "The city is preparing for a general uprising of radicals at this time. Sheriff Hartmann has placed extra guards around the jail, the municipal buildings and railroad stations..." Murphy's version - "The Sheriff has just put 200 more relatives on the payroll to protect the city from the Red Army who are leaving Moscow in a couple of minutes..." When Burns tries to fool Peggy Grant into believing Hildy is a sex pervert by turning up as Otto Fishbine his Parole Officer (he nicked a star from a film poster outside to pretend it's a official badge) - he says - "He's not really a criminal! He's just sick!"

Of course you have to single out the fabulous Walter Matthau - who is custom made for this kind of wiseass role. His Burns is devious, ruthless and gloriously tacky - "We need some last words Hildy...if necessary make them up yourself!"

I've had the US DVD of this film for years and the print was always only OK - and nothing better. Unfortunately this Universal BLU RAY released in Germany as "Extrablatt" (Barcode 4250124342807) clearly uses those same elements. There's lots of natural grain and only a bit of clarity improvement. The EXTRAS are few  - Biogs on the big three (Lemmon, Matthau and Wilder) with rare but interesting publicity cards from the German release - but nothing else about the movie. There's a German/English language choice on the opening menu and trailers to other old releases - but that's it. Cheap and cheerful I'm afraid - and a damn shame no restoration has been done.

Director Billy Wilder has gone on record as saying that he shouldn't have made a remake and thought "The Front Page" wasn't his best work. But even by his lofty standards - 50% of Billy Wilder is still funnier than 100% of what today's gross-out clowns pass off as 'hilarious'.

When Hildy Johnson drops in to have a final drink with his Press Room buddies - Murphy (Charles Durning) gives him a whiskey toast with the title to this review. "May the wind at your back never be your own..." Now that's funny.

"The Front Page" may not be genius in 2014 - but it's a tabloid I'll soil my backside with any day of the week...

PS: see also my reviews for other Billy Wilder classics - the BLU RAY of "The Apartment" and the DVD of "Avanti!"

Sunday, 8 June 2014

"Air" by AIR (2008 DBK Works CD Remaster of their Rare 1970 LP on Embryo Records) - A Review by Mark Barry


This Review Along With 100s Of Others Is Available in my
SOUNDS GOOD E-Book on all Amazon sites
SOUL, FUNK and JAZZ FUSION - Exception CD Remasters  
Just Click Below To Purchase for £3.95
Thousands of E-Pages - All Details and In-Depth Reviews From Discs 
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"…Mister Man…"

Part of Herbie Mann’s European touring band – Long Island’s AIR made only one album – their self-titled debut on Embryo Records SD-733 issued in the Summer of 1971.

This superb April 2008 DBK Works CD reissue of "Air" by AIR on DBK Works 543 (Barcode 646315054323) is a straightforward remaster of that rare and desirable American vinyl LP (42:48 minutes).

Not to be confused with the French Ambient/Electronica group of the same name – the American AIR was a four-piece Jazz-Rock-Fusion group that featured lead singer and principal songwriter GOOGIE. She was married at the time to the Group’s Keyboardist TOM COPPOLA (she later went under the name of Carolyn Brooks Gotlieb). JOHN SIEGLER provided Bass with MARK ROSENGARDEN on Drums and their mentor HERBIE MANN produced the album.

1. Realize
2. Mr. Man
3. Baby, I Don’t Know Where Love
4. Martin
5. In Our Time
6. Man is Free [Side 2]
7. Sister Bessie
8. Lipstick
9. Man’s Got Style
10. Jail Cell
11. I Wish I Knew How It Would Feel To Be Free

Session brothers RANDY and MIKE BRECKER added Trombone and Saxophone to "Realize", "Mr. Man" and "Sister Bessie" while JAN HAMMER plays percussion of "Lipstick". Randy Brecker adds solo trumpet to "Man Is Free" and Mike Brecker plays Soprano Sax on "Lipstick". All 11 songs were written by Googie (she also played piano, organ and harpsichord) excepting two -"Sister Bessie" which was a Moogy Klingman original (later with Todd Rundgren’s Utopia) and the Nina Simone standard, "I Wish I Knew How It Would Feel To Be Free" (written by Billy Taylor and Dick Dallas) which was recorded live at Googie’s House in the Bronx.

The CD remaster by GARY HOBISH is superb – adding real clarity and muscle to the piano, congas and fusion type rhythms. The basic 8-page booklet provides some period photos and short liner notes by Googie and Bassist John Siegler as well as recording info.

Embryo Records was distributed by Atlantic in the States (hence the SD catalogue number) but for many - this obscure Vocal Fusion album passed them by. I picked up on it via Atlantic’s 2004 CD compilation "Right On! Volume 5". Begun in 1999 - that series (along with the "Natural High" compilations) reintroduced a young Rock/Soul audience to Rare Grooves and Breaks across the huge WEA catalogue. The monster track on this album for them is "Mr. Man" – a fabulous Soulful Jazzy groove that’s part Chicago, part Blood Sweat & Tears and part Brian Auger’s Oblivion Express. It’s a killer - and always brought customers to the counter whenever I played it in Reckless (Soho, London). Their sound is even reminiscent of Soft Machine, Linda Hoyle’s Affinity and the keyboard Prog of ELP meets Freeform Jazz.

Other highlights include "Man's Got Style" (very Mr. Man) and the lovely piano vocal of "Jail Cell" and the funky brass breaks in "Man Is Free". It's not all genius for sure - and after a while the vocal wailing can grate - but there's enough on here to see why it's so revered amongst aficionados. 

A very cool reissue of an expensive and desirable piece - kudos to all involved…

INDEX - Entries and Artist Posts in Alphabetical Order