"Dore L.A. Soul Sides 2" by VARIOUS ARTISTS (June 2015 Ace/Kent Soul CD Remasters) - A Review by Mark Barry...

"...Gettin' Back Into Circulation..."

The first volume in this series "Dore L.A. Soul Sides" issued in April 2014 – caused a bit of a stir amongst lovers of Sixties Soul (Ace/Kent Soul CDKEND 417). With a tasty stew of 24 more cut from the same Soul cloth (2 Previously Unreleased) – Volume 2 is likely to elicit just as much affection and excitement (even if the audio is not as sharp as one would have hoped for). Here are the elusive West Coast details...

UK released June 2015 (July 2015 in the USA) – "Dore L.A. Soul Sides 2" on Ace/Kent Soul CDKEND 433 (Barcode 029667243322) is a 24-track CD compilation and fleshes out as follows (65:03 minutes):

1. Getting’ Back Into Circulation – THE ENTERTAINERS IV (2015 Previously Unreleased Remix of a 1965 USA 7” single on Dore 759, A)

2. I’m Givin’ You Notice Baby – THE FIDELS (1966 USA 7” single on Dore 761, A)

3. What Did You Gain By That? – KENARD (1970 USA 7” single on Dore 848, A)

4. Wind In My Sails – THE SUPERBS (1972 USA 7” single on Dore 872, A)

5. Funny With my Stuff – THE NATURAL RESOURCES UNPOLLUTED (1971 USA 7” single on Dore 854, A)

6. Pictures In My Window – EDDIE WILLIAMS (1970 USA 7” single on Dore 839, A)

7. That’s What Love Will Do – MILTON JAMES (1966 USA 7” single on Dore 767, A)

8. I Wanna Chance – THE VOWS (1962 USA 7” single on Markay 103, A)

9. I Want You – DEE TORRES (1966 USA 7” single on Dore 762, A)

10. My Pillow – THE DARLINGS (1963 USA 7” single on Dore 677, A)

11. We Together Baby – SMOKY & THE BEARS (1967 USA 7” single on Dore 790, A)

12. Keep On Movin’ – LITTLE JOHNNY HAMILTON & THE CREATORS (1966 USA 7” single on Dore 760, A)

13. The Girl That I Loved – BOBBY & EDDIE UNLIMITED (1968 USA 7” single on Dore 809, A)

14. Nitty Gritty City – THE SWANS (1966 USA 7” single on Dore 777, A)

15. I Only Cry Once A Day Now – THE PUFFS (1966 USA 7” single on Dore 757, A)

16. Goddess Of Love – THE SUPERBS (1965 USA 7” single on Dore 739, A)

17. Nothing Lasts Forever – THE NATURAL RESOURCES (1969 USA 7” single on Dore 1003, A)

18. Just Ain’t My Day – THE ENTERTAINERS IV (1968 USA 7” single on Dore 802, A)

19. Stuffin’ The Bird – RAMLING WLLIE & THE EUOPHONICS (1976 USA 7” single on Dore 918, A)

20. Just A Little Ugly – GAIL ANDERSON (1981 USA 7” single on Dore 973, A)

21. This Girl Is A Good Girl – JOHNNY BRAFF (1975 USA 7” single on 904, A)

22. Saigon To San Francisco – TOUSSAINT McCALL (2015 Previously Unreleased Dore Recording)

23. As I Sit Here – THE WHISPERS (1965 USA 7” single on Dore 740, A)

24. I Look In The Mirror – EDDIE KOOL (1968 USA 7” single on Dore 807, A)

Notes:

Tracks 1 and 22 are Previously Unreleased – all tracks are MONO except 1, 19, 20 and 22 – which are STEREO

The 16-page booklet by long-standing Northern Soul expert and lover ADY CROASDELL and gives a track-by-track history of what’s what and who slept with who...while NICK ROBBINS has done the remasters. There are label repros of rare American 45s for Dore, Nu-Sound, Mackay, Dee Dee Sounds  and Burn Records as well as publicity shots of Little Johnny Hamilton and The Superbs as well as a Trade Advert for The Whispers from April 1968. Tasteful and informative...

It opens with a devastating one-two - both of which are likely to send Northern Soul aficionados (and dancers in general) into something of a lather – an alternate mix of “Gettin’ Back Into Circulation” by The Entertainers IV and the Motown brass-belter “I’m Givin’ You Notice Baby” by The Fidels. I can’t imagine what they cost as 45s but I’m thinking there wouldn’t be much change from a month’s salary (each). We then enter the realm of the genuinely strange – a Soul song that sounds more like some bizarre socially conscious message tune sung by Kenard (lead singer with The Entertainers). Many thought it was never released – it’s rougher than the preceding tracks but is included for its £1000+ rarity value. The Superbs have had their Kent-Soul “Best Of” CD compilation (CDKEND 417) and their “What Did You Gain By That” is another talcum-powder shuffle.

The pace ups with the 1971 “Funky With My Stuff” which is very Shaft influenced (and in a good way). Flicking back to 1966 “Pictures In My Window” by Eddie Williams feels epic too but suffers from what seems to have an ever so slight pitch wobble. The Milton James cut is worse sounding like it was mastered from a stretched tape. Things pick audio-wise with the very Smokey Robinson vocal group feel to “I Wanna Chance” – a lovely mixture of Girl-Group and Soul. That same feel continues with “I Want You” by Dee Torres where the guitar almost feels like Hank Marvin of The Shadows doing Soul with another vocalist at the mike.  Identikit to “Louie Louie” – “We Together Baby” by Smoky & The Bears is a great dancing instrumental that packs a mean punch. Although it’s good – “Keep On Movin’” again sounds ever so slightly bootleg – but I can hear why its been included (very Mayfield). Another winner is “Nitty Gritty City” by The Swans as is the truly funky instrumental “Stuffin’ The Bird”. Traditional Vocal Groups warmth wafts over you as The Whispers do “As I Sit Here” – quite possibly the loveliest track on here.

It’s not all genius for sure and unfortunately the Audio really dips on quite a few tracks – but the feel of a 'discovery' hangs over so many of the more Soulful sides. Kent-Soul buyers will love it...

"Blowing The Fuse - 26 R&B Classics That Rocked The Jukebox In 1945" by VARIOUS ARTISTS (2004 Bear Family CD Compilation, Volume 1 of 16, Jurgen Crasser Remasters) - A Review by Mark Barry...

"…I Went Downtown To Buy You Some Hair...As The Good Lord Never Gave You None..."

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 - 26 R&B Classics That Rocked The Jukebox In 1945" is on Bear Family BCD 16700 AS (Barcode 4000127167002) 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 (1945 has "Harlem Nocturne" by Johnny Otis on Savoy), 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 15 volumes of "Sweet Soul Music" and "Street Corner Symphonies" - each of the "Blowing The Fuse" 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). Siding the text and black/white publicity photos are uber rare trade adverts and of course those equally scarce 78’s in their lovely label bags. This 1945 issue has 72-pages in its booklet and the CD runs to a fulsome 78:06 minutes.

THE SOUND and TRACK CHOICES:

Sourcing the best disc available (or occasional tape) Bear’s Audio Engineer genius JURGEN CRASSER has mastered each cut with care. Depending on the condition of the disc – the audio varies wildly - and as you can imagine it’s a case of astonishingly clean transfer one moment and hiss & cackle-laden version the next. Overall though I’m more than pleased with what I’m hearing...all of it imbibed with huge musical and lyrical talent and a sheer sense of to "hell-with-it-all!" – let's have some fun...

THE BOOKLET:

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 page plate of lesser-seen trade adverts, or a rare 78” in its label bag (long ago American Record labels like Majestic, Bluebird, Victor, Decca, Exclusive, Philo and others). 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.

THE SONGS:

Volume 1 of 16 opens with what many believe to be the first Independent R&B release of importance – the lo-fi but emotionally charged "I Wonder" by the returned WW II soldier from Tennessee Private Cecil Gant. It was recorded by other bigger names that year under more professional studio circumstances – but something in Gant’s garage-recorded version tapped into the longing of the populace after the war and made it a No. 1 hit on the Harlem Parade (Marvin Gaye and Aretha Franklin recorded versions of it years later). There’s a hint of the 78" being played but the audio is surely best ever for this historic recording.

Speaking of impressive audio - the Louis Jordan cut "Caldonia" is incredibly clean and full of vim - as is the stunning Blues of "Things Have Changed" by T-Bone Walker and "Left A Good Deal In Mobile" by Herb Jeffries – but the acoustic and piano boogie of Sister Rosetta Tharpe is covered in cackle (that doesn’t mean it isn’t brilliant and actually one of the highlights on here). Arthur "Big Boy" Crudup's "Rock Me Mamma" is beautifully clear and powerful for it. The hilarious Lucky Millinder boozy parable "Who Threw The Whiskey In The Well" where Deacon Jones wants his sinners to repent (but first he's got to find out whose spiking his holy water font) occupies the middle ground. The track features Wynonie "Mr. Blues" Harris on his debut vocal and audio-wise is a half-way house – some clicking and clacking on the vocal passages but thereafter mostly clean. The World War II brass laden shuffle of "That's The Stuff You Gotta Watch" by Buddy Johnson features a cautionary vocal by Ella Johnson about wandering eyes that lead to wandering hands...

Other winners include the Hadda Brooks boogie-woogie piano instrumental "Swingin' The Boogie" – a happy song that transcends its rough transfer. Piano blues kicks in with the fabulous “Things Have Changed” from Big Maceo (real name Major Merriweather) with superb sound – very Curtis Jones (Tampa Red plays the guitar). Criminally unacknowledged great R&B voice comes in the shapely warm tones of Herb Jeffries who recorded "Left A Good Deal In Mobile" apparently as the same session as the legendary "Honeydripper" track by Joe Liggins (also on this disc). I love, love, love "I'll Be Home Soon" by The Golden Gate Quartet - a vocal group in the vein of the Ink Spots. Think the beginning of The Shawshank Redemption where Andy sits in his car drunk listening to the radio about to commit a crime he'll pay for forever  - the song has beautiful deep longing tones and none other than Elvis Presley instinctively knew that it would suit his vocals (he does a gorgeous version of "I'll Be Home Soon" on his 1960 RCA album masterpiece "Elvis Is Back"). It's more Vocal Groups than driving R&B but I applaud its inclusion here. "I Ain't Mad At You Pretty Baby" was written by Gatemouth Moore about a woman who whacked her lover in a drunken tiff across the face with her stiletto and out popped the song title. Favourites include the Joe Turner boppin feel to "Be-Baba-Leba" by Helen Humes - which is very Little Esther territory and the instrumental finisher "Beulah's Boogie" which like Glenn Miller announces that the battles are over and its time to dance...

To sum up - even though they were initially expensive as imports - as the years have gone by they've gone down in price (some online retailers via Amazon or eBay are selling them for about £8.50). But I can't help thinking that once long-time collectors actually get their hands on even one of these compilations (no matter what the date) - they'll be irresistibly hooked and need to own the lot. 

For the casual buyer just looking for a great one-stop account of R&B Music for a given year - "1945" is 'the' place to start. I've collected the whole set...and they're amongst my favourite reissues...

TRACK LIST for "Blowing The Fuse - 1949" (78:06 minutes):

Volume 1 of 16

Song Title, ARTIST (Record Label and US 78” Catalogue Number, A-Side or B-Side)

1. I Wonder – PRIVATE CECIL GANT (Gilt Edge 500, A)

2. Somebody's Gotta Go – COOTIE WILLIAMS and his Orchestra (Vocals by Eddie Vinson) (Majestic 7184, A)

3. S.K. Blues, Part 1 – JOE TURNER with Pete Johnson’s All Stars (National 9010, A)

4. Tippin' In – ERSKIN HAWKINS and his Orchestra (Victor 20-1639, A)

5. Strange Things Happening Every Day – SISTER ROSETTA THARPE (Decca 8669, A)

6. Rock Me Mamma – ARTHUR "Big Boy" CRUDUP (Bluebird 34-0705, A and reissued on Victor 20-2976, A)

7. V Day Stomp – THE FOUR CLEFS (Vocal Refrain by Johnny Green) (Victor 20-1656, A)

8.  Who Threw The Whiskey In The Well? – LUCKY MILLINDER and his Orchestra (Vocal Chorus by Wynonie 'Mr. Blues' Harris and Congregation) (Decca 18674, A)

9. Caldonia – LOUIS JORDAN and His Tympany Five (Decca 8670, A)

10. Boogie Woogie On A Saturday Nite – FIVE RED CAPS (Joe Davis 7133, A)

11. That's The Stuff You Gotta Watch – BUDDY JOHNSON and His Orchestra (Decca 8671, A)

12. I Will Be Home Again – GOLDEN GATE QUARTET (Okeh 6741, A)

13. The Honeydripper, Part 1 – JOE LIGGINS and His Honeydrippers (Exclusive Master Series 207, A)

14. Jimmy's Blues – COUNT BASIE and His Orchestra (Vocal Chorus by Jimmy Rushing) (Columbia 36831, A)

15. Swingin' The Boogie – HADDA BROOKS (Modern 102, A)

16. Sail On Boogie – T-BONE WALKER with Marl Young and his Orchestra (Rhumboogie 4000, B-side of “I’m Still In Love With You”)

17. Things Have Changed – BIG MACEO (Bluebird 34-0735, A)

18. Left A Good Deal In Mobile – HERB JEFFRIES with Joe Liggins' Honeydrippers (Exclusive 208, A)

19. I Ain't Mad At You Pretty Baby – GATEMOUTH MOORE with Dallas Bartley and his Small Town Boys (National 6001, A)

20. Blues At Sunrise – "IVORY" JOE HUNTER with Johnny Moore’s 3 Blazers (Ivory 56, A, and Exclusive Master Series 209, A and further reissued on Dot 1036, A)

21. Baby Look At You – WYNONIE 'Blues' HARRIS with Jack McVea and his All Stars (Apollo 361, A)

22. Be-Baba-Leba – HELEN HUMES with the Bill Doggett Octet (Philo P 106, A and Aladdin 106, A)

23. Harlem Nocturne – JOHNNY OTIS, his drums and his Orchestra (Excelsior 142, A)

24. Garfield Avenue Blues – JAY McSHANN and the Sextet (Premier 29010, A, and reissued on Mercury 8002, A)

25. If It's Good – JULIA LEE with the Tommy Douglas Orchestra (Premier 29012, A, reissued on Mercury 8005, A)

26. Beulah's Boogie – LIONEL HAMPTON and his Orchestra (Decca 18719, A)

"Anutha Zone/Duke Elegant" by DR. JOHN (2015 Edsel/Rhino 2CD Reissue) - A Review by Mark Barry...

"...Soulful Warrior..."

When New Orleans voodoo man Dr. John released "Anutha Zone" on CD in August 1998 - people applauded its definite return to slinky form for the 'blackest white man' in the business (as legendary Atlantic Records Producer used to call him). Mac Rebennack (his real name) followed it in February 2000 with a tribute album to his musical hero jazzman calling it "Duke Elegant: Dr. John Performing The Music Of Duke Ellington". And that's where this clever 2CD reissue comes in...

UK released February 2015 – Edsel EDSK 7076 (Barcode 740155707637) is a 2CD set housed in a snazzy card slipcase (Disc 1 is 14 tracks at 56:54 minutes, Disc 2 is 12 tracks at 66:38 minutes). There is no remastering here (absolutely no need) - but there is a beautifully laid out 24-page booklet which features liner notes by PAUL MYERS and a new 2014 interview with the great man himself. Inbetween we get full musician credits and reproductions of the gorgeous artwork (the Ellington set is done in old style 78s wording and label bags).

PAUL WELLER guests on Guitar and Vocals on the cover of John Martyn's "Solid Air” classic "I Don't Wanna Know" as well as accompanying Carleen Anderson on "Party Hellfire" (vocals). Dr. John’s house band of Bobby Broom on Guitar is bolstered to huge effect by Hugh McCracken's additional slide menace on the funkily sly "Ki Ya Gris Gris". Dr. John's rolling Fats Domino-influenced piano features throughout as does his great gris-gris vocals - while Ronnie Cuber's superb Saxophone fills are never far away ("Anutha Zone", "Voices In My Head" and the fabulously sloppy "I Like Ki Yoka"). Funk lovers will eat up the chugging shuffle of "Why Come" – an album highlight.

The "Duke Elegant" set from 2000 (released to tie-in with Ellington's birth centenary) splits listeners and fans into Marmite groups of "I love it" or "I loath it" – personally I’m of the first persuasion but can understand both camps. It opens with "On The Wrong Side Of The Railroad Tracks" – a beautifully smoochy piano version and two things hit you – the great arrangement that makes an old song feel new – and the stunning Production values. The album was self-produced but mastered by top Sound Engineer GREG CALBI whose audiophile work with Supertramp, Paul Simon and Paul McCartney has garnished huge praise over the decades. This album sounds awesome – his backing band being Bobby Broom on Guitars, David Barard on Bass, Merman Ernest III on Drums with Ronnie Cuber guesting on Saxophone (he collectively calls them "The Lower 9-11").

Things get slap-bass funky with "I'm Gonna Go Fishin'" where Dr. John comes on more like the Isley Brothers than Professor Longhair. He adopts the same Brothers Johnson funkified arrangement to the old standard "It Don't Mean A Thing (If It Ain't Got That Swing)" and in this case – I’m not so sure if it works (one for the purists to pull out tufts of hair or what they’ve got left of it). More successful is the pulsating R&B New Orleans Piano romp he radically applies to "Don't Get Around Much Anymore" – I love it (others will not). But my fave has always been his lounge-lizard slouch through "Mood Indigo" where he sounds like some barroom drawl at 2 in the morning when he’s just pleasing himself.

A clever pairing of albums - presented in beautiful sound and quality packaging – nice one Edsel and a must for Mac Rebennack fans..

“Creole Moon/N’Awlinz: Dis Dat Or D’Udda” by DR. JOHN (2015 Edsel/Rhino 2CD Reissue) - A Review by MARK BARRY...

"...Dear Old Southland..."

This is the 2nd 2CD set reissue by Edsel of the UK in 2015 covering DR. John's later output – namely the "Creole Moon" album from October 2001 and the June 2004 set "N'Awlinz: Dis Dat Or D'Udda" - both CDs being tributes by the Gris Gris Man to his spiritual home and beloved city of NEW ORLEANS.

UK released February 2015 - Edsel EDSK 7077 (Barcode 740155707736) has 2CDs in a card slipcase with a new 32-page colour booklet – Disc 1 being the 14-track "Creole Moon" album (68:31 minutes) while Disc 2 gives us the 18-tracks of "N'Awlinz: Dis Dat Or D'Udda" album (68:25 minutes). The other 2CD reissue in this series is "Anutha Zone" from 1998 and "Duke Elegant" from 2000 on Edsel EDSK 7076 (again reissued February 2015).

Like the "Anutha Zone/Duke Elegant" double - there is no remastering here (absolutely no need) - but there is a beautifully laid out 32-page booklet which features liner notes by PAUL MYERS and a new 2014 interview with the great man himself. Inbetween we get full musician credits, track-by-track breakdowns by Dr. John (on the Creole Moon album) and a huge range of impressive Guest Musicians – all clearly enjoying themselves.

The backing band for 2001's "Creole Moon" is what he called THE LOWER 9-11 – the group he had on "Duke Elegant" and in fact much of "Anutha Zone". They are Bobby Broom on Guitars, David Barard on Bass, Merman Ernest III on Drums with Ronnie Cuber on Saxophone.

DAVID "Fathead" NEWMAN plays Guest Saxophone on "Creole Moon", "You Swore" and "One 2 A.M. Too Many", virtuoso Slide Guitar player SONNY LANDRETH contributes to "Georgianna", "Monkey And Baboon" and "Take What I Can Get" while the legendary horn players FRED WESLEY of THE JB'S (James Brown's Backing Band) along with ERIC TRAUB arrange and play on "Food For Thot", "Litenin'", "One 2 A.M. Too Many" and "Money And Baboon".

The second New Orleans tribute set "N'Awlinz..." features a dizzying array of guests - duet vocals by MAVIS STAPLES on "When The Saints Go Marching In" and "Lay My Burden Down", CYRIL NEVILLE of THE NEVILLE BROTHERS sings on "Marie Laveau" and "Chicken La Pas", WILLIE TEE plays Keyboards on "Dis, Dat Or D'Udda", "Chicken La Pas" and "Shango Tango", the lifelong Fats Domino sideman DAVE BARTHOLOMEW plays Trumpet on "The Monkey" with Spoken Word by EDDIE BO. Further infusions come from RANDY NEWMAN who sings duet vocals on "I Ate Up The Apple Tree". Country and Blues legends WILLIE NELSON and SNOOKS EAGLIN sing and play guitars on "You Ain't Such A Much" – Blues Men B.B. KING and CLARENCE 'Gatemouth' BROWN sing and play Viola on "Hen Layin' Rooster" while B.B. KING and WILLIE NELSON double up as vocal buddies with the good Doctor on "Time Marches On".

The audio on these CD albums is exceptional – the slink and cool of "Marie Laveau" slithers out of your speakers in its New Orleans way for 6:50 minutes with The Creolettes providing soft-sung backing vocals – not too brash – not too forced – it's just perfectly judged. Beauty comes at you in the shape of the instrumental "Dear Old Southland" where Dr. John plays piano accompanied only by the lone trumpet of Nicholas Payton – it's a simple song that feels monumental and moving at one and the same time.

Both of these Edsel twofers have reminded me of why I loved this guy so much in the Sixties and Seventies – that mooch – that sly rhythm – that unique set of pipes and turn of phrase. Gorgeous sound, quality music and beautifully presented - recommended gumbo indeed...

"Orange Is The New Black - SEASON 3" on BLU RAY and DVD - A Review Of The Netflix TV Series Aired 2015...Amongst The Best TV Ever...

I can’t stop thinking about 2015's Season 3 of Orange Is The New Black.

If this amazing Netflix TV program continues on like this into Season 4 or even Season 5 – it will surely join the rarefied pantheon of American super television occupied by the likes of Breaking Bad, The Wire, The West Wing, The Sopranos, Boardwalk Empire, Mad Men, Homeland, Lost, Frasier, Rescue Me, The Newsroom, Girls, Northern Exposure, Boss, House Of Cards and Nurse Jackie (to name but a few) - as being the greatest television ever made. With quality like this on our goggleboxes - is it any wonder that fans have become disillusioned with movies and stopped going to the flicks – not wanting to be fleeced anymore by endless rehashes and safe bets that do the job but little else.  

“Orange” is ballsy, it's brave, it’s funny and it's gross too - every single episode taking chances and risks that British TV seems incapable of in 2015 because of the politically correct brigade and their self-serving gutlessness. This program relishes the unspoken and rarely touched upon subject matters - consistently going to awkward and embarrassing places. And yet it still manages to be human – to be warm – regularly stroking your intelligence with hurt, pathos and hard truths that few programs go anywhere near.

And it’s not popcorn prison either – not a laugh a minute for the sake of it. Like many I’ve become sickened and disillusioned with the sadistic slime of torture porn that now seems to regularly slither over much of Game Of Thrones - otherwise ruining a genuinely great TV Series. And although set in the brutalising world of American Prison for Women - “Orange Is The New Black” is different in its depiction of cruelty precisely because it goes in deep. The writers seem determined to explore what makes these women what they are and how the system affects them. Of course prison corrupts and dehumanises a soul (even if they are felons) but inside this pressure cooker, this cage of regret, grinding routines and demeaning tasks – the women develop bonds, friendships and even love. They pour over their pasts, their mistakes, and especially the people who claimed to be loved ones – parents, brothers and sisters. Painful truths are arrived at, mistakes acknowledged and the world beyond the fence longed for (a precious second chance). There’s sex, there’s no sex, there’s contact and there’s no contact – it’s a strange world of both. Inmates and Guards - each side struggles to maintain some semblance of humanity in a situation that sees both pitched against each other and a corporate ownership that only cares about quarterly share dividends.

You also have to talk about the staggering cast drawn from every ethnic background that makes up the stewing pot of American society. The opening credits feature extreme close-ups of a long line of women’s skins – ordinary, marked, spotty, tattooed, studded, pretty, scarred...all facing outwards like a mugshot to Ronnie Spektor’s aggressive theme song “You Have Time”. But even after that’s done the lead-in scenes will have maybe 10 to 15 more names come up on screen – almost all of them unknown to us. “Orange Is The New Black” has a massive ensemble-cast that is an Emmy-winning wonder to behold – so many new actors and actresses given amazing material that allows them all to shine.

Locked up in the fictional Litchfield Prison - Principal Leads Taylor Schilling as ‘Piper’ the preppy socialite caught carrying drugs for a street-savvy friend and lover Alex (Laura Prepon) and Kate Mulgrew as the butch Russian chef ‘Red’ who rules with a rod of iron - anchor each episode. But it’s their bunkmates that keep you watching – the mentally unhinged Crazy Eyes who writes space porn and is vulnerable to manipulation by prison bullies and voices in her head (a career making role for Uzo Aduba – won the Golden Globe), the expletive-spouting rehabilitating druggy redhead Nicky (stunning work from Natasha Lyonne), Burset the crossing-dressing hairdresser trying to hold onto a gender-confused son (a stunningly brave part by LaVerne Cox), the soft-hearted Dayanara playing by the beautiful Dashca Polanco, a simple Dominican women who falls pregnant to a guard who professes love but finds it difficult stepping up to the plate. Then there's the men who are all brilliant but special mention should go to Michael Harney as the plumb soft-spoken guidance counsellor Sam Healy who struggles with a cold Russian bride at home and his feelings for the inmate Red within - and Nick Sandow who brilliantly layers his flawed but essentially decent Prison Warden Joe Caputo - a middle-aged underachiever trying desperately to keep a lid on everything and everyone (including his staff's jobs). There's so many more...we'd be here for weeks...

The back-story for each inmate and each member of staff is intricate, well thought out and wholly believable. As the episodes go by and the tragedies multiply – you’re shown crappy housing projects, poor role models, no hoper cities and the easy ways to money. The textbook upbringings that virtually guarantee a fresh supply of new inmates in yellow are shown in graphic and uncompromising detail. And the music... There’s usually a singular song placed in each episode that gets woven in as a theme/backdrop. The choices run the full gamut of genres – Rock, Pop, Schlock, Theatre and Blues – often picking tunes that seem the most unlikeable candidate – yet they work (Blue Oyster Cult, Les Miserables, Foreigner). And that joyous scene by the lake in Episode 13 will stay with you...

First aired in the USA in July 2013 and written by Piper Kerman with a huge team of contributors who deserve all the accolades going - “Orange is The New Black” makes you care and think and laugh and wince and hurt – all at the same time. It’s also showing that women of all shapes, sizes, colours and backgrounds can bring in Hollywood type box-office numbers because the public is frankly sick of shallow and longs for substance like this.

“...I want to know what love is...” - the lyrics to that Foreigner ballad plays as the newbees arrive for the first day of incarceration - that look on their faces - lives wasted - maybe a second chance somewhere in the future...

“...I want you to show me...” – the singer continues. 

Well “Orange Is The New Black” does...