"Layla And Other Assorted Love Songs" by DEREK and THE DOMINOES featuring ERIC CLAPTON (March 2011 Universal/Polydor '40th Anniversary Deluxe Edition' 2CD Remasters) - A Review by Mark Barry...

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1960s and 1970s MUSIC ON CD - Volume 3 of 3

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As well as 1960s and 1970s Rock and Pop - It Also Focuses On

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"...Bell Bottom Blues..."

I had the 2004 single-disc SACD reissue of "Layla..." and was duly blown away by it (truly awesome audio). So why does anyone need a newly done 2CD 'Deluxe Edition' of this most iconic of double-albums? The answer is that the New 2010 Remaster on Disc 1 absolutely rocks - while the near sixty minutes of non-album single sides, live Johnny Cash Show material and aborted 2nd album outtakes on Disc 2 offer up solid thrills throughout and not just filler (most of it new to CD). In fact CD2 may be the very best 'Bonus Disc' to a Rock DE version that I've ever heard. Got me on my knees...Layla...here are the details...

UK released 21 March 2011 (26 April 2011 in the USA) – "Layla And Other Assorted Love Songs" by DEREK and THE DOMINOES on Universal/Polydor B0015353-02 (Barcode 600753314296) is a '40th Anniversary Deluxe Edition' 2CD Reissue that features Eric Clapton, Duane Allman, Bobby Whitlock, George Harrison, Dave Mason, Johnny Cash and Carl Perkins and plays out as follows:

Disc 1 (77:16 minutes):

1. I Looked Away [Bobby Whitlock and Eric Clapton song]

2. Bell Bottom Blues [Eric Clapton song]

3. Keep On Growing [Bobby Whitlock and Eric Clapton song]

4. Nobody Knows You When You're Down And Out [Jimmie Cox song, Bessie Smith cover]

5. I Am Yours [Eric Clapton song, Lyrics Adapted From A Nizami Poem]– Side 2

6. Anyday [Bobby Whitlock and Eric Clapton song]

7. Key To The Highway [Big Bill Broonzy cover]

8. Tell The Truth [Bobby Whitlock and Eric Clapton song] – Side 3

9. Why Does Love Got To Be So Sad? [Bobby Whitlock and Eric Clapton song]

10. Have You Ever Loved A Woman? [Billy Myles cover]

11. Little Wing [Jimi Hendrix cover] – Side 4

12. It's Too Late [Chuck Willis cover]

13. Layla [Eric Clapton and Jim Gordon song]

14. Thorn Tree In The Garden [Bobby Whitlock song]

Tracks 1 to 14 are the double-album "Layla And Other Assorted Love Songs" – released November 1970 in the USA on Atco SD 2-704 and December 1970 in the UK on Polydor 2625 005 (it peaked at No. 16 on the US charts – didn’t chart UK).

Disc 2 – BONUS DISC (58:32 minutes):

1. Mean Old World [Little Walter cover, Album Outtake]

2. Roll It Over [Eric Clapton and Bobby Whitlock song, Non-Album 7" B-side]

3. Tell The Truth [Eric Clapton and Bobby Whitlock song, Non-Album 7" A-side]

(Tracks 2 and 3 originally recorded in June 1970 at Abbey Road for the George Harrison "All Things Must Pass" sessions - both Produced by Phil Spector - single withdrawn)

4. It's Too Late - Live [Chuck Willis cover]

5. Got To Get Better In A Little While - Live [Eric Clapton song]

6. Matchbox - Live [Carl Perkins cover]

7. Blues Power - Live Encore [Eric Clapton & Leon Russell song]

Tracks 4 to 7 are Derek & The Dominoes 'live' on The Johnny Cash Show, taped 5 November 1970 at the Ryman Auditorium in Nashville, Tennessee. JOHNNY CASH and CARL PERKINS join the band for "Matchbox" only

8. Snake Lake Blues [Eric Clapton and Bobby Whitlock song]

9. Evil [Willie Dixon song, Howlin' Wolf cover]

10. Mean Old Frisco [Arthur 'Big Boy' Crudup cover]

11. One More Chance [Eric Clapton song]

12. Got To Get Better In A Little While Jam [Eric Clapton song, instrumental]

13. Got To Get Better In A Little While [Eric Clapton song, new 2010 vocal by Bobby Whitlock]

Tracks 8 to 13 are the April/May 1971 sessions at the Olympic Studios in London for the aborted 2nd LP (engineering by Andy Johns). The band was Eric Clapton, Bobby Whitlock, Carl Radle and Jim Gordon. Bobby Whitlock's vocals on Track 6 were recorded September 2010 in Austen, Texas especially for this release. All tracks remixed by the original engineer ANDY JOHNS in September 2010.

DEREK and THE DOMINOES were:

ERIC CLAPTON – Guitars, Lead Vocals

BOBBY WHITLOCK – Keyboards and Vocals

DUANE ALLMAN – Guitars (All Tracks except 1 to 3)

CARL RADLE – Bass and Percussion

JIM GORDON – Drums and Percussion

ALBHY GALUTEN – Guest Piano on "Nobody Knows You When You're Down And Out"

Despite how pretty these gatefold card digipaks can be – you have to say that the 12-page booklet is a surprisingly skimpy affair for a supposed 'DE' of an album as highly regarded as "Layla". The double-page photo spread (the inner gatefold of the original vinyl album) is reproduced on both flaps and the inner pages of the booklet with the other pages given over to track-by-track credits - and I'm afraid little else. There isn't any liner notes – no discussions of the supergroup's mercurial talent or its tortured discography – damn shame really. Having said that we are left with the sound and content on Disc 2 which will do very nicely indeed.

The September 2010 Remaster done at Universal Studios went back to the original British Master Tapes and long-time Audio Engineer ELLEN FITTON has done a stunning job. Motown fans will know of her staggering work with the Hip-O Select label out of the USA – all 14 of the massive ‘Complete Motown Single' Sets – 75 Volumes of CDs with 1847 tracks – so this experienced lady knows her way around an original tape box or two. The Audio is fabulous – really bringing out the layers.

While ERIC CLAPTON and DUANE ALLMAN always grabs the lion's share of attention (Allman is on 11 of the 14 tracks) – a quick glance at the writer credits above and you'll see that BOBBY WHITLOCK deserved just as many plaudits. Famously ignored in England (post Cream) and making only 16 in the US LP charts – Atco even had to issue 'Derek Is Eric' stickers to inform supposedly clueless punters as to the true identity of the 'head domino' on the sprawling 2LP set. In fact I've always thought that "Layla..." feels more like the studio double-album The Allman Brothers never made rather than a vehicle for Clapton's songs of love, passion and longing.

It opens with the mid-tempo but fairly nondescript "I Looked Away" - Clapton and Whitlock sharing the vocals with Whitlock's second-half-of-the-song croaking coming off the worst. Better is the more melodious "Bell Bottom Blues" – Clapton doubling up those guitars so well and that chorus sounding not unlike something released by Badfinger on The Beatles' Apple label. But the proper axe-wielding comes with the six and half minute ruckus of "Keep On Growing" where Clapton spends much of the song endlessly racing up and down the frets of several guitars – it's impressively dense, rocking and even a tad flashy. Time for some Blues to end Side 1 – the band call on a Jimmie Cox song made famous in 1929 by Bessie Smith on a Columbia 78" - "Nobody Knows You When You're Down And Out". It's the first time the distinctive slide of Duane Allman shows – and along with Whitlock's organ – they anchor every tune thereafter with great flits and licks - feeling like the second guitarist Clapton has always needed by his side.

The acoustic ditty "I Am Yours" has come in for some stick over the years but I'd argue its pretty (if not a little overly hissy here). "Anyday" is surely one of the great moments on the album – six and half minutes of Allman and Clapton on fire. Things lighten up considerably with the barroom boogie of Big Bill Broonzy's "Key To The Highway" – the band flexing their playing muscles for 9:38 minutes and enjoying it. Side 3 opens on another Clapton/Whitlock winner and future concert fave – the re-recorded "Tell The Truth". The album version of this guitar boogie weighs in at 6:30 minutes and is more measured than the frantic shorter original Phil Spector produced for the "All Things Must Pass" sessions (the 3:23 minute original recorded in June 1970 was slotted in for a supposed UK 7" single release in September 1970 but that was hastily withdrawn (that version is on Disc 2). "Tell..." is followed by the manic pace of "Why Does Love Got To Be So Sad?" - but it's resolutely trounced by the side finisher – "Have You Ever Loved A Woman". Recorded 2 September 1970 with Duane Allman taking on the 2nd solo – it's a blistering piece of Rock Blues from the pen of Billy Myles (made famous by Freddie King in 1961 on King Records). Clapton sings the "...so much you tremble in pain..." lyrics with such passion that you can literally feel it translate to his fingers – fabulous stuff and next to the title track – surely one of the album's true highlights.

But Side 4 opens with yet another sweetie – a Soulful ramshackle take on Jimi Hendrix's beautiful ballad "Little Wing". We get an "...ok hit it..." silly inclusion of the Chuck Willis hit on Atlantic Records "It's Too Late" which definitely feels like a throwaway. The title track however is another matter. The intense and forbidden love that dominates the lyrics of "Layla" may have come from the translation of the 12th Century Persian poet Nizami Ganjavi whose book speaks of the same. The duelling guitars of Allman and Clapton have become the stuff of legend in this seven-minute Rock Opus – and even to this day "Layla" sounds amazing – especially that wonderful keyboard break half way through. Following the album's release November 1970 in the USA but just prior to its issue in the UK (December 1970) – Polydor and Atco pulled what should have been their ace in the hole 45 – "Layla" b/w "Bell Bottom Blues". But alarmingly it garnished little attention on either side of the pond – genuinely odd nowadays considering what a classic the A-side was and is - and how ingrained into our musical psyche "Layla" as a song truly is. Just outside the Top 50 on initial release in the USA (51) – it would take until June 1972 for the song to get real chart action on reissue (Atco 6809) when it peaked at No. 10. A solo Eric Clapton Acoustic 'unplugged' version went even higher to No. 2 in October 1997 when he radically reworked the song to spectacular effect. The 1970 double album ends of another song that's been slagged off down through the years as sappy and even trite "Thorn Tree In The Garden" – a Bobby Whitlock original sung with his slightly annoying croak. I've always liked it and think the song as pretty an acoustic tune as you're ever likely to hear.

DISC 2 (Bonus Tracks):

It opens with a fantastic find – three members of the band doing a slide acoustic take on Little Walter's "Mean Old World". Clapton and Allman share bluesy guitar licks while Jim Gordon plays Drums (Eric sings Lead) – and it sounds utterly amazing. Two obvious Derek & The Dominoes exclusions from the 1990 '20th Anniversary' Edition 3CD set and not on the 2004 SACD reissue either were the stand alone single "Tell The Truth" b/w "Roll It Over" which I mentioned earlier. Polydor UK tried the original version of "Tell The Truth" (Track 3 on Disc 2) as a 7" single in September 1970 (Polydor 2058 087) with the non-album Clapton/Whitlock original "Roll It Over" (Track 2 on Disc 2) on the flipside – but then withdrew it at the band's insistence. Both tracks were originally recorded at Abbey Road in June 1970 for George Harrison's "All Things Must Pass" sessions. Both sides are produced by PHIL SPECTOR with the A-side "Tell The Truth" being a much shorter 3:23 minute version of the re-recorded 6:30 minute take that would eventually appear on the "Layla" double album. It's also frantically faster (I love it actually). But even "Tell..." is as nothing to the totally brilliant flipside "Roll It Over". Unlike the A – the B-side included the stellar talents of GEORGE HARRISON of The Beatles and DAVE MASON of Traffic both on Vocals and Guitar. Clapton takes lead vocals while Carl Radle plays Bass with Jim Gordon on Drums. What a winner this is...and collectable on so many fronts...

The live stuff on the Johnny Cash Show features an introduction by the mighty Johnny when he name-checks all four band-members (sans Duane Allman). The audio is far better than I thought it would be and Eric's playing very fluid especially on the stunning second track "Got To Get Better In A Little While" – a non Layla side that sees Clapton funking-out on Guitar much to the clapping audience's enthusiasm (screams for more). They return with Carl Perkins and Johnny Cash to do a cover of Perkin's boppin' classic "Matchbox". After an introduction and a vocal appreciation from Cash and Clapton – they launch into a joyous take of the song The Beatles loved and recorded. "...I'm an old poor boy and I'm a long way from home..." Cash and Perkins sing as Clapton lays into the most tasteful solo (its fabulous stuff). Then Eric agrees to do another song (huge applause) and pulls out the EC/Leon Russell original "Blues Power" where he and the band give the crowd six and half minutes of what they want.

As if these goodies aren't enough to put the release into five-star status – we get even more brilliance – 6 outtakes from the aborted 2nd LP recorded in London April/May 1971. "Snake Lake Blues" is an instrumental that you can't help feel was probably waiting for lyrics that never came. But whatever way you look it – Clapton's playing on "Snake..." is fantastic and the remastered audio just kicking (clear, warm and full). The same applies to a wickedly good version of Willie Dixon's "Evil" which he'd return to on his solo LPs. Fans will double take at the identikit Dobro sound on "Mean Old Frisco" – practically a doppelganger for the sound of the version that would turn up a full seven years later on Clapton's "Slowhand" LP. The same stunning audio (remixed by Andy Johns) applies to the superb acoustic boogie of "One More Chance" and the two ramshackle but wildly exciting versions of that Johnny Cash show stopper – "Got To Get Better In A Little While". The first is a Funky Jam instrumental at just under four minutes (utterly brilliant) while the full 6:05 minutes version has Bobby Whitlock's vocal mixed into it in September 2010 – a seamless job done too – wow!

For the insatiable there's even a Super Deluxe Edition version of this "Layla" reissue that gathers up the double live set that followed the album (sans Duane Allman), Surround Mixes, Single Sides and an awful lot of other stuff.

But if you want the short sharp shock – then this double-dose 2011 DELUXE EDITION of "Layla And Other Assorted Love Songs" is a superlative reminder of why people painted Derek's name on walls once upon a time..

"Just As I Am" by BILL WITHERS (2012 Big Break Records (BBR) '40th Anniversary' CD Remaster) - A Review by Mark Barry...

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"...Sooth The Local Unwed Mother..."

This is one of my favourite albums of the early Seventies - and at last - in 2012 - a mere 40 years after the event - "Just As I Am" by Bill Withers is finally getting the sound quality its always deserved and needed.

As a "Hall Of Fame" reviewer and long-time contributor to Amazon - I've raved about Britain's BIG BREAK RECORDS before and have bought and reviewed over 40 of their reissue titles. Each has been uniformly superb - especially for those of us looking for great sound quality rather than the half-hearted efforts thrown at us by the majors (when they can be bothered). But BBR has excelled in every way on this lovely and timely reissue. The remaster on this sucker is TRULY GORGEOUS - and after decades of the occasional track on a compilation in only-ok sound - fans of this great songwriter will be duly taken aback by the clarity on offer here. Here are the details...

UK released 7 May 2012 as a '40th Anniversary' issue (15 May 2012 in the USA) – "Just As I Am" by BILL WITHERS on Big Break Records CDBBR 0143 (Barcode 5013929044333) is a straightforward CD Remaster of his debut album and plays out as follows (35:41 minutes):

1. Harlem

2. Ain’t No Sunshine

3. Grandma’s hands

4. Sweet Wanomi

5. Everybody’s Talkin'

6. Do It Good

7. Hope She’ll Be Happier – [Side 2]

8. Let It Be Me

9. I’m Her Daddy

10. In My Heart

11. Moanin' And Groanin'

12. Better Off Dead

Tracks 1 to 12 are his debut album "Just As I Am" - released May 1971 in the USA on Sussex Records SXBS-7006 and June 1971 in the UK on A&M Records AMLS 65002.

SINGLES: Although there are no bonus tracks or outtakes - this release will allow fans to sequence the two USA 7" singles that were released around the album - "Ain't No Sunshine" b/w "Harlem" on Sussex 219 (June 1971 - originally issued in April 1971 with the same catalogue number - but with the tracks reversed) - and "Grandma's Hands" b/w "Sweet Wanomi" on Sussex 227 (October 1971). Britain had slightly different configurations - "Everybody's Talkin'" b/w "Harlem" on A&M Records AMS 845 (May 1971), "Ain't No Sunshine" b/w "Harlem" on A&M Records AMS 858 (September 1971) and "Lean On Me" b/w "Better Off Dead" on A&M Records AMS 7004 (August 1972) [the A-side is on the Sony Legacy CD of his 2nd album "Still Bill"].

This reissue comes in one of those rounded-corner jewel cases and has a jam-packed 16-page booklet with liner notes by Washington-born Soul aficionado RICO "SUPERBIZZAE" WASHINGTON (Editor of the US magazine "Free"). There's a history of the West Virginia Soulman's humble beginnings, label repros of the two Sussex singles off the album and collected colour photos from various TV appearances at the time. The front sleeve was actually shot on a lunch-break from his job at the airlines - lunch-pail in hand. And there's even an interview with the great man (recently featured on a superb BBC documentary film). It's really nicely done and features recording details and album discography on the last pages. But the real news is the SOUND...

Remastered from 1st generation tapes by both NICK ROBBINS at Sound Mastering in London and BBR's own WAYNE A DICKSON at their own studios - the clarity is beautiful. "Just As I Am" is not so much Funky-Soul but more Folk-Soul - so a lot of the tracks have just acoustic guitars and lots of air around them. I went through so many copies of the (frankly dodgy) US Sussex LP and even the British A&M tan label original - and they were always good rather than great - and in some instances hissy as Hell. Not so here. It hasn't been trebled to the nines for the sake of it - it's just breathing.

Right from the off the acoustic guitars and drums on "Harlem" are amazing - as are the strings, soft bass and vocals on his masterful "Ain't No Sunshine" - all so sweet. The fantastically personal and socially aware "Grandma's Hands" still has the power to move (lyrics above) and it's a blast to finally get unheard gems like "Hope She'll Be Happier", "I'm Her Daddy" and "Moanin' And Groanin'" in top-notch sound quality. In fact of the 12 tracks - Withers impressively wrote 10 - the two covers being Fred Neil's "Everybody's Talkin'" (made famous by Nilsson in "Midnight Cowboy") and a very nice uptempo soul take on The Beatles' "Let It Be". Favourites - I particularly love "Do It Good" where the MG's play a blinder in terms of sheer slinky feel. And even though the gunshot at the end of "Better Off Dead" is still too abrupt - it's such a great tune. Yes folks. Love it. Love it. Love it.

If ever an artist deserved praise and rediscovery from this classic Soul period - then it's Bill Withers. For me this is 'Soul Reissue Of The Year' with a bullet.

Buy it and enjoy. And remember - "it's not warm when she's away...only darkness every day..."

PS: Big Break Records (BBR) CD Remasters I’ve reviewed to 2015:

1. Is It Still Good To Ya – ASHFORD and SIMPSON (1978)

2. Stay Free – ASHFORD and SIMPSON (1979)

3. Central Heating – HEATWAVE (1977)

4. Hot Property - HEATWAVE (1979)

5. Candles - HEATWAVE (1980)

6. Turnin' On - HIGH INERGY (1977)

7. Harvest For The World - THE ISLEY BROTHERS (1976)

8. Go For Your Guns - THE ISLEY BROTHERS (1977)

9. In The Heart – KOOL & THE GANG (1983)

10. I Hope We Get To Love On Time - MARILYN McCOO & BILLY DAVIS (1976)

11.  I Miss You - HAROLD MELVIN & THE BLUE NOTES (1972) [known as "Harold Melvin The Blue Notes" in the UK]

12. Black & Blue - HAROLD MELVIN & THE BLUE NOTES (1973)

13. Love Is The Message - MFSB (1973)

14. Universal Love – MFSB (1975)

15. All The Faces Of... - BUDDY MILES (1974)

16. For The First Time – STEPHANIE MILLS (1975)

17. I Can See Clearly Now - JOHNNY NASH (1972)

18. In Philadelphia - O'JAYS (1969)

19. Back Stabbers - O'JAYS (1972)

20. Ship Ahoy - O'JAYS (1973)

21. Down To Love Town – THE ORIGINALS (1977)

22. Ebony Woman - BILLY PAUL (1970 and 1973)

23. 360 Degrees Of Billy Paul - BILLY PAUL (1972)

24. War Of The Gods - BILLY PAUL (1973)

25. Platinum Hook – PLATINUM HOOK (1978)

26. Love For What It Is - ANITA POINTER (of The Pointer Sisters) (1987)

27. Live: Stompin’ At The Savoy – RUFUS and CHAKA KHAN (1983)

28. Summernights – SILVER CONVENTION (1977)

29. Smoked Sugar - SMOKED SUGAR (1975)

30. Spinners – SPINNERS (1973)

31. Soul Master – EDWIN STARR (1968)

32. Involved - EDWIN STARR (1971)

33. Switch - SWITCH (1978)

34 Watercolors – THE WATERS (1980)

35. Just As I Am - BILL WITHERS (1971 Debut LP on Sussex/A&M Records)

36. Heartbeats – YARBROUGH & PEOPLES (1983)

PPS: see also my in-depth review for "The Complete Sussex And Columbia Albums" 9CD Box Set also from 2012...

"Crime Of The Century" by SUPERTRAMP (2014 Universal/A&M '40th Anniversary' 2CD DELUXE EDITION – Ray Staff Remasters) - A Review by Mark Barry...

"...Nobody's Fool..."

Last time I played Supertramp's 1974 breakthrough album "Crime Of The Century" - it was the Greg Calbi Remaster of 2002 – and along with his stunning transfer of "Breakfast In America" in 2010 – I thought I'd heard all I needed to hear.

But the big draw in 2014 for Tramp fans will be a double-dip - Remaster Engineer of the moment RAY STAFF - and a decent-sounding concert of near eighty-minutes from that most productive of times for this most British of bands. 

Staff handled the 2013 Remaster of Bowie's 1973 LP "Aladdin Sane" and the stunning 2015 "Five Years: 1969 to 1973" 12CD Box Set - both to huge critical acclaim – bringing life and new warmth to a catalogue that's been done to death over the years. In fact Staff's name (like Steve Wilson of Porcupine Tree) has become synonymous with care – less flash and more subtlety - dig out those nuances and let them breathe. And for this 40th Anniversary 2CD DELUXE EDITION of Supertramp's 1974 audiophile masterpiece "Crime Of The Century" – that’s pretty much what you get. Let’s get behind the bars of this wickedly good reissue...

UK and US released December 2014 – "Crime Of The Century: Deluxe Edition" by SUPERTRAMP on Universal/A&M Records 0600753307885 (Barcode is the same) is a '40th Anniversary' 2CD Remaster and plays out as follows:

Disc 1 (44:20 minutes):

1. School [Lead Vocals Roger Hodgson and Richard Davies]

2. Bloody Well Right [Lead Vocals Richard Davies]

3. Hide In Your Shell [Lead Vocals Roger Hodgson]

4. Asylum [Lead Vocals Richard Davies]

5. Dreamer [Lead Vocals Roger Hodgson] - Side 2

6. Rudy [Lead Vocals Richard Davies and Roger Hodgson]

7. If Everyone Was Listening [Lead Vocals Roger Hodgson]

8. Crime Of The Century [Lead Vocals Richard Davies]

Tracks 1 to 8 are their 3rd album "Crime Of The Century" – released September 1974 in the UK on A&M Records AMLS 68258 and November 1974 in the USA on A&M SP 3647. Roger Hodgson and Richard Davies wrote all the songs with Strings arranged by Richard Hewson. KEN SCOTT and JOHN JANSEN engineered the album with KEN SCOTT producing in conjunction with the band. "Crime Of The Century" peaked at No. 4 in the UK album charts (November 1974) and No. 38 in the US (December 1974).

Disc 2 – "Live At The Hammersmith Odeon, March 9th 1975" (73:58 minutes):

1. School

2. Bloody Well Right

3. Hide In Your Shell

4. Asylum

5. Sister Moonshine

6. Just A Normal Day

7. Another Man's Woman

8. Lady

9. A – You're Adorable

10. Dreamer

11. Rudy

12. If Everyone Was Listening

13. Crime Of The Century

SUPERTRAMP was:

ROGER HODGSON – Vocals, Guitars, Pianos

RICHARD DAVIES – Vocals, Keyboards, Harmonics

JOHN ANTHONY HELLIWELL – Saxophones, Clarinets, Vocals

DOUGIE THOMSON – Bass

BOB C. BENBERG – Drums, Percussion

The glossy gatefold digipak folds out to reveal those familiar snaps of our boys standing naked with their top-hat and tails in hand – staring upwards at the stars in the sky. It’s also nice to see that the lyric insert that came with originals of the LP is fully reproduced in the booklet – including its  'who sings lead on what track' colour-coded typeface. The 24-page booklet also has genuinely enlightening liner notes from PHIL ALEXANDER (Editor in Chief with The MOJO Magazine) along with period photos of the band, promo items relating to the LP, a rare tour program with Procol Harum and even a January 1974 internal letter from Gil Friersen cautiously optimistic that with the new material – A&M Records might even have a new Led Zeppelin or ELP on their hands.

The new 2014 RAY STAFF/WYNE DAVIES Remaster was done at Air Studios - while the near-audiophile sounding live gig from 1975 was mixed from original tapes by the album's original producer KEN SCOTT. The results are far more measured – almost underwhelming at first. There’s a subtlety to the rhythm section – the bass and drums not as bombastic – yet when the keyboards do kick in – you feel it – very tasteful. Let's get to the music...

Famously taking six months to record in three different studios – and after two failed attempts at capturing the public's affection with "Supertramp" and "Indelibly Stamped" in 1970 and 1971 – it seems all were on board to deliver a third album that would astound and finally realise the band's obvious potential. And they did. UK released in September 1974 - momentum saw the LP finally peak at No. 4 in November with the 7" single "Dreamer" making it to No. 13 the following month (AMS 7152 featured "Bloody Well Right" on the flip-side). Released in February 1975 - the American 45 of "Dreamer" (their first hit Stateside) was even given a picture sleeve (the album cover) - peaking at No. 35 in May of that year on the Pop Charts. The album made No. 38 Stateside in December 1974 but continued to sell steadily into early 1975 due to the single's exposure and positive press...

Even as "School" fades in with that lonesome harmonica wail – you can hear the clarity and when it finally punches in proper after the "...he's coming along..." lyric – the wallop is fantastic. The bass and bottom end is warm and defined – and those brilliant breaks – the guitar solo before the huge piano solo at 3:16 minutes is masterful stuff. After the shared vocals on "School" - Richard Davies takes the lead vocal solo on the caustic and terribly school-British "Bloody Well Right". Fun for sure but I suspect many fans will bypass that for one of the LP's true nuggets "Hide In Your Shell" – 6:47 minutes of pure Supertramp. "...Don't let the tears linger on the inside now..." - the hurting singer pleads – trying to hide internal doubt and pain from a world that doesn't understand its nature. More ambitious mini-opera comes with "Asylum" – those piano notes so beautifully clear. But for me it's always been "Rudy" on Side 2 that puts the album into superstar class. The musical changes – the clever instrumental arrangements – the melodramatic duelling voices half way in – and that sly train announcement from Paddington Station that mentions Redding, Didcot and Swindon – the last two being Richard and Roger's home towns at the time. And of course the wicked piano hook in the final track "Crime Of The Century" – accomplished and undeniable...

The March 1975 live gig features 1974's "Crime Of The Century" in its entirety and a smattering of new tracks from what would have been their 4th album to be released in November of that year - "Crisis? What Crisis?" Despite the near audiophile clarity (they set out to be this way) – I have to admit that I find much of the gig strangely lifeless. The work-in-progress version of "Sister Moonshine" hadn’t as yet featured all those big 12-string guitars at its centre – so it's good rather than being great. The live version however of "Rudy" is mightily impressive as is "Just A Normal Day" and the crowd are loving the whole of Crime's Side 2 finishing the concert is exact chronological order. I've been replaying it these last few days - so maybe it's growing on me...

"Crisis? What Crisis" in 1975 and "Even In The Quietest Moments" in 1977 would cement Supertramp’s grown-up adult Rock rep during the harsh Punk years – only to have the last laugh in 1979 with their mega crossover album "Breakfast In America" - which indeed conquered that continent big time where so many bands before them had tried and failed to do so. 

But it all started here...and this 2014 DE of Supertramp's "Crime Of The Century" (priced at under £8 on Amazon in 2016) is where you should start too...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 245 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

"Whatevershebringswesing" by KEVIN AYERS (2003 EMI 'Expanded' CD Remaster) - A Review by Mark Barry...

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"…No Eggsplanation…"

I’ve still no idea what the nonsensical title means and frankly who gives a rat's ass. Part genius - part hard work – Kevin Ayers has had a solo career to envy and his third solo album "Whatevershebringswesing" from 1971 was the beginning of an astonishing run of albums that ran into the later Seventies with Island Records. As brilliant and as prolific as his fellow Harvest Records label mate Roy Harper – he’s also as eclectic and infuriating as say Robert Wyatt or even Ivor Cutler. But would we have our heroes any other way… Here are those funny smelling cigarettes…

Released June 2003 - "Whatevershebringswesing" by KEVIN AYERS on EMI 07243-582778-2-1 (Barcode 724358277821) is an 'Expanded CD Remaster' and plays out as follows (51:26 minutes):

1. There Is Loving/Among Us/There Is Loving
2. Margaret
3. Oh My
4. Song From The Bottom Of A Well
5. Whatevershebringswesing [Side 2]
6. Stranger In Blue Suede Shoes
7. Champagne Cowboy Blues
8. Lullaby
Tracks 1 to 8 are his 3rd album "Whatevershebringswesing" by KEVIN AYERS released January 1972 in the UK on Harvest Records SHVL 800 in a textured gatefold sleeve

BONUS TRACKS:
9. Stars - the non-album B-side to "Stranger In Blue Suede Shoes" - a UK 7" single released 27 August 1971 on Harvest HAR 5042
10. Don't Sing No More Sad Songs
11. Fake Mexican Tourist Blues – 9 and 10 recorded 1972 - finally released on the UK compilation LP "Odd Ditties" released February 1976 on Harvest Heritage SHSM 2005
12. Stranger In Blue Suede Shoes - an Early Mix/9 July 1971 - Previously Unreleased

The 16-page booklet has superb liner notes by fan and musicologist MARK POWELL - a name many will know well from his stellar work on the Esoteric Label and the Underground/Prog 3CD Box Sets covering the Polydor, Vertigo, Deram and Decca labels for Universal. But the big news is a fabulous remaster by the album's original engineer PETER MEW. It was done at Abbey Road in February 2003 from original tapes and the audio quality is amazing.

When the opening 3-part string-laden "There Is Loving/Among Us/There Is Loving" exits your speakers - your hit with a sonic clarity that is wonderful and the real beauty of David Bedford's wonderfully lush string arrangements. Ayers made special mention of it on the album's inner gatefold. Both "Margaret" and "Oh My" come on as dainty old English ditties after the complex opener - but are lovely in their melodies - evocative of a vaudeville England long since past. I've always hated the dark and suffocating noisescapes of the Side 1 closer "Song From The Bottom Of A Well" - a song that does exactly what it says on the tin. It can stay down there...

Side 2 opens with the title song - the curiously titled "Whatevershebringswesing" which after the drubbing of 'well' comes as a blessed relief - bolstered so subtly by girly 'oohs' and a fantastically complimentary twin vocal half way through from ROBERT WYATT. Everyone's favourite spliff song follows - the wonderful and funny "Stranger In Blue Suede Shoes" - a song with lyrics that make me laugh to this day. MIKE OLDFIELD and his distinctive guitar style add much to "Champagne Cowboy Blues" while babbling water gurgles throughout the melodious finisher "Lullaby" - a gorgeous little ditty and a great way to finish the album. The four extras are worthy of the moniker 'bonus' - especially the 'early mix' of "Stranger" which is fascinating to hear.

Like his first LP for Island Records in 1974 - the brilliant and druggy dark "The Confessions Of Dr. Dream And Other Stories" - "Whatevershebringswesing" is the very definition of a 'cult' album. You either love it or dismiss it as one of 'those' Seventies records. I've always thought it genius - a bit like the man himself - and this superb EMI remaster does that defiantly English oddity a solid. As Kevin says on the "Stranger In Blue Suede Shoes" track during the fade out - "...thank you very much..."

PS: see also my reviews for "Bananamour" (1973), "The Confessions Of Dr. Dream And Other Stories" (1974), "Sweet Deceiver" (1975) and "Yes We Have No Mananas" (1976)

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 245 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

This review and hundreds more like it can also be found in my SOUNDS GOOD Music Book: 1960s and 1970s MUSIC Volume 2 - Exceptional CD Remasters. 

It contains over 210 in-depth reviews (a whopping 2400+ e-Pages) and is available to buy/download at Amazon at the following link...

"The Essential Albums Collection" by AL GREEN (2016 Hi Records/Fat Possum 5CD Box Set Remasters) - A Review by Mark Barry...

"...Love Is Like The Morning Sun..." 

Al Green uses his wonderfully expressive voice like a sex machine - purring like a cat as he begs and testifies, growling like a bear as he leers – finally caressing a note until he squeezes the pips out of that sucker – while all the time chuckling salaciously during someone else's guitar solo.

Just re-listening to the "Al Green Gets Next To You" LP from 1971 inside this simple but effective Fat Possum Records 5CD Box Set (under exclusive license from Hi Records) and you’re struck by three things - (a) his fabulous voice and how he used it (b) the sheer strength of the material on offer here whether it be a dancefloor shuffler or a pull-you-close ballad and (c) how truly fabulous the remastered audio quality is. All five of these CDs sound like the BOB NURBERG versions done for The Right Stuff label in 2003 (although it doesn't say who mastered what or where anywhere on this release).

The glossy clamshell box is pretty to look at (tactile to the touch too) while the slightly oversized matt 5" card repro sleeves on the inside (all singular) simply depict the back and front artwork of the American Hi Records albums (the US album track configuration are used which are different for the first two releases in the UK – see Notes). There's a skimpy two-page inlay with very basic liner notes by BOB MEHR. But none of that simplicity/lack of even writer credits stops this set from being a total winner and a comely reminder of his superb contributions to Soul Music in general. Time for big Al Green to 'get next to you'...

UK released Friday, 29 January 2016 (February 2016 in the USA) – "The Essential Albums Collection" by AL GREEN on Hi Records/Fat Possum FP1532-2 (Barcode 0767981153223) is a 5CD Clamshell Box Set and plays out as follows:

Disc 1 "Al Green Gets Next To You" (33:12 minutes):

1. I Can't Get Next To You [Barrett Strong & Norman Whitfield song, Temptations cover]

2. Are You Lonely For Me Baby [Bert Barns cover]

3. God Is Standing By [Johnnie Taylor cover]

4. Tired Of Being Alone [Al Green]

5. I'm A Ram [Al Green & Mabon Hodges]

6. Driving Wheel [Roosevelt Sykes cover] – Side 2

7. Light My Fire [The Doors cover]

8. You Say It [Al Green]

9. Right Now, Right Now [Al Green]

10. All Because [Al Green]

Tracks 1 to 10 are his 3rd album "Al Green Gets Next To You” – released August 1971 in the USA on Hi Records SHL 32062 and November 1971 in the UK on London SHU-8424. The UK album had 14 tracks as opposed to the US version with 10 – British pressings added "My Girl" and "Get Back" onto the end of Side 1 and "The Letter" and "One Woman" onto the end of Side 2. All four tracks came from his 2nd album "Green Is Blues" released April 1969 in the USA (his first album on Hi Records) - unfortunately they're not covered by this box set. If you want them your best buy is the 2003 Bob Norberg CD remaster of the "Green Is Blues" album on The Right Stuff label.

Disc 2 "Let's Stay Together" (34:10 minutes):

1. Let's Stay Together

2. La-La For You

3. So You're Leaving

4. What Is This Feeling?

5. Old Time Lovin'

6. I've Never Found A Girl (Who Loves Me Like You Do) [Eddie Floyd cover] – Side 2

7. How Can You Mend A Broken Heart [Bee Gees cover]

8. Judy

9. It Ain't No Fun To Me

Tracks 1 to 9 are his 4th album "Let's Stay Together" – released January 1972 in the USA on Hi Records SH-32070 and March 1972 in the UK on London SHU-8430.

The UK LP had 11 tracks compared to the US tally of 9 and they were not just rejiggered but featured songs not on this box set:

1. Let's Stay Together [1]

2. I've Never Found A Girl [6]

3. So You're Leaving [3]

4. It Ain't No Fun To Me [9]

5. Talk To Me, Talk To Me

6. Old Time Lovin' [5]

7. Judy [8] – Side 2

8. What Is This Feeling [4]

9. Tomorrow's Dream

10. How Can You Mend A Broken Heart [7]

11. La-La For You [2]
Notes: the two missing tracks "Talk To Me..." and "Tomorrow's Dream" are on the "Green Is Blues" CD reissue mentioned in the Notes for Disc 1. 

Disc 3 "I'm Still In Love With You" (35:30 minutes):

1. I'm Still In Love With You

2. I'm Glad You're Mine

3. Love And Happiness

4. What A Wonderful Thing Love Is

5. Simply Beautiful

6. Oh, Pretty Woman [Roy Orbison cover] – Side 2

7. For The Good Times [Kris Kristofferson cover]

8. Look What You've Done For Me

9. One Of These Good Old Days

Tracks 1to 9 are his 5th album "I'm Still In Love With You" – released October 1972 in the USA on Hi Records SHL 32074 and December 1972 in the UK on London SHU-8443 (both US and UK LPs had the same track configuration)

Disc 4 "Call Me" (35:32 minutes):

1. Call Me (Come Back Home)

2. Have You Been Making Out OK

3. Stand Up

4. I'm So Lonesome I Could Cry [Hank Williams cover]

5. Your Love Is Like The Morning Sun

6. Here I Am (Come And Take Me) – Side 2

7. Funny How Time Slips Away [Willie Nelson cover]

8. You Ought To Be With Me

9. Jesus Is Waiting

Tracks 1 to 9 are his 6th album "Call Me" – released April 1973 in the USA on Hi Records XSHL 32077 and October 1973 in the UK on London SHU 8457 (both US and UK LPs had the same track configuration)

Disc 5 "The Belle Album" (39:22 minutes):

1. Belle

2. Loving You

3. Feels Like Summer

4. Georgia Boy

5. I Feel Good – Side 2

6. All 'n' All

7. Chariots Of Fire

8. Dream

Tracks 1 to 8 are his 12th album "The Belle Album" – released December 1977 in the USA on Hi Records HLP 6004 but delayed in the UK until September 1979 on Pye/Hi Records HLP 6004 (both US and UK LPs had the same track configuration)

Thinking about it - if you were to program a 'mini' Greatest Hits for Al Green or just wanted to know how good he really was back in the day – simply chuck the entire "...Gets Next To You" album from 1971 onto a CD and be done with it. What a winner this Long Player is. Apart from the obvious monster hits like his own "Tired Of Being Alone" (superlative remaster, brass, guitar and backing singers all clear and present) and "I Can't Get Next To You" (a cover of a Temptations No. 1 from 1969 written by Barrett Strong & Norman Whitfield) – there's the album nuggets like the pure Al Green-boogie of "I'm A Ram" (co-written with guitarist Mabon Hodges) or his brilliant take on "Driving Wheel" by Roosevelt "The Honeydripper" Sykes. Hell even his Soulful cover of "Light My Fire" by The Doors works. And how lovely is Johnnie Taylor's "God Is Standing By" – a holy song that manages to be just that and not cloying schlock. And his run of three originals finishing Side 2 – "You Say It", "Right Now, Right Now" and "All Because" – artfully produced by his long-time musical partner Willie Mitchell and brill - the whole damn lot of it...

Legend has it that Willie Mitchell brought in a bunch of whinos that used to hang outside the recording studio making them Al's impromptu audience as he sang the brilliant "Let's Stay Together" (apparently if you listen closely in the centre passage you can hear the clink of bottles and the shuffle of bodies swaying to the beat). And his cover of The Bee Gees weepy "How Can You Mend A Broken Heart?" is masterful stuff – genuinely moving. Other album nuggets include Green's own "Old Time Lovin'" which Boz Scaggs did a wicked cover version of on his 1972 Columbia album "My Time" – and his happy take on Eddie Floyd's Stax hit "I've Never Found A Girl" lays down a groove that is just so damn irresistible...

The production values seem to go through the roof for the second LP from 1972 – "I'm Still In Love With You" – here in fabulous Audio. Dig that guitar and hooky organ intro to "Love And Happiness" – the album version stretching to 5:07 minutes. Even now that groove gear he gets into about two minutes in still slays me – the guitar – the brass jabs and the girls - truly fabulous Seventies Soul. And similar to the superb "Call Me" album that followed – ballads like "What A Wonderful Thing Love Is" just sort of turn up and wheedle their way into your heart. The only slightly clunky moment on "I'm Still In Love With You" comes with his awkward cover of Roy Orbison's classic "Oh, Pretty Woman" – a 60ts sound so engrained in our consciousness that no amount of updating in any genre does it justice. Things get better with Kris Kristofferson's wistful "For The Good Times" where Green makes you feel the ache - and even that it was his song all along.

Released in May 1973 in the USA (November in the UK) – the sheer class of the "Call Me" album has always been something of an unknown classic - truth be told. Deep Soul circles revere it as much as say Marvin's "Let's Get It On" from that same year or even Stevie Wonder's "Innervisions" – and stunning smoochers like "Have You Been Making Out OK" don't date – only getting better as the years pass (the audio quality on this will floor you from the get go). London tried two 45s in Britain – "Call Me (Come Back Home)" b/w "What A Wonderful Thing Love Is" on London HLU 10406 in February 1973 and "Here I Am (Come And Take Me)" b/w "I'm Glad You're Mind" on London HLU 10426 in July 1973 – but despite the strength of all four sides – amazingly the normally Soul-savvy British public didn't chart either. Again Green takes two giant names from another arena of music – Country stars you'd never associate with Soul and does covers that covert each – "I'm So Lonesome I Could Cry" for Hank Williams and "Funny How Time Slips Away" for Willie Nelson. And surely the groove in "Here I Am (Come And Take Me)" is his best ever. "Jesus Is Waiting" – the lovely and heartfelt album finisher gives yet another nod towards his secular beliefs that would eventually take over his music and life entirely.

You could argue that it’s a sneaky choice not including one of the five albums that naturally followed after 1973's "Call Me" as Disc No. 5 – "Livin' For You" and "Al Green Explores Your Mind" (both 1974), "Al Green Is Love" (1975), "Full Of Fire" and "Have A Good Time" (both 1976) – instead giving us the largely forgotten LP "The Belle Album" from late 1977. But I'd argue that despite its weakness - it still has its moments. Moving away from his long-time association with Willie Mitchell – Green wrote all the songs and co-produced with Rueben Fairfax, Jr (the album is dedicated to his father). "...Belle..." is still deeply Soulful in style as an album but of course has religion in tracks like "Loving You" which has Al thanking the Lord for his children and the light in his life ("...switched on something inside my head..."). The seven-minute Side 1 finisher "Georgia Boy" is deeply Funky too – a nice builder with a killer Bass Line throughout and an unusual vocal from Green. The extraordinarily delicate high falsetto on "Dream" is so pretty too as the tune swirls to its seven and a half minute end in a sort of infectious daze...

Despite the slight let up on quality for Disc 5 – 2016's "The Essential Albums Collection" by AL GREEN offers more than enough proof of his genius and why he’s held in such affection to this day. Let's Stay Together...Amen To That Baby...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is SOUL, FUNK & JAZZ FUSION - an E-Book with over 240 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap).