"The Smile Sessions" by THE BEACH BOYS (2011 Capitol '2CD' Mini Box Set Remasters) - A Review by Mark Barry...

"...Giving Me Excitations..."

Although I think the never-released Beach Boy's LP "Smile" is a victim of gross over-importance by historical revisionists (there's an awful lot of meandering faff on here – segments rather than actual songs) – on the evidence presented in this sweet sounding mini box set – there's an actual album lurking about in there somewhere. God only knows - but let's go try and find it...

UK released 31 October 2011 (November 2011 in the USA) – "The Smile Sessions" by THE BEACH BOYS on Capitol 5099902766324 (Barcode the same) is a 2 x HDCD Mini Box Set with a 36-Page Booklet, 15" x 20" Fold-Out Poster and a 'Smile' Button. It plays out as follows:

Disc 1 (79:20 minutes):

1. Our Prayer

2. Gee

3. Heroes And Villains

4. Do You Like Worms (Roll Plymouth Rock)

5. I'm In Great Shape

6. Barnyard

7. My Only Sunshine (The Old Master Painter/You Are My Sunshine)

8. Cabin Essence

9. Wonderful

10. Look (Song For Children)

11. Child Is Father Of The Man

12. Surf's Up

13. I Wanna Be Around/Workshop

14. Vega-Tables

15. Holidays

16. Wind Chimes

17. The Elements: Fire (Mrs. O'Leary's Cow)

18. Love To Say Dada

19. Good Vibrations

BONUS TRACKS:

20. You're Welcome

21. Heroes And Villains (Stereo Mix)

22. Heroes And Villains Sections (Stereo Mix)

23. Vega-Tables Demo

24. He Gives Speeches

25. Smile Backing Vocals Montage

26. Surf's Up 1967 (Solo Version)

27. Psycodelic Sounds – Brian Falls Into A Piano

Disc 2 (64:06 minutes):

1. Our Prayer "Dialogue" (9/19/66)

2. Heroes And Villains (Part 1)

3. Heroes And Villains (Part 2)

4. Heroes And Villains: Children Were Raised (1/27/67)

5. Heroes And Villains: Prelude To Fade (2/15/67)

6. My Only Sunshine (11/14/66)

7. Cabin Essence (10/3/66)

8. Surf's Up: 1st Movement (11/4/66)

9. Surf's Up: Piano Demo (12/15/66)

10. Vega-Tables: Fade (4/12/67)

11. The Elements: Fire Session (11/28/66)

12. Cool, Cool Water Version 2 (10/26-10/29/67)

13. Good Vibrations Session Highlights

Some have moaned about the hard card sleeves inside housing the 2 CDs (put the discs in protective plastics) – I think they look and feel great. I also love the way Capitol have given the "Smile" album that Capitol T 2580 catalogue number and what would have approximated its probable artwork (even if the track list on the rear is confusing). You certainly can't complain either about a near 80-minute playing time on Disc 1. The 36-page booklet is a chunky affair offering Brian Wilson's "Music is God's Voice" liner notes at the beginning - followed by some vacuous assessment of "Smile" by Tom Nolan which goes into 'myth' and 'artefact' babble. There's a plethora of period colour photos followed by lyrics for everything and detailed notes on the tortuous transfer process by compilation producers MARK LINETT, ALAN BOYD and DENNIS WOLFE. They explain that digital editing has now allowed Capitol to 'splice' the album together making sense of Brian Wilson's 'modules' of music (as he liked to call them).

The AUDIO is fabulous – Mixed and Mastered by MARK LINETT at 'Your Place Or Mine Recording' in Glendale, California (edited by ALAN BOYD). This is as clean and vibrant as I've ever heard this much bootlegged material - and the bare piano demo of "Surf's Up" on Disc 2 is a stupendous remaster.

It opens with what could only be track one – the beautiful Acapella "Our Prayer" – one minute and five seconds of gorgeous Beach Boys harmonies – like an opening salvo to a masterpiece. Personally I sequenced "Surf's Up" (which I would have called 'Brother John') next – surely one of the truly great finished songs on "Smile". Equally brill and complicated is the 4:52 minute version of the mammoth "Heroes And Villains". I personally like to follow that with the monk-like chant of "Love To Say Dada". I also dig the pretty clavinet 60ts feel to "Wonderful". And of course we then get the big one – "Good Vibrations". Having grown up like everyone else with the October 1966 seven-inch single mix at 3:59 minutes – how weird is it to hear this altered supposed 'full album version' at 4:15 minutes. It's good – but not nearly as sharp as the 45 released version. I know it only adds about 20-seconds but it actually lessens the song in my books – the single mix was tighter and more extraordinary. This version feels more of a meander – like too many of the album segments did. "Cabin Essence" is pretty as he sings "...I'll give you a home on the range..." and then goes off into yet another tempo change. Other faves include "Plymouth Rock" and "Look (Song For Children)" and the piano-cha-cha of "Child Is Father Of The Man" – brilliant piano breaks with a trombone sailing in over it (gorgeous Bass sound too). Stuff like "I'm In Great Shape" and "Barnyard" at 28 and 48 seconds are nonsense ditties to me but the string arrangements given to "You Are My Sunshine" are beautiful as are the heavy-vibe vocals.

In some respects I actually enjoy Disc 2 more than 1. The dialogue featured in almost every song here gives you insight into their process - for instance one band member clearly feels "Our Prayer" is an ideal opening song while the other only feels it’s an intro to a song. Part 3 of "Heroes And Villains" is the 'ba boom' part that they've called "Children Are Raised" with the boys discussing being in Japan as they get the harmonies right. The "First Movement" of "Surf's Up" will thrill fans as they work out what many consider (outside of "Good Vibrations") to be the album's central masterpiece. It opens with piano and guitar and feels magical. Moving on - I experimented with iTunes edit on "Cool, Cool Water" starting it at 1:32.5. It gives the song that beautifully produced vocal intro (what a finished tune this would have made). The 8:19 minutes of the "Good Vibrations" Session Highlights is the stuff of legend - Brian breaking it down time and time again until they get it right. "OK - here we go - play hard and strong..." he directs - and they do. And those bits around 3:35 that aren't in the final mix - wow...

Frustrating, magical, unfinished business with too much time passed – "Smile" is all of these things and more. "The Most Anticipated Album In Rock 'n' Roll History" the outer sticker screams. Maybe so - but I still don't know if it's the great lost meisterwork everyone latterly claims it is. The true Beach Boys nutter can of course go after the 5CD full-on 'immersion' experience. But in the mean time – we mere mortals and musical Neanderthals can settle for this beautifully presented reissue – now with best ever Audio.

"...The laughs come hard in Auld Lang Syne..." – Brian Wilson sings on the gorgeous and unadorned Take 1 Piano Demo of "Surf's Up" on Disc 2. After all this time – don't those prophetic lyrics still ring true about this troubled slice of genius...

PS: Time to get really contentious - here's my version of the "Smile" LP by THE BEACH BOYS on Capitol T 2580

Side 1:

1. Our Prayer

2. Surf's Up [credited as "Brother John"]

3. Heroes And Villains

4. Love To Say Dada

5. Wonderful

6. Good Vibrations

Side 2:

1. Cool, Cool Water [Edit at 1:32.5]

2. Child Is Father Of The Man

3. Cabin Essence

4. Do You Like Worms (Roll Plymouth Rock) [as "Plymouth Rock"]

5. Vega-Tables

6. Wind Chimes
7. Look (Song For Children)

"The World Is A Ghetto: 40th Anniversary Expanded Edition" by WAR (December 2012 Universal/Avenue CD Remaster) - A Review by Mark Barry...

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"...Where Was You At..."

(A review of an iconic American LP from a UK point of view)

It strikes me as extraordinary that "The World Is A Ghetto" didn't make any real mark in the UK – a country that loves its Soul Music with a rabid passion. I say this because it's incredibly rare that a US Soul album crosses over so hugely from the R&B charts to the notoriously hard-to-break into Rock charts.

Yet that's what "...Ghetto..." did in November 1972 – hitting the coveted Number One spot on both counts. Not Marvin Gaye's "What's Going On" (1971), Al Green's "Let's Stay Together" (1972) nor Stevie Wonder's "Innervisions" (1973) ever achieved this - legendary titles or no. You have to back Isaac Hayes and his genre-busting "Shaft" Blaxploitation double in 1971 on Stax or Curtis Mayfield's brilliant social-statement "Superfly" in 1972 on Curtom to get simultaneous Numbers 1's on both charts. It would take until February 1973 for the British vinyl LP to arrive – by which time all momentum was gone (it didn't dent any chart in Blighty).

Having said all that - Universal's 'Avenue Records' of the USA seems to think "The World Is A Ghetto" is a masterpiece of the genre and have given it a proper sonic makeover - a '40th Anniversary Expanded Edition' CD reissue that absolutely rocks. Here are the inner city details y'all...

US and UK released December 2012 – "The World Is A Ghetto: 40th Anniversary Expanded Edition" by WAR on Universal/Select/Avenue Records/Far Out B0017703-02 (Barcode 602537194964) is a Remaster and plays out as follows (69:38 minutes):

1. The Cisco Kid (4:35 minutes)

2. Where Was You At (3:25 minutes)

3. City, Country, City  (13:18 minutes)

4. Four Cornered Room (8:30 minutes) [Side 2]

5. The World Is A Ghetto (10:10 minutes)

6. Beetles In The Bog (3:51 minutes)

Tracks 1 to 6 are the album "The World Is A Ghetto" – released November 1972 in the USA on United Artists UAS-5652 (No.1 Pop & R&B charts) and February 1973 in the UK on United Artists UAS 29400 (didn't chart). It was Produced by JERRY GOLDSTEIN with all track were written by WAR.

BONUS TRACKS – GHETTO JAMS (All Previously Unreleased):

7. Freight Train Jam (5:41 minutes)

8. 5 8 Blues (5:29 minutes)

9. War Is Coming (Blues Version) (6:15 minutes)

10. The World Is A Ghetto (Rehearsal Take) (8:06 minutes)

WAR was:

HOWARD SCOTT – Guitars, Percussion and Vocals

LEE OSKAR – Harmonica, Percussion and Vocals

LONNIE JORDAN – Organ, Piano, Timbales, Percussion and Vocals

CHARLES MILLER – Clarinet, Alto, Tenor and Baritone Saxophones, Percussion and Vocals

PAPA DEE ALLEN – Conga, Bongos, Percussion and Vocals

B.B. DICKERSON – Bass, Percussion and Vocals

HAROLD BROWN – Drums, Percussion and Vocals

HARRY WEINGER has produced the '40th Anniversary Expanded Edition' and provided the short but enlightening essay on the LP and its 1972 impact in the 8-page booklet. But the big news is first generation master tapes provided by the original LP producer – JERRY GOLDSTEIN – that have uncovered four lengthy jams – all Previously Unreleased. PETER DOELL of Universal has remastered the CD and it sounds truly fantastic – kicking on every level. When you're in the middle of one the funky workouts – the instruments are pumping – not overdone or over trebled – just there. This is a warm remaster and I love the way it sounds. My only real complaint would be that there are 7" single four-minute edits of "The World Is A Ghetto" and its flipside "Four Cornered Room" (USA United Artists 50975) – a single edit/mix of "The Cisco Kid" and Promo-only 'Mono' mixes of "The Cisco Kid" and "The Whole Is A Ghetto" - that could have been added on as Bonus Material (but alas).

War's music appears to be that strange hybrid – not quite Soul and not quite Rock – but somewhere in-between. And that's ably demonstrated by the album's lead off track "The Cisco Kid". Brilliant stuff and an obvious single - United Artists USA released it January 1973 on UA-XW163-W with "Beetles In The Bog" as its B-side (April 1973 in the UK on UP 35521 with the same flip). It peaked at No. 5 on the US R&B singles charts - but cruised up to No. 2 on the Pop side. Blessed with an irresistible funky keyboard backbeat aligned with street lyrics about 'kids on Sunset' and 'outlaws' (complete with spoken Mexican) – "The Cisco Kid" is typically War – very hip and very cool. A loose piano/harmonica/guitar jam – "Where Was You At" again hits that finger clickin' sweet spot when he sings "...I looked around for someone to help me...where was you at..." (it also has an almost Capt. Beefheart break which is brilliant). "City, Country, City" is the first of those lengthy funky workouts and really makes the Remaster shine – sounding just incredible when that breathy harmonica kicks in (it ends Side 1). As the liner notes state - it's a 'go to track' if you need convincing - and after a few saxophone flourishes fill your speakers in this 13-minute instrumental – you're also in no doubt as to how good Peter Doell's transfer is – brilliant stuff.

"Four Cornered Room" is my crave on this album – the guitar, bass and warbling Oskar harmonica sounding mean and alive. It's a fantastic groove and showcases everything that’s brill about this seven-piece band (it's similar in feel to the Crusaders-sounding instrumental "Vibeka" on the 1971 "War" album). Alongside "Low Rider" - the album's title track "The World Is A Ghetto" is probably their most famous song and I'm taken aback at how good it sounds here – beautifully clear – all those harmony vocals filling your living room - accompanied by that chunky backbeat. The album ends "Beetles in The Bog" where the band sound more like Malo meets Santana than War.

The Four Bonus Tracks are 'funky funky' nirvana – wildly good. "Freight Train Jam" feels like James Brown's JB's having a wig-out on a wah-wah guitar – all brilliant licks underpinned by a slick-as-Mister Cool backbeat (the piano fills from Lonnie Jordan are wicked too – what a winner). "5 8 Blues" is a harmonica driver about a dubious acquaintance. Sounding not unlike Little Walter having fun with a funky bunch of cats – you get saucy gender-bender lyrics like "...Did you see my big legged lady...walking across town...she's got a long blond wig...weighs about 125 pounds..." I can see why it was left off the album – too much like good-time Chess and Cadet R&B of the 60ts (not in keeping with the album) – but that doesn't stop it from being a genuine bonus in more than name. But even better is a 'Blues Version' of "War Is Coming" – six-minutes of grinding Soul-Blues. A version of would eventually show up on the "Platinum Jazz" LP in 1977. The 'Rehearsal Take' of "The World Is A Ghetto" is a couple of minutes shorter than the finally released album cut (runs to 8-plus but still wonderful) – and is presented here with truly gobsmacking audio quality.

Our US compatriots have always dug WAR and their 1972 Number 1 platter - "The World Is A Ghetto". I can’t help thinking that it’s about time their UK buddies got streetwise too. And this fabulous '40th Anniversary Expanded Edition' is the place to do just that. Wonderful stuff...and peace in all ghettos the world over...

"The Move" by THE MOVE (2016 Esoteric Recordings 'Standard Edition' MONO 1CD - Ben Wiseman and Rob Keyloch Remaster) - A Review by Mark Barry...

"…Mist On A Monday Morning…" 

In 2007 and 2008 - Salvo of the UK reissued The Move’s first three albums - "The Move" (April 1968), "Shazam" (March 1970) and "Looking On" (October 1970) with great sound and half-decent extras. Their debut was even given a 2CD variant.

Now it's the turn of Esoteric Recordings (part of England's Cherry Red) to have a go – this time concentrating on the rare MONO mix of the debut album "The Move" – newly remastered from original first generation tapes. And this reissue throws in five relevant bonus tracks into the bargain (4 single sides and one withdrawn B-side/outtake). Here are the 'Flowers In The Rain' details...

UK released Friday, 29 April 2016 (6 May 2016 in the USA) - "The Move" by THE MOVE on Esoteric Recordings ECLEC 2537 (Barcode 5013929463745) is an 'Expanded Edition' Single CD Remaster of the 'MONO' LP with five Bonus Tracks (Standard Edition). It plays out as follows (49:45 minutes):

1. Yellow Rainbow
2. Kilroy Was Here
3. (Here We Go Round) The Lemon Tree
4. Weekend
5. Walk Upon The Water
6. Flowers In The Rain
7. Hey Grandma
8. Useless Information
9. Zing Went The Strings Of My Heart
10. The Girl Outside
11. Fire Brigade
12. Mist On A Monday Morning
13. Cherry Blossom Clinic
Tracks 1 to 13 are their debut album "The Move" – released April 1968 on Regal Zonophone LRZ 1002 (Mono) and Regal Zonophone SLRZ 1002 (Stereo). This CD remasters only the 'MONO' mix.

BONUS TRACKS:
14. Night Of Fear
15. Disturbance
Tracks 14 and 15 are the Mono A&B-sides of a UK 7" single released December 1966 on Deram DM 109

16. I Can Hear The Grass Grow
17. Wave The Flag And Stop The Train
Tracks 16 and 17 are the Mono A&B-sides of a UK 7" single released March 1967 on Deram DM 117

18. Vote For Me
Track 18 was recorded at Advision Studios in April 1967 and was meant to be the non-album B-side of a UK Regal Zonophone 7" single with "Cherry Blossom Clinic" on the A-side (no catalogue number allocated). The single was withdrawn. It first appeared as a rarity on CD in 1998 on the "Movements: 30th Anniversary Anthology" 3-Disc set on Westside WESX 302.

NOTE: there is also a April 2016 3CD 'Deluxe Edition' of "The Move" on Esoteric ECLEC 32536 (Barcode 5013929463646)

THE MOVE was:
CARL WAYNE – Vocals
ROY WOOD – Guitar and Vocals
TREVOR BURTON – Guitar and Vocals
CHRIS "Ace" KEFFORD – Bass and Vocals
BEV BEVAN – Drums, Percussion and Vocals

ROB KEYLOCH transferred the tapes and BEN WISEMAN did the 24-Bit Digital Remaster at Broadlake Studios - and a brill job has been done - definite improvement. When I play Disc 1 of my old Salvo issue – the Mono is good – but here there's clarity and most especially - a singular punch as each song plays. When you first spin "Yellow Rainbow" - the manic opening is a barrage of backwards tapes and double-tracked voices – but now I can that sitar-sounding guitar way back in the mix (it's more prevalent somehow). The solar plexus kick from "Kilroy Was Here" is huge – those drums and tambourine-rattles threatening my speakers with a rowdy-boy attitude. Tracks like their speeded-up cover of Eddie Cochran's "Weekend" and the 'watch their minds drift away' druggy feel to "Walk Upon The Water" all sound better too. By the time you get to the pied-piper clavinet and cellos of the hugely 60ts atmospheric "Mist On A Monday Morning" – you’re won over – all instruments to the fore and beautifully clear.

I had the five extras on other reissues – but they bolster up this 2016 CD newbee with the right kind of stuff. "Night Of Fear" was always such a crude recording to me – that grungy guitar sound and heavy bass thump. But both it and "I Can Hear The Grass Grow" have huge kahunas here – those drum rolls jumping out of my speakers. The Kinks or The Who would have been proud of the withdrawn flipside "Vote For Me" - and its aggressiveness matches the photos in the booklet of the band wrecking things on stage (naughty boys).

Fans might ask what's the point? If you already own the Salvo double – then why buy this or even release it? I suspect that Esoteric have sourced a better tape than Salvo used – although I could stand corrected on that. But if you're all about the best sound – then I think this singular CD remaster is going to have to be in your bank-holiday basket right away. 

Or if your wallet can take it - go for the 3CD 'Deluxe Edition' (Barcode number supplied above) which comes armed with the 'Stereo' mix and a huge wad of extras including some Previously Unreleased...

"Dada" by DADA [featuring Elkie Brooks, Paul Korda & Pete Gage] (2016 Esoteric Recordings CD Remaster) - A Review by Mark Barry...

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"...Take Me Up And Put Me Down Big Dipper..." 

Derided and beloved in equal measure – England's DADA made only one LP in late 1970 for a confused Atlantic Records. A hybrid of styles encompassing Brassy Prog, Holy Roller Rock and Rotary Connection-style vocal gymnastics (and a few points beyond those) - like the eclecticism suggested by their band name – the music was impossible to pigeonhole and of course drove both the record company nuts and the public into the nearest bar.

Most Rock geezers like me know our Dada through the 99p we spent on Atlantic Super 2464 013 – "The Age Of Atlantic" label sampler LP put out in October 1970. Amidst the Zeppelin, Yes and Dr. John - there they were. Track 2 on Side 2 was Dada's Hair-like cover of The Rolling Stones 1965 "The Last Time" - a bopper radically rearranged into something more interesting and ever so slightly out there. The whole album is like that – a mishmash of 5th Dimension meets Julie Driscoll with Brian Auger and The Trinity meets Rotary Connection and a few other musical experiments along the way. Don't get me wrong – I love it – there is much to cherish here. It's not Rock for sure and it's not completely Psych either. It's a mixture of many styles – immediately dated yet actually very cool too. Here is the exploratory cross-pollination existential Dadaist details man (and that's just the left leg)...

UK released Friday 22 April 2016 – "Dada" by DADA [featuring Elkie Brooks, Paul Korda, Pete Gage and Don Shinn] on Esoteric Recordings WECLEC 2543 (Barcode 5013929464346) is a straightforward CD Remaster and transfer of their lone album (37:17 minutes):

1. Big Dipper

2. The Last Time

3. This Is My Song

4. Seed Of Peace

5. Organ Interlude

6. Tonite Is

7. She Walks Away [Side 2]

8. Aspen, Colorado

9. Eyes Of The Warren

10. Jasamin

11. Dada

Tracks 1 to 11 are their lone album "Dada" – released December 1970 in the UK on Atlantic 2400 030 and in the USA on Atco SD 33-352.

Paul Korda had a hand in writing In "Big Dipper" and "This Is My Song" (both co-writes with Pete Gage) - "Seed Of Peace" and "Tonite Is" are co-writes with Keyboardist Don Shinn and he solo wrote "Jasamin" and "Dada". Don Shinn wrote "Organ Interlude" and "Eyes Of The Warren". "The Last Time" is a Rolling Stones cover and "Aspen, Colorado" is a Tony Joe White cover. "She Walks Away" is written by Pete Gage and Ivan Zagni.

Taking its moniker from an art movement formed at the outbreak of the First World War – DADA was the brainchild of PETE GAGE - a Guitarist and Arranger heavily involved with Geno Washington and The Ram Jam Band in the mid Sixties. Deliberately choosing not to have one central singer but enough people to handle the diversity of the music (they weren't called Dada for nothing) – founder member Pete Gage decided on three sets of voices – and what a trio they were. ELKIE BROOKS had been working the cabaret circuit and doing jazz-outs with Humphrey Lyttleton's band as well as studio stints with Jody Grind – Tim Hinkley's Prog Rock act signed to Transatlantic Records. The second set of pipes belonged to the all-round eccentric and hugely creative PAUL KORDA – a falsetto singer who’d worked in the "Hair" cast and was a prolific song/lyric writer. The third was JIMMY CHAMBERS who was a Percussionist as well. DON SHINN supplement those singers with Keyboards and MARTIN HARRYMAN played Drums. Other musicians included BARRY DUGGAN on Saxophones & Flutes, MALCOLM CAPEWELL on Tenor Sax & Flute with ERNIE LUCHLAN on Trumpet & Flugelhorn.

The 16-page booklet has new liner notes by SID SMITH that feature informational interviews with founding member Pete Gage discussing the formation of the band – the eclectic styles and the tours of America in 1971 that saw Robert Palmer join the ranks and would eventually go on with Elkie to form the much-loved Vinegar Joe on Island Records. There are no photos but quotes from Dada exponents like Huelsenbeck, Blosche, Hugo Ball and Andre Breton. BEN WISEMAN has carried out the 24-bit digital remaster at Broadlake Studios and this disc rocks.

It opens very strongly with "Big Dipper" which is a brilliantly arranged Prog Rocker with Blood, Sweat & Tears brass thrown in and all three vocalists featured. Their adventurous cover of The Rolling Stones "Last Time" has clever breaks that feel very Lydia Pense and Cold Blood. The acoustic opening to "This Is My Song" is beautifully handled on the remaster as is the "Hair" chorus and keyboards – a genius tune – I'm reminded of good 5th Dimension or a cool Charles Stepney production of Rotary Connection circa "Hey, Love". I love the duet of vocals between Brooks and Korda on "Seed Of Peace" – another sort of holy-roller peace anthem that cries out to be in "Jesus Christ Superstar". The side ends on two short 'n' curlies - the 54-second "Organ Interlude" by Don Shinn that feels like the beginning to an ELP opus done on a local church organ. That immediately leads into "Tonite Is" – another one minute of hippy claptrap vocals.

Side 2 opens with the wicked "She Walks Away" – a very Rotary Connection "Hair" production song with great brass fills and multiple vocals. Tony Joe White's "Aspen, Colorado" originated on his 1968 "Black And White" LP in 1968 on Monument Records while others might recognise it as the B-side to the more famous "Pork Salad Annie". In the hands of Dada - its 2:50 original playing time is stretched to 5:03 minutes and becomes almost unrecognisable (but in a good way). Sung with real Soul by all – it features cool treated keyboards and complimentary brass. "Aspen Colorado" is a definite highlight on here. Shinn's "Eyes Of The Warren" has a great keyboard break – while the acoustic 'sweetness of a million roses' that pours off the twee "Jasamin" may be too much free-love for most (even with that great vocal ending). The album ends on "Dada" – an upbeat Blood Sweat & Tears vibe – again feeling like another 'Hair' outtake that almost made the set list.

Historically - Paul Korda appeared as one of the Lead Vocalists in the 1968 stage show of "Hair" - made a couple of solo albums in the 70ts - "A Passing Stranger" released June 1971 in the UK on MAM Records MAM-AS 1003 and "Dancing In The Aisles" released 1978 in the USA on Janus JXS-7038. He also guested on "Ride A White Horse" and "One Of The Boys" for The Who's Roger Daltrey in 1975 and 1978. Personally - I knew his name from the song "Seagull (The West Coat Oil Tragedy Of '68)" which Dave Edmund's Love Sculpture covered on their 1970 second LP "Forms And Feelings". Korda is still active and put out 2 CDs in 2009 covering his early years and new material.

It's not all great for sure - but there is genius in its midst. I never thought I'd see the day that this obscure LP would finally receive a decent CD remaster (there is a Wounded Bird issue in 2010 but I heard bad reports about its audio). So not everyone's just Joss Stick – but if you feel like sticking a flower in a child's hair or sharing your baubles and dandelions collection with the world - then the brill and hippyish "Dada" is the earth-mother for you.

I dig it baby and I still think the Stones nicked their logo design in part from the cover painting...

"Firefall/Luna Sea/Elan" by FIREFALL - 1976, 1977 and 1978 US Albums on Atlantic Records (April 2016 UK Beat Goes On Records (BGO) Compilation - 3LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...

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"...Sold On You..."

Hailing from Boulder in Colorado (formed in 1973, debuted in 1976) - the 5-piece FIREFALL rode the shirttails of soft Country-Rock blazed by bands like America and The Eagles in the preceding five years. Firefall featured members of The Flying Burrito Brothers (Singer Rick Roberts and Drummer Mike Clarke), Mark Andes of Spirit, Jo Jo Gunne and later Heart - and two great axemen in Larry Burnett and Jock Bartley. Mick Clarke has also played in The Byrds. They certainly had the players and musical history to pull it off.

The three albums on this amazing sounding 2CD Beat Goes On Reissue were originally released on Atlantic Records and sound like the less snotty brother of Jo Jo Gunne - a milder Crosby, Stills & Nash but not quite as good as Manassas or other obvious bands of that ilk. Now considered 'yacht rock' – when Firefall were good they made a very pleasurable racket indeed. Here are the harmonious details...

UK released Friday, 29 April 2016 (May 2016 in the USA) – "Firefall/Luna Sea/Elan" by FIREFALL on Beat Goes On BGO 1234 (Barcode 5017261212344) offers 3LPs Remastered from Original Master Tapes onto 2CDs and plays out as follows:

Disc 1 (60:35 minutes):

1. It Doesn't Matter

2. Love Isn't All

3. Livin' Ain't Livin'

4. No Way Out

5. Dolphin's Lullaby

6. Cinderella [Side 2]

7. Sad Ol' Love Song

8. You Are The Woman

9. Mexico

10. Do What You Want

Tracks 1 to 10 are their debut album "Firefall" – released April 1976 in the USA on Atlantic SD 18174 and in the UK on Atlantic K 50260. It peaked at No. 28 on the US charts in early May 1976 (didn’t chart UK).

Tracks 2, 4, 6, 7 and 10 written by Larry Burnett – Tracks 3, 5, 8 and 9 written by Rick Roberts

"It Doesn't Matter" is a Stephen Stills and Manassas cover version (written by Stephen Stills and Chris Hillman).

11. So Long

12. Just Remember I Love You

13. Sold On You

14. Someday Soon

15. Just Think

Tracks 11 to 15 are Side 1 of their 2nd LP "Luna Sea" – released August 1977 in the USA on Atlantic SD 19101 and in the UK on Atlantic K 50355.

Disc 2 (58:48 minutes):

1. Getaway

2. Only A Fool

3. Head On Home

4. Piece Of Paper

5. Even Steven

Tracks 1 to 5 are Side 2 of their 2nd LP "Luna Sea" – released August 1977 in the USA on Atlantic SD 19101 and in the UK on Atlantic K 50355. Rick Roberts wrote Tracks 11, 12 and 14 on Disc 1 and 2 on Disc 2. It peaked at No. 27 on the US LP charts (didn’t chart UK).

Larry Burnett wrote Track 13 on Disc 1 and Tracks 1, 3 and 4 on Disc 2. Track 5 on Disc 1 co-written between Roberts and Burnett

Track 15 written by Firefall.

6. Strange Way

7. Sweet And Sour

8. Wrong Side Of Town

9. Count Your Blessings

10. Get You Back

11. Anymore [Side 2]

12. Baby

13. Goodbye, I Love You

14. Sweet Ann

15. Winds Of Change

Tracks 6 to 15 are their 3rd album “Elan” – released October 1978 in the USA on Atlantic SD 19183 and in the UK on Atlantic K 50494. It peaked at No. 27 on the US LP charts (didn’t chart UK).

Tracks 6, 9, 11, 13, 14 and 15 written by Rick Roberts – Tracks 8, 10 and 12 written by Larry Burnett.

Track 7 is a co-write with Jock Bartley and Rick Roberts – track 11 a co-write between Mark Andes and Rick Roberts.

As you can see from the notes above beneath the track lists – Firefall featured two hugely prolific songwriters – Rick Roberts and Larry Burnett. Roberts had in fact released two solo LPs before forming Firefall in 1973 - 1972's "Windmills" on A&M SP-4372 and 1973's "She Is A Song" on A&M SP-4404. The first LP famously featured a ludicrously stacked set of musicians – Jackson Browne, Henley, Meisner and Leadon of The Eagles, David Crosby, Marc Benno and members of Stephen Still's Manassas (oddly neither LP charted). Guitarist Burnett is still active – releasing CD albums "Confidence Game" in 2004 and "Guitar & Vocals" in 2009. Also prominent across all three albums is Jock Bartley – a guitarist who'd toured with Gram Parson and The Fallen Angels and replaced Tommy Bolin in Zephyr. His wicked slide can be heard to great effect on "Sold On You" where he's aided and abetted by keyboard player David Muse giving it some great Harmonica warbles. Timothy B. Schmidt gets an early look in before he joined The Eagles providing backing vocals on "Just Remember I Love You" on the "Luna Sea" album. The Memphis Horns provide Brass backing for that whole record too. The Manassas percussionist Joe Lala guests on the "Elan" album - while Steve Forman shakes various tambourines alongside Lala on the same LP. Joe Mason produced the first two platters with number three handled by the equally legendary helmsman Tom Dowd – so production values are top notch on all – something the remaster from original tapes makes the absolute most of.

As always with BGO releases there’s an outer card slipcase lending the release a classy feel (the cover art is the three albums centred against a plain blue backdrop – I say this because there appears to be another sleeve which uses the artwork of "Luna Sea" as its backdrop). The 24-page booklet is substantial – full album credits, lyrics to all three LPs, artwork, band photos and new liner notes from noted writer JOHN TOBLER that reference the complicated musical history of the band members (Spirit, Jo Jo Gunne, The Byrds, The Flying Burrito Brothers, Gram Parsons Fallen Angels and more). But the big news is new 2016 ANDREW THOMPSON High Res Remasters from Original Tapes – and man does it show. The Audio Quality on these babies rocks – clear, warm, all the instruments filling your room with clarity. A top job done...

Back in 2009 Rhino Europe featured Firefall's accomplished cover of the Stephen Stills Manassas song "It Doesn't Matter" as part of Volume 1 of their "California Groove" series of 4CD reissues. Not surprising really – the guitars are great and the production beautiful (Atlantic UK issued it as an A-side on K 10798 in July 1976 – their first 45 in Britain). "Love Isn't All" is a little too lightweight with its whiny vocal and flute passages – things buck up with the acoustic jaunt of "Livin' Ain't Lovin'" – a very radio-friendly tune complete with a tasteful Saxophone solo. Funky Rock fiends will dig the boogie of "No Way Out" – the boys allowed to rock it out with the slides. The poppy but irritating "You Are The Woman" was the 2nd UK 45 on Atlantic K 10814 in August 1976 and not surprisingly didn’t chart. Better was "Cinderella" b/w "Dolphin's Ballad" in October 1976 on Atlantic K 10853 – a hooky 'god damn' melody with nice harmonica and mood changes. The band gets a bit Outlaws with the finisher "Do What You Want" – again showcasing great guitar playing bolstered up with funky brass fills.

The second LP "Luna Sea" is the best of the bunch in my opinion. "So Long" and "Just Remember I Love You" are very Eagles territory and I'm a sucker for that fab Bartley guitar work on the rocker "Sold On You" – sounding utterly amazing here. Some very nice orchestration on the 'steal away' song "Someday Soon" while the boys discover their inner Marshall Tucker Band with "Just Think" and rock to that chugging riffage. More slide and sax underpin "Getaway" where "Only A Fool" sounds closest to the Eagles circa "One Of These Nights" (beautifully produced too). Like a jaunty Joe Walsh song circa the "...But Seriously Folks" album - "Head On Home" bops along with great slide (the playing sounding not unlike England's Bryn Haworth circa 1978's "Grand Arrival" on A&M Records). Time for the inevitable 'she done me wrong' ballad – "Piece Of Paper" and back to the upbeat melodic rock of "Even Steven".

"Elan" had Tom Dowd at the production helm and you can hear his skill in the Crosby, Stills & Nash acoustic bop of "Sweet And Sour" – a lovely listen. Larry Burnett put up the jaunty harmonica boogie of "Wrong Side Of Town" – a great builder with clever lyrics and a beautiful remaster transfer. Burnett lets the guitars rip for the Jo Jo Gunne-sounding "Get You Back" where he's determined to rectify a mistake and win his lady back. Rick Roberts and Mark Andes co-wrote "Anymore" – a plucky little funk-rock number about walking the line and not falling off again. "Baby" is the ballad (ala America) and it's a little too saccharine and produced for my palette. Yacht Rock fans however will get droopy for "Goodbye I Love You" while the band finishes proceedings with the excellent rocker "Winds Of Change".

Not as musically memorable as America or The Eagles – but on the evidence presented here - Firefall clearly had their equally melodic moments. And fans will love the Remasters and quality presentation. Another tasty BGO reissue...

"Long After Dark" by TOM PETTY and THE HEARTBREAKERS (2001 Universal/MCA 'HDCD' Reissue - Joe Gastwirt Remaster) - A Review by Mark Barry...

"...I'm Finding Out..." 

Originally released in November 1982 on Vinyl and Cassette – Tom Petty's fifth studio album "Long After Dark" seemed to slip through the cracks. While it managed a top-ten placing Stateside - no one cared enough to notice in good old Blighty. You just don't see British vinyl originals of it that much - and the initial 1980's CD reissue (a non-remaster) disappeared off the shelves only a few years after it was released.

Which brings us to this fantastic sounding 2001 'HDCD' Remaster – a properly decent audio overhaul - but yet again - overlooked in his canon of consistently good releases. "Long After Dark" is a brilliant rock album with all the trademark Petty hooks and catchy choruses - tune after tune hitting you with their economy and brilliance. Deliver me indeed. Here are the details...

UK and USA released March 2001 – "Long After Dark" by TOM PETTY and THE HEARTBREAKERS on MCA 112 446-2 (Barcode 008811244620) is a straightforward CD transfer/reissue (mastered in HDCD) of the album (36:24 minutes).

1. A One-Story Town

2. You Got Lucky

3. Deliver Me

4. Change Of Heart

5. Finding Out

6. We Stand A Chance [Side 2]

7. Straight Into Darkness

8. The Same Old You

9. Between Two Worlds

10. A Wasted Life

"Long After Dark" was released November 1982 in the USA on MCA/Backstreet Records BSR-5360 and in the UK on MCA Records MCL 1818. It peaked at No. 9 on the US LP charts and No. 45 in the UK.

The booklet is ok – reproducing the lyrics of the original vinyl album’s inner sleeve. The back inlay picture is different to the 80's issue but that’s about it. However – that’s offset by the gobsmacking audio... Remastered by Joe Gastwirt at Ocean View Digital from the original analogue master tapes - the sound on this 'High Definition Compatible Digital' reissue (one in a series of Petty Remasters) is just stupendous - clear, full of power and clarity and ready to kick your stereo in its sub-woofer proverbials. Gastwirt has done a truly fantastic remaster job here.

Co-Produced by Petty with JIMMY IOVINE (who'd worked so successfully with the band on "Damn The Torpedoes" in 1979) - "A One Story Town" opens proceedings with a tale of faraway feelings and nowhere city - all wrapped up in a driving set of riffs. The huge synth punch in "You Got Lucky" is so clear that it almost feels intrusive – audio that's too damn good. But then we get one of those fabulous Petty rockers - "Deliver Me" - where he begs his girl to "...take this heart...and deliver me..." Another belter follows - the faster-paced "Finding Out" - a shockingly good headbanger that builds and builds (cracking harmony vocals too). Side One ends on the clever voice-box guitar of "We Stand A Chance". Other winners include the deceptively sweet "A Wasted Life" - a shuffler that gets its hooks into and stays there. Both "Change Of Heart" and "Straight Into Darkness" is the band firing on all sixes - brilliant Petty rockers with huge sound (I love these songs and US radio played the hell out of "Straight Into Darkness"). No time for pretty as it ends with more monster riffage - the moody 'you haven't changed' song "The Same Old You".

I've always thought "Long After Dark" to be an absolute blinder of an album and not nearly as dated as so much Eighties cack is. And it's cheap too (use the Barcode provided above to get the right issue). You go TP...

"Commander Cody and his Lost Planet Airmen/Tales From The Ozone/We've Got A Live One Here!" by COMMANDER CODY And HIS LOST PLANET AIRMEN (April 2016 UK Beat Goes On Records (BGO) Compilation – 3LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...

This Review Along With 145 Others Is Available In My

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MORE THAN A FEELING 

1976

Your All-Genres Guide To 

Exceptional CD Reissues & Remasters

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"...Honky Tonk Music..."

I'd admit that Idaho's George Frayne (Commander Cody) and his crew of permanently Lost Airmen produced Country music that is actually hard to define. You take straight up story-song pedal-steel Country as a base – and every second song you throw in some 40s Swing, 50's R&B and Rockabilly – then layer that lot with some good old knees-up-mother-brown 60ts brass backing – and you get an approximation of the ever so slightly anarchic musical stew that's on offer here. Great fun for sure when it works – but a shade short of hammy awful when it doesn't.

But all musical summations aside - if you're a fan of Commander Cody – then a state of seventh heaven awaits you here because the High Definition Audio Remaster on these 2016 British CDs is truly fabulous stuff (taken from first generation master tapes). Here are the not-so-lost details...

UK released Friday, 29 April 2016 (May 2016 in the USA) – "Commander Cody And His Lost Planet Airmen/Tales From The Ozone/We've Got A Live One Here!" by COMMANDER CODY and his LOST PLANET AIRMEN on Beat Goes On BGOCD 1238 (Barcode 5017261212382) offers 3LPs (two studio, one live double) Remastered onto 2CDs and plays out as follows:

Disc 1 (68:22 minutes):

1. Southbound

2. Don't Let Go

3. California Okie

4. Willin'

5. The Boogie Man Boogie

6. Hawaii Blues [Side 2]

7. House Of Blue Lights

8. Keep On Lovin' Her

9. Devil And Me

10. Four Or Five Times

11. That's What I Like About The South

Tracks 1 to 11 are their 5th album (debut for Warners) "Commander Cody and his Lost Planet Airmen" – released in the USA January 1975 on Warner Brothers BS 2847.

12. Minnie The Moocher

13. It's Gonna Be One Of Those Nights

14. Connie

15. I've Been To Georgia On A Fast Train

16. Honky Tonk Music

17. Lightnin’ Bar Blues

18. Paid In Advance

19. Cajun Baby

20. Tina Louise

21. The Shadow Knows

22. Roll Your Own

23. Gypsy Fiddle

Tracks 12 to 23 are their 6th album (2nd for Warners) "Tales From The Ozone" – released October 1975 on Warner Brothers BS 2883

Disc 2 (70:06 minutes):

1. One Of Those Nights

2. Semi Truck

3. Smoke! Smoke! Smoke!

4. Big Mammau

5. San Antonio Rose

6. 18 Wheels

7. Mama Hated Diesels

8. Lookin' At The World Through A Windshell

9. My Window Faces South

10. Milkcow Blues

11. It Should've Been Me

12. Back To Tennessee

13. Seeds And Stems

14. Rock That Boogie

15. Riot In Cell Block No. 9

16. Don't Let Go

17. Too Much Fun

18. Hot Rod Lincoln

19. Lost In The Ozone

Tracks 1 to 19 are the double live-album "We've Got A Live One Here!" – released July 1976 in the USA on Warner Brothers 2LS 2939

There's a card slipcase which always makes these BGO releases feel classy – a 16-page booklet new liner notes from noted writer JOHN O'REGAN – photos of the band recording – album credits and so on. It discusses their first four albums on Paramount and then the trio – presented here – two studios efforts for Warner Brothers and a live double that includes material from entire career stretching back to 1971. But the big news is the 'Mastered In High Definition Audiophile Recording From The Original Master' emblazoned across the top of the card slipcase. Carried out by BGO's resident sound engineer ANDREW THOMPSON – the Audio is a total triumph. There's amazing clarity and warmth on both of these CDs – a great sound that doesn't feel amped up for the sake of it. 

Hoyt Axton stumped up the opening "Southbound" – the bass and vocals so clear. Jesse Stone wrote the irrepressible bop of 'Don't Let Go" and the golden-voiced Roy Hamilton had a hit with it in 1958 on Epic Records – a great R&B dancer. Cody sticks pretty much to that bopping formula. By direct contrast is the pure country tune of "California Okie" – a lost-my-wife song supplied by Kevin 'Blackie' Farrell. They attempt a passable version of Little Feat's "Willin'" but it isn't a patch on Lowell George's hurting original. Better fun is the barrelhouse piano of "The Boogie Man Boogie" – a song about a ghost who won't leave the black and white keys alone in the dead of night. Another goody in that R&B vein is "House Of Blue Lights" – a 78" hit for Eddie Slack and Ella May Morse on Capitol Records way back in 1946 (Jerry Lee Lewis did a cover of it too). Bob Wills and his Playboys along with Phil Harris (the voice of Baloo The Bear in The Jungle Book) both had a hit with "That's Why I Like About The South" – so Cody keeps it Country and ends the album well.

Although it tries to seem like it's having fun - the 2nd Warners LP feels forced with ill-advised covers of Cab Calloway's "Minnie The Moocher" and Lieber/Stoller's "The Shadow Knows" which The Coasters did in 1958 on Atlantic. Better is "Honky Tonk Music" - a huge sing-a-long crowd pleaser. Hoyt Axton's "Lightnin' Bar Blues" is very good – a man wanting to have a brewski in peace. The live double screams good time R&B shindig more than line-dancing country – the audience whooping and hollering to "Smoke! Smoke! Smoke!" and the final flourish of R 'n' B and R 'n' R tunes like "Rock That Boogie" and Charlie Ryan's 1959 Rockabilly winner "Red Hot Lincoln".

Commander Cody and his Lost Planet Airmen and the music on these 2CDs are very much an acquired taste. But if you're partial – you'll need to own it for that truly stunning audio. And don't you just love that 'spacemen' artwork...