"Nicolette/In The Nick Of Time/Radioland" by NICOLETTE LARSON - 1978, 1979 and 1981 Albums (April 2016 UK Beat Goes On Records (BGO) Compilation - 3LPs onto 2CD - Andrew Thompson Remasters) - A Review by Mark Barry...

"...In The Nick Of Time..."

All three of these 'yacht rock' Warner Brothers albums from Montana's NICOLETTE LARSON charted in the USA - her debut "Nicolette" in November 1978 (No. 15), "In The Nick Of Time" in November 1979 (No. 47) and "Radioland" in January 1981 (No. 62). All three also came loaded down with Ted Templeman production values and a huge/impressive array of guest musicians that reads like a virtual who's who of cool West Coast session types. Then there's exclusive songs by Glenn Frey of The Eagles and John David Souther coupled with smooth-as-a-baby's-posterior covers of good people like Allen Toussaint, Jesse Winchester, Little Feat, Holland-Dozier-Holland and Sam Cooke.

A typically classy release from England's Beat Goes On - you get her first three commercially available albums remastered in high def from original tapes onto two CDs by BGO's resident audio expert ANDREW THOMPSON, a chunky 24-page booklet with full album credits, photos and new liner notes from noted writer JOHN TOBLER - all wrapped with a pretty outer card slipcase. The Audio on this sucker is gorgeous - tracks like her cover of The Louvin Brothers Country hit "Angels Rejoiced" where she duets on vocals with Herb Pedersen (Mandolin from Albert Lee) is just beautiful to listen too. A top job done. Here are the details...

UK released April 2016 - "Nicolette/In The Nick Of Time/Radioland" by NICOLETTE LARSON on Beat Goes On BGOCD 1231 (Barcode 5017261212313) offers 3LPs remastered onto 2CDs and plays out as follows:

Disc 1 (38:14 minutes):

1. Lotta Love

2. Rhumba Girl

3. You Send Me

4. Can't Get Away From You

5. Mexican Divorce

6. Baby, Don't Do It [Side 2]

7. Give A Little

8. Angels Rejoiced

9. French Waltz

10. Come Early Mornin'

11. Last In Love

Tracks 1 to 11 are her debut album "Nicolette" - released November 1978 in the USA on Warner Brothers BSK 3243 and in the UK on Warner Brothers K 56569

Disc 2 (64:42 minutes):

1. Dancin' Jones

2. Just In The Nick Of Time

3. Let Me Go, Love

4. Rio De Janeiro Blue

5. Breaking Too Many Hearts

6. Back In My Arms [Side 2]

7. Fallen

8. Daddy

9. Isn't It Always Love

10. Trouble

Tracks 1 to 10 are her 2nd album "In The Nick Of Time" - released November 1979 in the USA on Warner Brothers HS 3370 and in the UK on Warner Brothers K 56750

11. Radioland

12. Ooo-Eee

13. How Can We Go On

14. When You Come Around

15. Tears, Tears and More Tears

16. Straight From The Heart

17. Been Gone Too Long

18. Fool For Love

19. Long Distance Love

Tracks 11 to 19 are her 3rd studio album "Radioland" - released January 1981 in the USA on Warner Brothers BSK 3502 and in the UK on Warner Brothers K 56878

As I said earlier - when you read through the luminaries on these albums - it's not surprising that American Radio liked Nicolette Larson and her famous musical friends. While she handled all lead vocals - you get guest singers like Michael McDonald, Linda Ronstadt and Rosemary Butler - Keyboardists Bill Payne of Little Feat, Michael Omartian and Mark Jordan - Guitarists Fred Tackett, Albert Lee, James Burton, Ronnie Montrose (of Montrose) and Patrick Simmons of The Doobie Brothers - Bass Players Klaus Voorman (of Beatles fame) and Tiran Porter of The Doobie Brothers - Percussionists and Drummers Victor Feldman, Keith Knudsen and Bobby LaKind - as well as stragglers like Herb Pedersen, Van Dyke Parks and arranger Jimmie Haskell. The debut opens with a surprisingly chipper Neil Young cover "Lotta Love". No surprise then that the US 45 of it on Warner Brothers WBS 8664 with "Angels Rejoiced" on the flipside made No. 8 on the Pop charts in late December 1978. With its Jimmie Haskell arranged strings, boppy keyboard beat and floating Saxophone - it was a big hit. 

Before that Warner Brothers tried the Jesse Winchester penned "Rhumba Girl" as her debut 7" single on Warner Brothers BBS 8795 (with "Lost In Love" on the B-side) that Larson gives a Doobie Brothers "Minute By Minute" funky shuffle - but it failed to ignite interest. The HD Audio on "Give A Little" is fabulous - penned by Bill and Fran Payne (Bill Payne of Little Feat) - it's a slick slice of West Coast 'lurve' - ably abetted by a trio of great backing vocalists - Linda Ronstadt, Nicolas Ashford and producer Ted Templeman. Her two Soul covers - Sam Cooke's "You Send Me" and Marvin Gaye's "Baby, Don't You Do It" (a H-D-H song) - break up the slightly schlocky pop songs. For better feel collectors will dig "Last In Love" - a Glenn Fry song penned with John David Souther that features only Larson singing, Billy Payne on Keyboards and the strings arranged by Jimmie Haskell (concertmaster Sid Sharp). A very Linda Ronstadt arrangement - Larson gives it some ache in her rendition. The remaster is beautiful too...

The 2nd LP produced another single that charted - "Let Me Go, Love" - her duet with Michael McDonald of The Doobie Brothers on Warner Brothers 49130 that rose to 35 in February 1980. Her own song (co-penned with Ted Templeman) "Just In The Nick Of Time" is a cool little rocker with great guitar from Little Feat's Paul Barrere and a wicked solo from Ronnie Montrose. Michael McDonald contributes his trademark funky keyboard backdrop to the upbeat "Back In My Arms" - a Holland-Dozier-Holland hit for The Supremes way back in 1965 - another potential hit with top sessionman Jim Horn giving it a great Saxophone solo. Van Dyke Parks counts in the 1-2-3-4 of "Trouble" and plays the Keyboards. Just her voice and his piano - she does a girly variant of Lowell George's "Sailin' Shoes" classic and it ends the album well.

By the time we get to studio set number 3 - the public and radio had moved up. Despite the presence of Patrick Simmons, Tiran Porter, Keith Knudsen of The Doobie Brothers and Billy Payne of Little Feat - the opening "Radioland" fails to really ignite - sounding tired and forced. Clover's John McFee and Little Feat's Paul Barrere combine on Guitars to lift "Ooo-Eee" - but stuff like "How Can We Go On" and "When You Come Around" sound weak and weedy. Much of the rest of the album feels the same with only the finisher - a cover of "Long Distance Love" lifts proceedings. But even then it's not a patch on the hurting 1975 Lowell George original on Little Feat's "The Last Record Album"...

To sum up - two good albums followed by one patchy effort. But with that superior presentation and the new 2016 glorious sound - fans will need this. Another reissue winner from BGO...

"Shazam" by THE MOVE (2016 Esoteric Recordings 'Expanded Edition' STEREO 1CD Remaster) - A Review For Mark Barry...

"…Strange New Ideas Fill The Air..." 

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. Now in 2016 it's the turn of Esoteric Recordings (part of England's Cherry Red) to have a go.

I've nabbed and reviewed the 1CD 'Standard Edition' of the debut album "The Move" newly remastered from original first generation tapes in MONO with five relevant bonus tracks (there's also a 3CD Deluxe Edition). Here comes the 'Standard Edition' of their smashing second platter – the STEREO "Shazam" from early 1970 – again in a 1CD and ‘Deluxe Edition’ set of reissues. Here are the super-hero details...

UK released Friday, 29 April 2016 (6 May 2016 in the USA) - "Shazam" by THE MOVE on Esoteric Recordings ECLEC 2539 (Barcode 5013929463943) is a 'Standard Edition' Single CD Remaster in STEREO with eight Bonus Tracks. It plays out as follows (68:08 minutes):

1. Hello Susie

2. Beautiful Daughter

3. Cherry Blossom Clinic Revisited

4. Fields Of People [Side 2]

5. Don't Make My Baby Blue

6. The Last Thing on My Mind

Tracks 1 to 6 are their second album "Shazam" – released March 1970 on Regal Zonophone SLRZ 1012 (Stereo only).

BONUS TRACKS:

7. Wild Tiger Woman

8. Omnibus

Tracks 7 and 8 are the Mono A&B-sides of a UK 7" single released August 1968 on Regal Zonophone RZ 3012

9. Blackberry Way

10. A Certain Something

Tracks 9 and 10 are the Mono A&B-sides of a UK 7" single released November 1968 on Regal Zonophone RZ 3015

11. Curly

12.This Time Tomorrow

Tracks 11 and 12 are the Mono A&B-sides of a UK 7" single released July 1969 on Regal Zonophone RZ 3021

13. Hello Susie (abridged US Single version

14. Second Class (She's Too Good For Me)

Recorded at Olympic Studios on 23 September 1968 – Stereo Mix prepared by Rob Keyloch in 2007

Tracks 1 to 6 and 11, 12 and 13 - THE MOVE was:

CARL WAYNE – Vocals

ROY WOOD – Guitar, Keyboards and Vocals

RICK PRICE – Bass and Vocals

BEV BEVAN – Drums and Vocals

Tracks 7, 8, 9, 10 and 14 - THE MOVE was:

CARL WAYNE – Vocals

TREVOR BURTON – Bass, Guitars and Vocals – Drums on "Second Class (She's Too Good For Me)"

BEV BEVAN – Drums and Vocals

NOTE: there is also an April 2016 2CD 'Deluxe Edition' of "Shazam" on Esoteric ECLEC 22538 (Barcode 5013929463844)

Like the 'standard edition' single CD of "The Move" – the 16-page booklet has fab period photos and the usual reissue credits – but it feels lacking that there's no liner notes. These notes are massively extended on the 2CD 'Deluxe Edition' of course - as is the track list – but a few choice lines wouldn't have gone amiss on this 1CD 'standard edition'. MARK and VICKY POWELL of Esoteric have compiled and coordinated the reissues (press clippings, trade adverts for singles, the CD label looks like the old Regal Zonophone typeface) – nicely done. But it's about the audio here...

ROB KEYLOCH transferred the tapes and BEN WISEMAN did the 24-Bit Digital Remaster at Broadlake Studios - and a brill job has been done. I’d have to be blunt about this – the Salvo issue I've had all these years has fantastic sound on it. Yet it was to single out one thing with this new Esoteric transfer (the same for the first LP) – it’s the overall impact – the speaker punch. It hits you on every song. For instance I went straight to my crave – The Move's ubercool take on Tom Paxton's anthem to love’s cackhanded mistakes "The Last Thing On My Mind". As the Byrds-type groove works its way towards the seven-minute ending – Roy Wood starts soloing and harmonizing with Carl Wayne when he comes out of it. Wow is the only response I can give. There's huge power in this transfer while still retaining clarity (my cup of tea).

"Shazam" opens the full album version of "Hello Susie" and immediately it's a different band to the Pop singles of old. Almost Humble Pie or Robin Trower's version of Procol Harum circa 1970's "Home" – the sound is far more 'rawk' that Radio Luxembourg 'pop'. The band goes a little LOVE with the layered vocals and plucked strings of "Beautiful Daughter". The 'going off my mind' revisit to "Cherry Blossom Clinic..." (a track that ended Side 2 of "The Move" debut album in 1968) is now stretched to nearly eight minutes and comes complete with witty dialogue, nursery rhymes and hard rock. But that's as nothing to the one of the LP's centrepieces – the near 11-minute "Fields Of People" – a fantastic piece of recorded mayhem that fuses 60ts Harpsichords with Small Faces tomfoolery (lyrics from it title this review). By the time you get to the sitar-sounding guitar wig-out that finishes the song – you’re probably in need of fresh Joss sticks on the mantelpiece. Then just at the end you get mock 'Great Portland Street' comments recorded as a giggle - old ladies – taxi drivers – the put out city gent who comments "...catches one a bit off balance to be suddenly interrupted in the street..."

The pantomime ending of "Fields Of People" is immediately followed by an almost-Black Sabbath heaviness in the sledgehammer "Don't Make My Baby Blue" – a Barry Mann/Cynthia Weil song first sung by Frankie Laine on American Columbia 4-42767 in 1963 and The Shadows on Columbia DB 7650 in 1965 back in good old Blighty. Needless to say The Move take a two-minute bubblegum pop song and stretch it out into a 6:17 minute barrage of rock riffage – huge guitars and even bigger vocals. It’s possibly the heaviest the band’s ever sounded – like Cactus or Grand Funk Railroad given a day-pass to a speaker stack pilled up with too many orange buttons turned up to eleven. If you think that’s good – you’ll absolutely love their clever yet complimentary rearrangement of Tom Paxton's Folk song "The Last Time On My Mind" (1964 on Elektra Records) which The Move transmogrify into 7:38 minutes of Byrds-type guitar-jangle beauty. I love it when Carl Wayne harmonizes with Roy Wood on their nasal vocals (his best ever guitar work?) and the remaster is glorious too. I had the eight extras on other reissues – but they bolster up this 2016 CD newbee with the right kind of stuff.

Fans might ask what's the point? If you already own the Salvo issue – 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 2CD 'Deluxe Edition' with a huge wad of extras including Previously Unreleased...

"...Lock me in and throw the key away..." – Carl Wayne advises on the brilliant "Cherry Blossom Clinic Revisited" - the band running through the childhood nursery rhyme 'better not go down to the woods today' as he sings. Well I'd say you should listen to your inner nutter and purchase this fantastic sounding Remaster right away...

"Ennismore/Journey" by COLIN BLUNSTONE (2014 Voiceprint 2LPs on 1CD) - A Review by Mark Barry...

"...Something To Warm Me On A Lonely Winter's Night..."

A clever reissue this – the former Zombie's singer COLIN BLUNSTONE gets his 2nd and 3rd Solo albums on Epic Records from 1972 and 1974 reissued onto 1CD – both unavailable digitally since 2003 when the Sony Legacy issues were deleted.

Well licensed from Sony Music and featuring the talents of Chris White and Rod Argent of The Zombies and Argent and a guest appearance by Duncan Browne – they’re back via Floating World Music & Voiceprint – and sounding damn good (just as I remembered). Here are the miracles...

UK released July 2014 – "Ennismore/Journey" by COLIN BLUNSTONE on Floating World/Voiceprint VP604CD (Barcode 0805772060425) offers 2LPs on 1CD and plays out as follows (73:24 minutes):

1. I Don't Believe In Miracles

2. Exclusively For Me

3. A Sign From Me To You

4. Every Sound I Heard

5. How Wrong Can One Man Be

6. I Want Some More

7. Pay Me Later

8. Andorra

9. I've Always Had You

10. Time's Running Out

11. How Could We Dare To Be Wrong

Tracks 1 to 11 are his second Solo LP "Ennismore" – released November 1972 in the UK on Epic Records EPC 65278 and in the USA on Epic KE 31994. NOTE: Tracks 2 to 5 on Side 1 of the original LP are listed as a 'Quartet' with (a), (b), (c) and (d) parts. Rod Argent and Chris White of The Zombies (& Argent) produced the album.

12. Wonderful

13. Beginning

14. Keep The Curtains Closed Today

15. Weak For You

16. Smooth Operator

17. You Who Are Lonely [Side 2]

18. It's Magical

19. Something Happens When You Touch Me

20. Setting Yourself Up

21. Shadow Of A Doubt

22. This Is Your Captain Calling

Tracks 12 to 22 are his 3rd solo album "Journey" - released March 1974 in the UK on Epic Records EPC 65287 and in the USA on Epic KE 32962. CHRIS WHITE of The Zombies and Argent produced it. ROD ARGENT and PETE WINGFIELD play Keyboards, Guitars by Colin Blunstone and DEREK GRIFFITHS, Bass by TERRY POOLE, Piano by RICHARD KERR, Classical Guitar on "Keep The Curtains Closed Today" by DUNCAN BROWNE, Backing Vocals by THE KING SINGERS.

The 8-page booklet has new liner notes from noted writer ALAN ROBINSON and pictures cool stuff like the Dutch 7" single picture sleeve for "I Want Some More" which had "Pay Me Later" on the B (not released in the UK). "Andorra" and "Weak For You" also came out in Euro territories and they're here as well. There are old interview quotes from Blunstone discussing his association with Duncan Browne of Immediate and Rak Records fame (his "Journey" single is one of 'the' 70ts sublime moments). AUDIO - apart from a 'licensed from Sony Music' credit - there are no mastering/remastering credits at all - but one has to assume the audio is the Sony Legacy issues of old. This CD sounds amazing for the "Journey" album - whilst merely good to great for "Ennismore" (a tad hissy on some tunes)...

Named after a 'state-of-mind' and a beloved flat in Ennismore Gardens in London - "Ennismore" the album opens with the single and a firm fan fave - "I Don't Believe In Miracles". Epic UK put it out a month before the LP hit the shops - October 1972 on Epic EPC S 8434 with the album cut "I've Always Had You" on the flipside. Radio and the public liked it and rewarded the catchy falsetto chorus with a Number 31 placing on the UK charts (odd then that the album didn't follow suit). "Exclusively For Me", "A Sign For Me", "Every Sound I Heard" and "How Wrong Can A Man Be" made up the 'quartet' of songs on Side 1 - an arc-of-a-love-affair foursome - that like relationships blows hot and cold - my fave being the pastoral cellos of "Every Sound I Heard" where our Col hears his girl's name everywhere he turns his lugs. Side 1 ends with the zippy acoustic guitars and funky keyboards of "I Want Some More" - another potential hit 45. 

Side 2 opens with the happy/sarcastic "Pay Me Later" which features some great slide on the acoustic. One of the mysteries surrounding the album is that Epic didn't pick the cool/funk "Andorra" as a next single - nice beat and pace - and would have built momentum for the album. The audio on the quiet "I've Always Had You" is gorgeous - nice air around those high cat strings - his voice so clear as well. The beautiful "Time's Running Out" has always had that excessive hiss problem and this mastered version is no different - such a lovely song - but you do have to tolerate the transfer (doesn't stop the song from being a highlight on the LP). Epic tried "How Could We Dare To Be Wrong" as a 45 in the UK on Epic EPC 1197 in February 1973 achieving a modest 45 placing and staying on the charts for only two weeks.

The "Journey" album opens with the slightly bombastic "Wonderful" that ends in a sort of Beach Boys "Smile" vocal refrain by a choir. The voices cleverly segue into the altogether more adventurous and lulling "Beginning" and in its own way - very Beach Boys. But when that classical guitar of Duncan Browne comes sailing in on "Keep The Curtains Closed Today" - the chills go up my arms. It all comes together - gorgeous song - voice - the accompanying backing vocals The King Singers. But then we get the super-produced but slightly overdone "Weak For You" and "Smooth Operator". Side 2 opens with "You Who Are Lonely" - a plaintive song about being 'in the hands of fate' - nice melody and gorgeous production values. My other fave on that side is the big acoustic strums of "Setting Yourself Up"...

Although more polished in every way - album No. 3 "Journey" is missing something that his 1971 debut "One Day" and its 1972 follow-up "Ennismore" possessed in spades. Still - it's a blast to have these forgotten 70ts singer-songwriter slices of magic back on my shelves - and in decent sound too...

"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...