"Bare Wires" by JOHN MAYALL'S BLUES BREAKERS (2007 Decca 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"...Open Up A New Door..."

When this CD was reissued in September 2007 – John Mayall had released his 55th album in 2005 called “Road Dogs”. This strapping Cheshire lad with the Blues hot-wired into his very DNA is 84 in November 2016 and still touring – wow!

In November 1968 Mayall would release the brilliant "Blues From Laurel Canyon" album only months after the June 1968 issue of the equally cool "Bare Wires". And on re-listening to this wicked CD remaster today (expertly transferred from first generation Stereo master tapes by Paschal Byrne) – I'm not in the least bit surprised we're still loving "Wires" and "Laurel Canyon" from that explosively creative decade. These albums represented John Mayall at the height of his Blues Rock songwriting powers – complimented by a band that featured collective genius in the shapes of Chris Mercer and Dick Heckstall-Smith on Saxophones, Jon Hiseman on Drums, Henry Lowther on Cornet and Violin, Tony Reeves on Bass and of course the future Rolling Stones guitar genius of Mick Taylor. And all of this musical exploration helmed by Mayall working Vocals, Guitars, Harmonica and four different types of keyboards. What’s not to love? And it’s less than a fiver in most places. Here is the Saxophone flicks, groovy chicks and zippy licks...

UK released September 2007 – "Bare Wires" by JOHN MAYALL'S BLUES BREAKERS on Decca 984 217-8 (Barcode 602498421789) is an 'Expanded Edition' CD and plays out as follows (73:58 minutes):

1. Bare Wires Suite (22:59 minutes)

(a) Bare Wires

(b) Where Did I Belong

(c) I Started Walking

(d) Open Up A New Door

(e) Fire

(f) I Know Now

(g) Look In The Mirror

ANOTHER SIDE

2. I'm A Stranger [Side 2]

3. No Reply

4. Hartley Quits

5. Killing Time

6. She's Too Young

7. Sandy

Tracks 1 to 7 are the album "Bare Wires" – released June 1968 in the UK on Decca LK 4972 (Mono) and SKL 4945 (Stereo) in the USA on London PS 537 in Stereo only (the Stereo mix is used for the CD). The album was co-produced by Blue Horizon label boss MIKE VERNON with John Mayall – and peaked at No. 3 on the UK LP charts - No. 59 in the USA – credited in both countries to JOHN MAYALL'S BLUES BREAKERS.

BONUS TRACKS:

8. Picture On The Wall

9. Jenny

Tracks 8 and 9 are the non-album MONO A&B-sides of a UK 7" single released February 1968 on Decca F 12732

10. Knocker's Step Forward

11. Hide And Seek

Tracks 10 and 11 are session outtakes recorded April 1968 that first appeared on the October 1971 UK compilation LP "Thru The Years" on Decca SKL 5086

12. Intro – Look At The Girl

13. Start Walkin'

Tracks 12 and 13 recorded at Falmer College, Brighton, UK on 25 May 1968 that were first released April 1983 on the "Primal Solos" LP in the UK on Decca TAB 66.

The 16-page booklet is beautifully laid out. There is a collage of black and white photos of the band in the studio, playing live at various UK venues, British and US trade adverts for the Decca album and even the lyrics at the end. Punctuating the period snaps (many in colour) are really informative and knowledgeable liner notes from MARK POWELL - head honcho at the revered Esoteric Recordings CD reissue company. And all of that reissue goodness is complimented by the best bit...the Audio...

PASCHAL BYRNE has done stunning Remasters at The Audio Arching Company in London from original tapes. Byrne has a long-standing Audio Engineer career and multiple prestigious reissue credits to his name (he also did the Mayall “So Many Roads” 4CD Anthology Book Set in 2010).  His work here is exemplary – great presence – the tracks allowed to breath so you can hear the musicians and not dampened to avoid hiss. This CD sounds fabulous...

The album is somewhat dominated by the 7-part 23-minute "Bare Wires Suite" - a kind of English Blues meets Frank Zappa avant-garde Jazz wig out. Each band member gets their soloist part - Mayall opening proceedings on a lone organ. And just when you think it's all getting out of hand - he slows the pace in "I Know Now" section singing "...they'll be needing me to lean on much more..." before bringing it all home with Saxophones on the last part. Even today it stands up and doesn't feel as long as its playing time would suggest.

Side 2 opens with some slinky Georgie Fame nightclub organ - "I'm A Stranger" sounding just fabulous - all Bluesy and Jazz at one and the same time. A 'one, two, three' count in prefaces the Harmonica shuffle boogie of the very cool "No Reply" while the band's goes all Colosseum with the Jazz/Guitar rock of the salacious yet honest "She's So Young" - a song about a lass whose just about to turn seventeen - an event our John is a little too eager to see arrive. It ends on the weird Acoustic Slide Blues of "Sandy" - the kind of ditty you'd hear on a John Mellencamp album in 1989.

But what elevates this CD reissue into the solid 5-star bracket is the superb extras - all six are more than worthy inclusions. "Picture On The Wall" is the kind of sliding Dobro Blues Rock that I adore slinking along like a naughty brat enjoying himself too much. That single's B-side is "Jenny" - a four and half-minute Slow Crawl that sounds like deep Fleetwood Mac Blues complete with that 'Mono' echo on the guitar and repeated vocals (the remaster here is so clean). The Stereo duo of 1968 outtakes that turned up on the 1971 compilation "Thru The Years" feature amazing guitar and Sax work on "Knocker's Step Forward" - an instrumental that boogies - and a rocking Harmonica and Guitar driver called "Hide And Seek" - which is just great. The live stuff only shows what a shin-kicking band they were live.

So there you have it - "Bare Wires" is still a wickedly good album and I can understand why kids in Blighty pushed it up to No. 3 on the LP charts. The Decca platter that followed in November 1968 "Blues From Laurel Canyon" was another winner cut from pretty much the same cloth (see separate review). And I’ll wear those duds any day of the week...

"Indianola Mississippi Seeds" by B. B. KING (1995 Beat Goes On CD Remaster) - A Review by Mark Barry...

"...Can't Break Loose Of These Chains And Things..."

Eagles Producer Bill Szymczyk first hooked up with B.B. King for the June 1969 "Live And Well" LP on BluesWay – then helmed the superb December 1969 studio album "Completely Well" too. Those two well-received live and studio sets introduced B.B. King classics like "The Thrill Is Gone" and "So Excited" to a new audience (largely white boys digging the Blues) and more importantly helped the legendary Blues Boy break the Billboard album charts after decades of absence - "Live And Well" made No. 56 and "Completely Well" went higher to No. 38.

Meanwhile on his 1969 travels to Cleveland - Bill Szymczyk spots a local band fronted by an amazing guitar player/singer rocking a club. It was The James Gang and the axe maestro was of course Joe Walsh.

Although beloved in the industry for her songwriting genius with Gerry Goffin and her largely unnoticed band work with The City – in 1970 Carole King hadn’t made "Tapestry" yet and wasn’t the household name she would become throughout 1971 and beyond. Oklahoma songwriter and keyboardist Leon Russell had only just released his self-titled debut LP "Leon Russell" in December 1969 on Shelter Records (Joe Cocker would cover "Delta Lady" from it and create a hit – BB King would do "Hummingbird" - also on that album). Soulful backing singer Merry Clayton had famously duetted with Mick Jagger on The Rolling Stones classic "Gimme Shelter" from their classic "Let It Bleed" album in 1969 and was about to emerge into the limelight in 1970 with her own debut album on A&M/Ode 70 Records not surprisingly called "Gimme Shelter” (see review).

The point of this musical history lesson is that B.B. King's 1970 LP "Indianola Mississippi Seeds" (Produced by Bill Szymczyk) brought 'all' of these mercurial talents together for the first time. And I'd argue that in 2016 - it's one of those criminally 'overlooked' albums that shouldn't be. Time to rectify that careless oversight on our part - we children of Alan Freed and a frothing Robert Johnson. Here are the plugged-in watermelon details...

UK released June 1995 (reissued December 2008) – "Indianola Mississippi Seeds" by B.B. KING on Beat Goes On BGOCD 237 (Barcode 5017261202376) is a straightforward CD transfer/remaster of that album and plays outs as follows (39:33 minutes):

1. Nobody Loves Me But My Mother

2. You're Still My Woman

3. Ask Me No Questions

4. Until I'm Dead And Cold

5. King's Special

6. Ain't Gonna Worry My Life Anymore [Side 2]

7. Chains And Things

8. Go Underground

9. Hummingbird

Tracks 1 to 9 are the album "Indianola Mississippi Seeds" – released October 1970 in the USA on ABC Records ABCS-713 and October 1970 in the UK on Probe Records SPBA 6255 (gatefold sleeve in both countries). Produced by BILL SZYMCZYK with Strings and Horns arranged by JIMMIE HASKELL. It peaked at No. 26 on the US LP charts. Tracks 1, 3, 4, 5 and 6 are written by B.B. King – Tracks 2, 7 and 8 co-written with B.B. King and Dave Clark – Track 9 is a Leon Russell cover version. 

MUSICIANS:

B.B. KING - All Lead Vocals & Guitar

JOE WALSH - Rhythm Guitar on "Ask Me No Questions", "King's Special" and "Hummingbird"

CAROLE KING - Piano on "You're Still My Woman", "Until I'm Dead And Cold" and "Ain't Gonna Worry My Life Anymore"

CAROLE KING - Electric Piano on "Ain't Gonna Worry My Life Anymore" and "Chains And Things"

LEON RUSSELL - Piano on "Ask Me No Questions", "King's Special" and "Go Underground"

MERRY CLAYTON - Backing Vocals

BRYAN GARAFALO - Bass

RUSS KUNKEL - Drums

45s released around the LP:

1. Hummingbird b/w Ask Me No Questions

July 1970 USA 7" single on ABC Records 45-11268

August 1970 UK 7" single on Stateside SS 2176

2. Chains And Things [Edit] b/w King's Special [Edit]

October 1970 USA 7” single on ABC Records 45-ABC-11280

Chains And Things b/w King's Special

February 1971 UK 7" single on Probe PRO 516 (no edits)

3. Ask Me No Questions b/w Nobody Loves Me But My Mother

February 1971 USA 7" single on ABC Records ABC-11290

Ask Me Questions/Help The Poor b/w Hummingbird

June 1971 UK 7" single on Probe Records PRO 528 (Note: the A-side has two tracks)

The 8-page inlay has basic but entertaining liner notes from JOHN TOBLER. This is 1995 BGO – so the booklet isn’t like their 20-page tomes of late nor is there a pretty card slipcase (mores the pity) and could frankly do with some updating. It doesn’t say who did the Remaster but it was carried out at 'Sound Recording Technology in Cambridge' in early 1995. The audio is great – meaty in all the right ways. It has a very analogue feel - hissy in some places - but alive and kicking for all that.

With just B.B.accompanying himself on piano - it opens with the witty "Nobody Loves Me But My Mother" where the Blues Boy bemoans his womanless fate. Nobody loves him and he ain't sure about his mother either (could be jiving him). Next up is the slinky "You're Still My Woman" and we're introduced to another 'secret weapon' in the sessions - a writer's credit to a one 'Dave Clark'. B.B. co-wrote three of the songs with this Tennessee songwriting genius and although Clark never managed an album of his own – his songs crop up like good pennies in cool places. Clark’s "Homework" was covered by The J. Geils Band on their debut and used as a 7" single. "Homework" also turned up on the Fleetwood Mac and Friends double-album "Blues Jam At Chess" on Blue Horizon. B.B. would co-write with Clark again on the 1972 album "L.A. Midnight" on ABC Records (Probe Records in the UK). ABC decided to use Clark's wonderful "Chains And Things" as a 45 and you can so hear why. This sneaky electric piano riffs comes sailing in (Carole King) and it’s that fabulous 70ts fusion of Blues and Rock and Soul all rolled into one (a highlight for sure).

There are two funky instrumentals - "King's Special" (preceded by some studio chatter) features the band of King, Walsh, Carole and Leon all boogieing the session in a hipster jam. It's the kind of cool Rock-Soul-Funky instrumental that will turn up on some Soul Jazz double-album compilation in the next few years - an example of a long lost wicked groove that kids of today need to know about. The other is the Side 2 opener "Ain't Gonna Worry My Life Anymore" which is a weird one - like two songs in one - both different but excellent grooves. "Go Underground" hails from the "Completely Well" sessions and is a Funky bopper - could have been a great single. His cover of Leon Russell's "Hummingbird" ends the record on another Funky Blues vibe - great piano and those orchestrated strings. The bass is so sweet, Leon plays piano on his own tune and Joe Walsh gives it some chug in the Rhythm section and Merry comes in with the choir voices at the finale.

"Indianola Mississippi Seeds" is a wicked album filled with musical bodies that only complimented and enhanced the great man's mojo.

"...She gets me where I live..." - B.B. King sings on the cool "Hummingbird". Well plug me into that watermelon one more time...

"Fly Me To The Moon/My Prescription" by BOBBY WOMACK (2004 EMI/Stateside CD Remaster) - A Review by Mark Barry...

This CD contains the album "My Prescription" released in 1970

"…Real Soul Pleaser…"

This rather simple but brilliant Stateside CD brings together the late great Bobby Womack’s first two LPs both issued on Minit Records in the USA. It also boasts major label sound quality (EMI) and a less than budget price. In my book – it’s a total winner. Here are the midnight movers and all-night groovers…

UK released August 2004 - "Fly Me To The Moon/My Prescription" by BOBBY WOMACK on on EMI Stateside 866 0782 (Barcode 724386605924) offers 2LPs onto 1CD and breaks down as follows (63:39 minutes):

1. Fly Me To The Moon (In Other Words)

2. Baby! You Oughta Think It Over

3. I’m A Midnight Mover

4. What Is This

5. Somebody Special

6. Take Me

7. Moonlight In Vermont

8. Love, The Timer Is Now

9. I’m In Love

10. California Dreamin’

11. No Money In My Pocket

12. Lillie Mae

Tracks 1 to 12 are “Fly Me To The Moon” released January 1969 in the USA on Minit Records LP-24014

13. How I Miss You Baby

14. More Than I Can Stand

15. It’s Gonna Rain

16. Everyone’s Gone To The Moon

17. I Can’t Take It Like A Man

18. I Left My Heart In San Francisco

19. Arkansas State Prison

20. I’m Gonna Forget About You

21. Don’t Look Back

22. Tried And Convicted

23. Thank You

Tracks 13 to 23 are “My Prescription” released May 1970 in the USA on Minit LP-24027

The 12-page booklet has sleeve notes by DEAN RUDLAND with two photos and snappy trade advert for the “Fly Me To The Moon” LP. STEVE ROOKE did the remasters at Abbey Road and lovely Stereo Sound fills every track. There is hiss on some of the tracks but there’s a wonderful warmth and air around the recordings – kind of goes with the territory.

Wilson Pickett had a 7” smash with Womack’s “I’m A Midnight Mover” in 1968 (called the album “The Midnight Mover” too) but now it was the turn of Cleveland’s finest and ‘The Preacher’ does a barnstormer of a great tune. In fact the first album is full of those unbelievably catchy hooks – the mid-tempo “Somebody Special” and the distant harmonica melody in “Take Me” (also used as the B-side to “Fly Me To The Moon” when it was released as a US 7” on Minit 32048). Wilson Picket plundered Womack’s knack for a ballad with punch too when he recorded “I’m In Love” and released it in early 1968 (also calling the album after the track).

But for me things really take off on “My Prescription” which opens with one of my all-time favourite Soul tunes – “How I Miss You Baby”. Minit coupled it with the album cut “Tried And Convicted” (on Minit 32093). It has a snappy beat, churchy organs, impassioned vocals, touching lyrics and eventually goes into a sort of Burt Bacharach brass bit as he sings – it’s unbelievably good. The same hooky melody of sorts infests “It’s Gonna Rain” where he sings of “bad vibrations” – again brilliantly arranged and the remaster bring out a fabulous rhythm section of bass, drums and rhythm guitars. His “Preacher” side comes out in “Everyone’s Gone To The Moon” and “I Can’t Take It Like A Man” – the latter with lovely brass fills adding so much. And on it goes to the Tony Joe White slink of “Arkansas State Prison” and the bouncy keyboard of “Don’t Look Back” (A Temptations cover) and the equally upbeat “Tried And Convicted”.

Womack would go on to huge success and acclaim with his Seventies material on United Artists and onwards again to “The Poet” and beyond. But I’ve always loved his duo of fabulous Minit LP starters and hope you will too…

Stateside 866 0782 is the kind of CD that gets unwisely ignored and sells for peanuts. But I urge you (if you’ll forgive the primate pun) to shell out on this one…

"Magic Christian Music" by BADFINGER (2010 Apple 'Expanded' CD Remaster) - A Review by Mark Barry...

This Review Along With 230+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

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

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"...Come And Get It..." 

Like the equally brill Big Star – Badfinger is one of those bands. Given the quality of their music and the wads of writing talent within their ranks - Badfinger should have entered the music charts on a more regular basis (especially in Blighty) - but instead have entered the realms of Music Legend precisely because they didn't succeed commercially. They charted only three singles in the UK (one with the help of McCartney) - but none of their six albums on Apple or Warner Brothers tickled the fancy of the buying public.

Formerly known as THE IVEYS – the half-British, half-Welsh band famously signed to The Beatles Apple Records in 1968 – promptly pushing out two 45s and one hastily withdrawn album. The "Maybe Tomorrow" LP did at least get release in some Europe territories and Japan - but was unissued on Apple SAPCOR 8 in the UK. A quick line-up change (Bassist and Vocalist Ron Griffiths departed to be replaced by Guitarist Joey Molland) and a re-naming to the more funky BADFINGER - their next step was to feature three of their songs ("Come And Get It", "Rock Of All Ages" and "Come On Till Tomorrow") in a 1969 comedy spoof film called "The Magic Christian" (directed by Joseph McGrath). In order to get a 'Badfinger' album out into the market place that wasn't strictly a Soundtrack – seven of the old IVEYS tunes were remixed, edited, mined for a standalone album - "Magic Christian Music". And that's where this dinky little 2010 Apple CD reissue steps in. Here are the core details...

UK released 25 October 2010 - "Magic Christian Music" by BADFINGER on Apple 5099964243825 (Barcode is the same) is an 'Expanded Edition' CD Remaster and plays out as follows (58:50 minutes):

1. Come And Get It

2. Crimson Ship

3. Dear Angie

4. Fisherman

5. Midnight Sun

6. Beautiful And Blue

7. Rock Of All Ages

8. Carry On Till Tomorrow [Side 2]

9. I'm In Love

10. Walk Out In The Rain

11. Angelique

12. Knocking Down Our Home

13. Give It A Try

14. Maybe Tomorrow

Tracks 1 to 14 are the 'British Track Line-Up' for the Stereo LP "Magic Christian Music" by BADFINGER released 8 January 1970 in the UK Apple SAPCOR 12.

"Magic Christian Music" was released 16 February 1970 in the USA on the Stereo LP Apple SW-3364 but with two less songs and a rejiggered 12-track list. To sequence the US LP use the following CD numbers:

Side 1: Tracks 1, 2, 3, 5, 6 and 7

Side 2: Tracks 8, 9, 10, 4, 12 and 14

BONUS TRACKS:

15. And Her Daddy's A Millionaire (Previously Unreleased Alternate Version)

16. Mrs. Jones (Remix)

17. Sali Bloo (Previously Unreleased Mono Mix)

18. See-Saw Grandpa (Previously Unreleased Mono Mix)

19. I've Been Waiting (Previously Unreleased Unedited Remix)

DIGITAL DOWNLOADS:

Requiring extra payment - there are also 6 more tracks available via Digital Download from iTunes or Amazon - "Dear Angie (Mono Mix)", "Think About The Good Times (Mono Mix)", "No Escaping Your Love (Mono Mix)", "Arthur (Remix)", "Storm In A Teacup (Mono Mix)" and "Yesterday Ain’t Coming Back (Mono Mix)" (see either site for cost details). Niggles – it won't take real fans moments to notice that the two bonus tracks "Storm In A Teacup" and "Arthur" that accompanied the first CD reissue by Apple of this album way back in November 1991 are now AWOL in physical form from this new reissue – relegated albeit in different form to the Digital Downloads.

BOOKLET/PACKAGING:

The front and rear of the original vinyl LP sleeve is reproduced on the gatefold card sleeve while noted writer and music lover ANDY DAVIS does the new liner notes for the booklet (they're all a disappointingly weedy 12 pages long). But with what little text he has been afforded - Davis does at least fill it with properly informative details. It's cute for sure but you do wish there was more. But the real deal is in the Audio...

SOUND:

The same team that handled the much-praised 09/09/09 Beatles remasters has done this too - GUY MASSEY, STEVE ROOKE and SAM OKELL with SIMON GIBSON. The audio quality is beautiful - a massive improvement – the kind of Remaster that makes you reassess a lot of the music.

CONTENT:

Associations - three songs from the Movie have that magic-dust Beatles connection – "Come And Get It", "Rock Of All Ages" and "Carry On Till Tomorrow" - all Produced by PAUL McCARTNEY with Macca having also penned "Come And Get It" (he plays Piano on "Rock Of All Ages' and some Percussion on "Come And Get It"). Beatles Engineer MAL EVANS Produced Tracks 4, 5, 6, 10, 12, 16 and 18 - while The Beatles Producer GEORGE MARTIN orchestrated the strings on the Pete Ham song "I'm In Love". TONY VISCONTI Produced the remainder of the songs – Tracks 2, 3, 9, 11, 13, 14, 15, 17 and 19 and NICKY HOPKINS plays piano on "See-Saw Grandpa".

Badfinger’s debut LP has always had a rep for being a tad lightweight – strung together from remnants - a good start and not much else. I suppose the best compliment you can give this CD reissue is that it makes you reassess that overly 'harsh' judgement. It opens with Hitsville UK – Macca's catchy as a Socialistic viewpoint "Come And Get It". Released 5 December 1969 in advance of the album – Badfinger's debut 45 on Apple Records APPLE 20 rose to a very cool No. 4 in January 1970 (had a rare British picture sleeve) and lasted 11 weeks on the UK charts. Its US equivalent on Apple 1815 was issued February 1970 (the album came out later there) with the same B-side "Rock Of All Ages" and did equal business – an impressive No. 7. But what amazes me is that I'd forgotten how good tracks like "Crimson Ship" and "Dear Angie" are. The remaster on "Crimson Ship" is fabulous - that sweet Bass and that huge guitar - while the vocal harmonies on "Dear Angie" are gorgeous and that strummed acoustic guitar so clear. "Fisherman" is one of the 1969 tracks 'remixed' and it feels slightly out of kilter with the two that preceded it - but on rehear - I'm digging it - and that remix has really added a warmth to the song. We rock out for "Midnight Sun" - Pete Ham riffing away like a goodun. Tom Evans contributes what has to be the most Beatlesque sounding song on the album "Beautiful And Blue" - a pretty ditty with strings that could easily have been on "Rubber Soul" albeit in a more stripped down form.

It's a wonder that Apple didn't consider the raucous Slade riffage of "Rock Of All Ages" as the next single from the album - shame that. "Carry On Till Tomorrow" is a song I used to dismiss as fay once - but I'm digging its sweet vocal arrangements here. I can easily live without "I'm In Love" but the Pete Ham ballad "Walk Out In The Rain" is shockingly beautiful - the remaster making it shine like never before. Tom Evan gets in on the love song act with his "Angelique" and does well but Ham's "Knocking Down Our Home" is dreadfully clunky. The album ends on a duo of semi-weepies "Give It A Try" and "Maybe Tomorrow" - big and epic in their own mini-series kind of way (love that orchestration on "Maybe Tomorrow"). A good album rather than a great one you’d have to say - but man those good bits...

I hadn't expected the Bonus Material to be up to much - and unfortunately some of it feels like filler - for fans only. You can so hear where The Hollies comparison comes from when "And Her Daddy's A Millionaire" comes bopping out of your speakers (great remaster though). Sounding like The Move seeking a hit - "Mrs. Jones" is good too as is the Mono Mix of the guitar-boogie tune "Sali Bloo". The audio on "See-Saw Grandpa" is unfortunately the worst on here - but it ends on a blaster - the huge guitars of "I've Been Waiting" - a genuinely great inclusion. I bought the downloads at the time for this review - despite "Arthur" sounding incredible in remastered form - the poor man's Hollies comparison is staggering - complete with whiny identikit vocals. More interesting is the 'Mono' mix of an album fave - "Dear Angie" - it's good but not a patch on the beauty of the Stereo version. For me the best here is "Think About The Good Times" - a strange Funk-Rock hybrid that at least has The Kinks at its heart. And again the shadow of The Beatles hangs over "Yesterday Ain't Coming Back" - a tune that could have been on "Magical Mystery Tour"...nice.

One Star or Five - BADFINGER have always divided people - many calling them one of the great overlooked bands of the period - others calling them lightweight. For sure this record is hardly the crafted-gems of the "No Dice" and "Straight Up" LPs - nonetheless their debut album "Magic Christian Music" deserves reappraisal - especially given the massive improvement in sound quality on offer here and some of those ragbag bonus tracks. There's magic in there folks - just gotta root it out...

PS: Monday 25 October 2010 saw 14 of the 'Apple' label Sixties and Seventies albums remastered and reissued in the UK alongside a first-time-ever label 'Best Of' compilation CD not surprisingly called "Come And Get It" after Badfinger's first hit song (penned by Paul McCartney).

The October 2011 Apple CD Remasters are (I've reviewed most):

1. Magic Christian Music - BADFINGER (January 1970)

2. No Dice - BADFINGER (November 1970)

3. Straight Up - BADFINGER (1972)

4. Ass - BADFINGER (1974)

5. Postcard - MARY HOPKIN (1969)

6. Earth Song - Ocean Song - MARY HOPKIN (1971)

7. Is That What You Want? - JACKIE LOMAX (1969)

8. Under The Jasmine Tree/Space - THE MODERN JAZZ QUARTET 

(1968 and 1969 - 2LPs on 1CD)

9. That's The Way God Planned It - BILLY PRESTON (1969)

10. Encouraging Words - BILLY PRESTON (1970)

11. The Radha Krishna Temple - THE RADHA KRISHNA TEMPLE (1971)

12. The Whale/Celtic Requiem - JOHN TAVENOR (1970 and 1971 - 2LPs on 1CD)

13. James Taylor - JAMES TAYLOR (1968)
14. Doris Troy - DORIS TROY (1970)

"Music From Big Pink" by THE BAND (2000 Capitol 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"...To Kingdom Come..."

It's a measure of The Band's musical impact that their debut album hit the shelves of American record stores 1 July 1968 and by the late August issue of the hugely influential Rolling Stone magazine (26 August 1968, Al Kooper's famous article) - they were already on the front cover. There they sat on a park-bench with their backs to us - come to bring us all back to real tunes - looking like ramshackle woodsmen-extras returned from the set of John Boorman's "Deliverance". And it helped of course that the original Americana troubadour Bob Dylan was a pal, painted the cover art and contributed the occasional song classic too...

Capitol took their time with this superbly presented 'Expanded Edition' CD of "Music From Big Pink" and has stoked up the Stereo release with a slew of half-decent extras actually worthy of the moniker 'Bonus Tracks'. Here are the weighty details...

UK released September 2000 (August 2000 in the USA) - "Music From Big Pink" by THE BAND is an 'Expanded Edition' CD Reissue/Remaster on Capitol 525 3902 (Barcode 724352539024) and plays out as follows (74:03 minutes):

1. Tears Of Rage

2. To Kingdom Come

3. In A Station

4. Caledonia Mission

5. The Weight

6. We Can Talk [Side 2]

7. Long Black Veil

8. Chest Fever

9. Lonesome Suzie

10. This Wheel's On Fire

11. I Shall Be Released

Tracks 1 to 11 are their debut album "Music From Big Pink" - released July 1968 in the USA on Capitol Records SKAO-2955 and November 1968 in the UK on Capitol Records T 2955 (Mono) and Capitol ST 2955 (Stereo). The American STEREO Mix is used. Robbie Robertson wrote "To Kingdom Come", "Caledonia Mission", "The Weight" and "Chest Fever" - Richard Manuel wrote "In A Station", "We Can talk" and "Lonesome Suzie and co-wrote "Tears Of Rage" with BOB DYLAN - Dylan wrote "I Shall Be Released" and co-wrote "This Wheel's On Fire" with Rick Danko. "Long Black Veil" is a Marijohn Wilkin and Danny Dill song made famous by Country Artists Lefty Frizzell and Johnny Cash. JOHN SIMON Produced.

BONUS TRACKS:

12. Yazoo Street Scandal (Outtake)

13. Tears Of Rage (Alternate Take)

14. Katie's Been Gone (Outtake)

15. If I Lose (Outtake)

16. Long Distance Operator (Outtake)

17. Lonesome Suzie (Alternate Take)

18. Orange Juice Blues (Blues For Breakfast) (Outtake – Demo)

19. Key To The Highway (Outtake)

20. Ferdinand The Imposter (Outtake – Demo)

THE BAND was:

GARTH HUDSON – Organ and Vocals

RICHARD MANUEL – Piano and Lead Vocals on Tracks 1, 2, 3, 6, 8, 9 and 11

ROBBIE ROBERTSON – Lead Guitar and Duet Vocals with Manuel on Track 2

RICK DANKO – Bass and Lead Vocals on Tracks 4, 7, and 10

LEVON HELM – Drums and Lead Vocals on Track 5 a duet with Danko

Compiled by Cheryl Pawelski and Andrew Sandoval - the 20-page booklet has fantastically comprehensive liner notes by ROB BOWMAN that feature interviews stretching back twelve years (from 2000), photos of tracking sheets, mix instructions, the American 45 of "The Weight" on Capitol 2269, trade adverts, the Rolling Stone cover, outtake photos from the session, a Winterland Poster - and snaps of the home ‘Big Pink’ where most of the music was composed. It's very well done as befits an album of this stature.

But the big news is a great remaster by DAN HERSCH and ANDREW SANDOVAL. Notoriously far removed from 'audiophile' territory – the album was recorded in a real-instruments/naturalistic feel kind of way. So some tunes like "I Shall Be Released" and "Long Black Veil" have audible hiss levels but you’d have to say that this remaster allows the whole lot to 'breathe' – no dampening nor tampering. On tracks like the wicked keyboard extravaganza that is "Chest Fever" or Manuel's old-as-mountains "In A Station" - the natural feel is thrilling - given space to shine.

It opens with the decidedly edgy "Tears Of Rage" - a slow opener that's all treated guitar and croaked vocals about 'Independence Day' and a father not 'getting it'. Even after all these years I still find the brass arrangements and that huge organ sound in the background so moving - while Robertson pings away on those frets as only he can. We up the pace for "To Kingdom Come" - a catchy little mutt that bears repeated listening as he sings of being 'tarred and feathered'. I loved what Karen Dalton did with Manuel's "In A Station" on her "In My Own Time" album of cover version in 1971 on Just Sunshine Records (see separate review). You can hear why she was drawn to its gravel heart - slightly off rhythms and production values - yet still full of heart. Both of Robertson's Side 1 finishers "California Mission" and "The Weight" practically defined The Band sound from the outset. On Side 2 I like the strange funkiness of "This Wheel's On Fire" but my crave is the heavy and wild keyboard soloing throughout “Chest Fever”. It's so at odds with the rest of the record - yet it fits. "Chest Fever" could even be an ELP rehearsal – an Atomic Rooster jam – it's the kind of rock song you don't really expect from The Band - brilliantly hooky yet ramshackle enough to remain real. "Chest..." is followed by Levon's aching set of pipes on "Lonesome Suzie" – a slow drawl of a song – and a tune that cries out to be covered - tap into the melody's innate Soulfulness.

I had expected the Extras to be largely filler - and some are rough ("If I Lose", "Orange Juice Blues" and "Ferdinand The Imposter" are taken from 'best available sources') - but the Outtakes are actually brill. "Yazoo Street Scandal" actually feels like Dylan's force is strong with the Robbie-one-Kenobi  - but even tastier is an 'Alternate Take' of "Tears Of Rage" that emphasises the Piano more. It's a fabulous addition and stands up by itself. Both Robertson and Manuel penned "Katie's Been Gone" and it's another genuinely great discovery. "...This would be Take 400...rolling..." the Engineer wittily intros "Long Distance Operator" - and again it feels like your eavesdropping on creativity in full flow. You can hear why the quicker "Lonesome Suzie" Alternate was dumped in favour of the much slower and more soulful arrangement. "Keys To The Highway" is a cover of a Big Bill Broonzy song with some great fuzzed-up guitar. Impressive stuff...

The Band's debut is often described as patchy - seen as a group getting there - heading towards the undeniable songwriting maturity of 1970's "The Band". But I'd argue that even though you're told other albums are better - "Music From Big Pink" is one of those records you keep returning too - and digging it more and more each time you do.

Dirt cheap from most online retailers - this is one of those occasions where you don't have to pay through the CD nose to get that great combo of top music and quality sound. And if ever a group deserved such a sweet outcome - then The Band are it.

"...I Shall Be Released..." they sang back in the day. And with music in my heart – they were right...

"Beggars Banquet" by THE ROLLING STONES (2002 Abcko 'Hybrid SACD/DSD CD' Remaster) - A Review by Mark Barry...

"…Pleased To Meet You…" 

As the truly fantastic "Sympathy For The Devil" sails into your living room on a patter of Tabla shuffles and Salsa shakers – all slithery, slinky and sidewinding like a snake – you wonder how many times this incredibly durable song has been used in movies? How many instances has a smug vampire or demon or Old Nick himself (in human form of course) played this tune in his car CD-player as he heads off for another rendezvous with a succulent throat in the big dark city?

Bloodletting and a propensity to name-check Hades and its unsavoury occupants aside - The Rolling Stones started a peerless run of albums with 1968's "Beggars Banquet" that ran through 1969's "Let It Bleed", 1971's "Sticky Fingers" (the first on their own Rolling Stones Records) – culminating in the magnum opus double-album "Exile On Main St." - a deserved No. 1 in 1972. Yet in its plain white British laminated gatefold or naughty US toilet graffiti sleeve - somehow good old 'BB' seems to get ignored over the illustrious trio that followed it. And its history on CD has been murky and problematic too...

When the Decca label side of the Stones catalogue first came out on CD in 1986 on London - it was not the greatest moment for the new format. This 2002 'Hybrid SACD/DSD CD' reissue and remaster acknowledges this and advises that after 'long and painful' searches through tape vaults on both sides of the Atlantic - both time and technology had caught up enough to warrant a proper stab at it again. And like the other titles in this wicked series of card digipaks - man what a result. Here are the street fighting men...

UK and Europe released August 2002 – "Beggars Banquet" by THE ROLLING STONES on Abkco 8823012 (Barcode 042288230120) is a Limited Edition Hybrid SACD/DSD CD Remaster – a straightforward transfer of the 10-track Stereo album that plays out as follows (39:47 minutes):

1. Sympathy For The Devil

2. No Expectations

3. Dear Doctor

4. Parachute Woman

5. Jigsaw Puzzle

6. Street Fighting Man [Side 2]

7. Prodigal Son

8. Stray Cat Blues

9. Factory Girl

10. Salt Of The Earth

Tracks 1 to 10 are the album "Beggars Banquet" - released 6 December 1968 in the UK on Decca LK 4955 (Mono) and SKL 4955 (Stereo) and 7 December 1968 in the USA on London LL 3539 (Mono) and London PS 539 (Stereo). Only the STEREO MIX IS USED.

Made by Sony and Phillips - the SACD/DSD Hybrid Disc actually has two layers - the first contains the normal CD playback - but the other layer has a SACD remaster which will automatically come on if your machine has SACD playback facilities (it doesn't require a special machine to play this disc). The three-way foldout card digipak unfortunately doesn't reproduce the British front cover artwork (white with script titles) but does have the inner sleeve 'banquet' photo of the boys pigging out spread across the inner digipak and further onto the CD label. As with all of these three-way card digipaks - there is also a small square paper 'Certificate Of Authenticity' for the 'Inaugural Edition Hybrid Disc 2002' that quotes some lyrics to a song from the album and (in this case) pictures a black and white snippet of the 'toilet sleeve' on the rear. Not sat in any kind of pouch within the glossy card digipak - these little certificates are easy to lose - and the glossy sleeve easy to mark or smudge - so perhaps use a protective plastic to hold the lot in place/keep it new.  

But the real layers of soft ply are the new Audio. STEVE ROSENTHAL did the Sound Restoration and Archive Coordination - TERI LANDI the Analogue to Digital Transfers & Tape Archive Research with final Mastering carried out by the legendary Audio Engineer BOB LUDWIG at Gateway Mastering. The sonic transformation of Jimmy Miller's original production is awesome. This CD sounds fantastic in either DSD CD mode or SACD – a great Stones album made better at last.

After the bombastic backwards-tapes bilge of December 1967's psych-out "Their Satanic Majesties Request" – the stripped down almost country R&B instrumentation of "Beggars Banquet" came as a welcome relief. And excepting a cover version of "Prodigal Son" by Reverend Robert Wilkins (covered by Hank Williams in 1952 – probably the version Keith Richards heard and admired) – the other nine are Jagger-Richards originals. It opens on a balls-to-the-wall Stones classic – "Sympathy For The Devil". As well as the famous 'ooh ooh' chorus throughout that features Mick Jagger, Keith Richards, Brian Jones, Bill Wyman, Nicky Hopkins, Marianne Faithfull, Jimmy Miller and actress/Stones girlfriend Anita Pallenberg - one of the unsung heroes of this 6:02 minutes is Nicky Hopkins whose brilliantly complimentary piano playing underpins the rhythm. Up next is one of my all-time Stones craves – the gorgeous "No Expectations". Sailing in on a bed of Bluesy acoustic strums – Brian Jones plays slide while Nicky Hopkins once again does a sweet piano refrain throughout (you can hear Wyman’s bass in the remaster now too – so sweet). American fans will know that the song was used as B-side to "Street Fighting Man" on London 909 (shame they didn't feature its rare picture sleeve somewhere in the digipak - under the see-through tray for instance). We go all hick-Country with "Dear Doctor" where Keith and Mick complain "...there's a pain where there once was a heart..." - Brian Jones plays Harmonica while Dave Mason of Traffic guest on guitar. Keith Richards famously took over the 'slide guitar' reins from Brian Jones on the wickedly good "Parachute Woman" while Mick gives it some Harmonica and Nicky Hopkins plays piano (lost somewhere back in the mix). They were never so ramshackle and louche as on "Jigsaw Puzzle" where the bishop's daughter has been an outcast all her life while poor Mick pours over his jigsaw puzzle (undoubtedly in a very cool Chelsea flat).

Side 2 opens with the mighty "Street Fighting Man" - banned by the knobs at the BBC for its 'incendiary' sentiments (guaranteed million seller then). A harsh-reality statement – the song asked "...what can I poor boy do...” The direct opposite to the message of hippies and peaceniks – the authorities clearly thought its seeming praise of 'fighting' was going to cause riots in the – well – streets. It didn't. More likely the real violence came from American cops trying to control thousands of peaceful protestors riling against the sickening Vietnam War and its waste of life. I still don't know how Richards got that slightly off guitar sound and once again – Nicky Hopkins contributes Piano while Dave Mason offers Percussion. Acoustic Blues comes at us with "Prodigal Son" - Richards on Acoustic - Jones giving it some cotton-field Harmonica while Jagger sings about restlessness - going down the road - a poor boy crying for mercy. Truthful but "Some Girls" angry in ways - naughty rock-band antics fill the saucy lyrics of "Stray Cat Blues" where a 15-year old needn't show her ID (grow up boys). Far better is "Factory Girl" - a pretty song that has Dave Mason on Mandolin and Family's Rick Grech on Violin - both lifting the song into something special. It ends on more acoustic introspection - "Salt Of The Earth" - a song about the working everyman - the 'common foot soldier'. Keith croaks out the first verse - Jagger takes over from there in with Keith doubling. Nicky Hopkins plays melodious piano licks until The Watts Street Gospel Choir come sailing in towards the big finish.

"Beggars Banquet" isn't as immediately 'rocky' as say 1969's "Let It Bleed" or the crowd-pleasing riffage of "Sticky Fingers" from 1971 - but it's a Stones album I keep returning to - wanting to play it side to side. Whether you go for the 2002 Abkco SACD/CD Hybrid issue or Japan's SHM-CD from 2010 with all the repro artwork (and the 2002 remaster) you're in good hands - the best Rock 'n' Roll band in the world on fighting form...

"Original Album Series" by THE YOUNG RASCALS/THE RASCALS (2011 Rhino/Atlantic 5CD Mini Box Set Remasters in Stereo) - A Review by Mark Barry...

"...Groovin' On A Sunday Afternoon..." 

Forever associated with two huge 60ts anthems - "Good Lovin'" and "Groovin'" - The Young Rascals started out as a straight-up raucous R&B outfit in 1966 with good vibrations in their hearts, Atlantic and Chess Records in their Souls and the occasional flower stalk in their hair. By the time they'd reached December 1969 - they'd shortened the moniker to THE RASCALS and released six studio albums and one 'Greatest Hits'. En-route they'd become increasingly more sophisticated in their output (ending up sounding like WAR on Freedom Suite's funky workout "Cute") and vocal in their wish to see the USA buck up and move on from all that was tearing it apart socially at the time.

And that's what this dinky little 5CD box set in the "Original Album Series" inadvertently proves. The Rascals were so much more than a rapid-fire happy-wappy hits group and a Summer of Love phenomenon - but an evolving musical force trying to get heard. But as the Sixties closed – like The Monkees - less and less were listening let alone buying their records making a lot of this music in 2016 almost unknown to the average listener. Time to rectify that oversight. Here are the details...

UK and Europe released October 2011 (August 2013 in the USA) - "Original Album Series" by THE YOUNG RASCALS on Atlantic/Rhino 8122 79834 8 (Barcode 081227983482) is a 5CD Card Slipcase housing 5 x 5” Mini LP Repro Sleeves – and plays out as follows:

Disc 1 (36:15 minutes):

1. Slow Down

2. Baby Let's Wait

3. Just A Little

4. I Believe

5. Do You Feel It

6. Good Lovin' [Side 2]

7. Like A Rolling Stone

8. Mustang Sally

9. I Ain't Gonna Eat My Heart Out Anymore

10. In The Midnight Hour

Tracks 1 to 10 are their debut album "The Young Rascals" - released March 1966 in the USA on Atlantic 8123 (Mono) and Atlantic SD 8123 (Stereo) and in the UK on Atlantic 587012 (Mono) and Atlantic 588012 (Stereo) - the Stereo mix is used. It peaked at No. 15 on the US LP charts.

Disc 2 (33:13 minutes):

1. What Is The Reason

2. Since I Fell For You

3. Lonely Too Long

4. No Love To Give

5. Mickey's Monkey/Love Nights

6. Come on Up [Side 2]

7. Too Many Fish In The Sea

8. More

9. Nineteen Fifty-Six

5. Love Is A Beautiful Thing

6. Land Of 1000 Dances

Tracks 1 to 11 are their 2nd album "Collections" by THE YOUNG RASCALS - released January 1967 in the USA on Atlantic 8134 (Mono) and Atlantic SD 8134 (Stereo) and in the UK on Atlantic 587060 (Mono) and Atlantic 588060 (Stereo) - the Stereo mix is used. It peaked at No. 14 on the US LP charts.

Disc 3 (34:39 minutes):

1. A Girl Like You

2. Find Somebody

3. I'm So Happy Now

4. Sueno

5. How Can I Be Sure

6. Groovin' [Side 2]

7. If You Knew

8. I Don't Love You Anymore

9. You Better Run

10. A Place In The Sun

11. It's Love

Tracks 1 to 11 are their 3rd album "Groovin'" by THE YOUNG RASCALS - released 31 July 1967 in the USA on Atlantic 8148 (Mono) and Atlantic SD 8148 (Stereo) and in the UK on Atlantic 587074 (Mono) and Atlantic 588074 (Stereo) - the Stereo mix is used. It peaked at No. 5 on the LP charts.

Disc 4 (37:28 minutes):

1. Intro/Easy Rollin'

2. Rainy Day

3. Please Love Me

4. Sound Effect/It's Wonderful

5. I'm Gonna Love You/Dave & Eddie

6. My Hawaii

7. My World [Side 2]

8. Silly Girl

9. Singin' The Blues Too Long

10. Bells/Sattva

11. Finale: Once Upon A Dream

Tracks 1 to 11 are their fourth album "Once Upon A Dream" and the first credited to THE RASCALS - released February 1968 in the USA on Atlantic 8169 (Mono) and Atlantic SD 8169 (Stereo) and in the UK on Atlantic 587 098 (Mono) and Atlantic 588 098 (Stereo) - the Stereo mix is used. It peaked at No. 9 on the US LP charts.

Disc 5 (65:54 minutes):

"Freedom Suite"

1. America The Beautiful [Side 1]

2. Me & My Friends

3. Any Dance'll Do

4. Look Around

5. A Ray Of Hope

6. Island Of Love [Side 2]

7. Of Course

8. Love Was So Easy To Give

9. People Got To Be Free

10. Baby I'm Blue

11. Heaven

"Music Music"

12. Adrian's Birthday [Side 3]

13. Boom

14. Cute [Side 4]

Tracks 1 to 14 are the 2LP set "Freedom Suite" (record one is called "Freedome Suite" - record two "Music Music") - released March 1969 in the USA on Atlantic SD 2-901 (Stereo only) and in the UK on Atlantic 588 183 (Stereo only). It peaked at No. 17 on the US LP charts.

As with all of these releases you get 5 x 5" card sleeves that repro the front and rear US LP artwork for the Stereo versions - and how cool is it to see these increasingly hard to find album covers. Ok you might need a magnifying glass to read the details (there are none on the last two) - but at just about two quid per album - who’s complaining.

From what I can hear these are the BILL INGLOT/DAN HERSCH Rhino remasters and (excessive hiss of the first album aside) - each sounds great. And once again I can't overstate how good these albums are. Let's get to the underrated music...

Quite apart from Gene Cornish's garage-guitar rocking throughout the self-titled debut like a beast on a boozy mission – the group was also possessed of three Lead Vocalists (out of a four-piece band). Felix Cavaliere handled most of the bigger tunes whilst laying down that groovy organ - Gene Cornish wielded his choppy axe and sang too - Eddie Brigati provided voice number three whilst playing Percussion – and all the while Dino Danelli laid down the backbeat on the Drums. The debut is top heavy with R&B and Soul covers - least not of all the opening blaster "Slow Down" - a hit for Larry Williams in 1958 and explored by The Beatles on their "Long Tall Sally" EP in 1964. Even their take on Bob Dylan's perennially overdone song "Like A Rolling Stone" is better than most. Also dig their chugging guitar/organ groove on Wilson Pickett's "In The Midnight Hour". The Beau Brummels had a hit with "Just A Little" in 1965 (Autumn Records 10) – The Rascals slow it down to an almost Bluesy pace (bit hissy this track). Overall a great start...

The 2nd LP opens with two almost lounge-room organ grinders - "What Is The Reason" and the the slighty creepy "Since I Fell For You". Things improve a bit with "Lonely Too Long" where Felix Cavalieri is accompanied by what sounds like a Motown set of backing singers. The sappy "No Love To Give" with its cello and oboe is hard to take truth be told - better is another dancer - Smokey's "Mickey's Monkey" doubled up a very Tommy James and The Shondells rendition of "Love Lights" - great and the first sign of any real life on the album. It's obvious why "Come On Up" was chosen as a 45 - a great groover that should have done better chartwise. We're back to Motown dancers with a hectic cover of The Marvelettes 1964 hit "Too Many Fish In The Sea". But this is ruined by a cheesy organ-take on "More". Luckily that is obliterated by the album's secret weapon - a blistering and hooky "Nineteen Fifty-Six" where Gene does his best Little Richard impression on the vocals as he goes all wild Chuck Berry on his guitar. We hit a run of two that make up for much of the dreck - "Love Is A Beautiful Thing" is a Cavalieri/Brigati penned winner that grooves at times like GLORIA by Them. The record finishes with that Chris Kenner crowd-shouter "Land Of 1000 Dances". Not as good as the debut but it still has those moments that make it so worth it...

Even now I find it shocking how good the whole of the "Groovin'" LP is. While I can live without the poppy (and hissy) "A Girl Like You" – the Link Wray guitar rumble that opens "Find Somebody" that then continues in an equally cool Byrds-jangle - is fantastic 60ts Rock. Both the acoustic based "I'm So Happy Now" and "Sueno" have that Summer of Love joy imbedded in them (not cloy or clinging). Most people will likely know "How Can I Be Sure" through Dusty Springfield on Philips and David Cassidy on Bell rather than by The Young Rascals on Atlantic. And it just doesn't get more sublime than the album's title track "Groovin'" – their 2nd No. 1 in May 1967 on Atlantic 2401. The production values for "I Don't Love You Anymore" are much improved over the rest of it – while the trippy flute of the neck-jerking finisher "It's Love" gave it a honorary place on the 2001 CD compilation "Right On! Volume 3" that trawled Atlantic's labels and vaults for forgotten shakers to appeal to now kids.

The last two albums in this mini box set represented a new phase. Now just THE RASCALS - they'd grown up and wanted to take their audience with them. The gatefold sleeve isn't repro'd here (reduced to a single, front and back cover) - but you do get a sense of change from just looking at the cryptic cover of rifles, bird cages and telephones covered in what looks like plaster-of-paris. The music isn't as catchy as before and bluntly feels overblown in some places. Once past that hissy intro - the jaunty "Easy Rollin'" comes on like The Lovin' Spoonful on some friendly mushrooms - but "Please Love Me' just doesn't seem to work while the single "It's Wonderful" has a touch of The Beatles Mystery Tour in it. "I'm Gonna Love You" and "My Hawaii" sound like "Smile Sessions" outtakes with their brass bands and strange synth and strings.  "Silly Girl" is good but like much of the album is drenched in hiss. Better is "Singin' The Blues Too Long" and the sitar hippy-trip that is "Sattva"...

After the disappointment of "Once Upon A Dream" - the double-album "Freedom Suite" is an altogether better beast. Imbibed with all that was affecting American ("so much hated and confusion") - the positive message of 'unity' comes through on so many of the excellent songs. There are touches of the old Rascals in "Any Dance'll Do" but the marching boots of "Look Around" return to the bigotry themes right quick. "A Ray Of Hope" feels like The Temptations on a falsetto vocal trip while there's a great funk to "Of Course". The production values on "Love Was So Easy To Give" are superlative - a song about lost youth - while the anthem "People Got To Be Free" is a social call to arms that felt like it would work. The drum solo that is the near fourteen-minute "Boom" tests your patience while the 15-minute organ boogie groove of "Cute" goes a long way to salvaging the set (an extended jam that works - probably my fave on the whole double - dig that guitar solo too).

So there you have it - it's not all genius by any means (the excellent December 1969 "See" LP is missing from this box set) - but the good stuff is (if you'll forgive the pun) groovin'. 

Check out The Young Rascals...who morphed into The Rascals...and enjoy...