"The Wham Of That Memphis Man!" by LONNIE MACK (2016 Ace CD Remaster/Reissue) - A Review by Mark Barry...

"...Come To Me...I Need You Here..."

First up - as of June 2016 - there are now three variants of this CD and all of them confusingly carry the same catalogue number and even barcode - Ace CDCHM 1134 (Barcode 029667023627). The first issue was in 1987, then November 2006 and now June 2016 (you can recognise the new issue with its 2016 copyright date on the rear and see-though CD tray. 

And who can blame Ace Records of the UK for wanting to hammer home this fantastic and hugely influential album - 53 years young this October. Here are the Tremolo Arms and Whammy Bars (and that's just the instrumentals)...

UK released June 2016 - "The Wham Of That Memphis Man!" by LONNIE MACK on Ace Records CDCHM 1134 (Barcode 029667023627) is a straightforward Remaster of the MONO LP from 1963 and plays out as follows (32:14 minutes):

1. Wham!

2. Where There's A Will

3. The Bounce

4. I'll Keep You Happy

5. Memphis

6. Baby. What's Wrong? [Side 2]

7. Down And Out

8. Satisfied

9. Susie-Q

10. Why

11. Down In The Dumps

Tracks 1 to 11 are his debut album "The Wham Of That Memphis Man!" - released October 1963 in the USA on Fraternity F-1040 (Mono) and Fraternity SF-1014 (Stereo) - the MONO Mix is used. Tracks 1, 7, 10 and 11 are Lonnie Mack originals - all others are cover versions. The album peaked at No. 103 on the US LP charts.

The Band:

LONNIE MACK - Lead Guitar and Lead Vocals (Tracks 2, 4, 6, 8 and 10 - all others Instrumentals)

IRVING RUSOTTO and MARVIN LEIBERMAN - Saxophones

FRED STEMMERDING - Piano

WAYNE BULLOCK - Bass

RON GRAYSON - Drums

THE CHARMAINES (Sisters Gigi and Jerri Jackson and Dee Watkins - Tracks 2, 3, 4, 6 and 8) - Backing Vocals

DAVE BURKE and ALAN TAYLOR of 'Pipeline Magazine' have supplied the truly superb liner notes for the fact-filled 16-page booklet – a lovely thing to look at and read - crammed to the gills with repros of Fraternity 45s, US Trade Adverts and Reviews (Cash Box and Billboard) and cool photos of the rotund Lonnie Mack holding his trademark 'Flying V' guitar.

Sound-wise - quite why Ace has chosen to use only the MONO mix (Fraternity F-1014) when they could have fitted both the Stereo one on here too is anybody's guess? But there's no denying the fantastic and rocking Audio offered. DUNCAN COWELL – a long-standing Audio Engineer of repute (Blue Horizon, Ace, Edsel and many more) – has carried out the Remaster and this thing boogies like a goodun – all that amazing fret-skill churning out of your speakers with attitude along with the rest of his road-sessioned and tight backing band. The charming and Soulful vocals of The Charmaines add hugely to the vocal numbers – mostly ballads – where Lonnie’s rather brill voice let’s rip with the heartache and woe.

Re-listening to this album in 2016 and you're struck by its brilliance and the fact that it seemed to launch a few styles and not just hard-hitting instrumentals. White-boy Soul comes in the shape of the torch-ballad churner "Where There's A Will" (written by Lou Williams) and his truly sublime cover of Hank Ballard's "I'll Keep You Happy" (lyrics from it title this review) is amazing stuff. You then get a bopping R&B dancer opening Side 2 - a fabulous Boogaloo cover of Jimmy Reed's "Baby, What's Wrong?" ably abetted by The Charmaines. While "Down And Out" could easily be any Chuck Berry Guitar Instrumental - you can so hear England's Johnny Kidd & The Pirates and later Dr. Feelgood in his guitar-manic cover of Dale Hawkins' "Susie-Q".

There's even Southern Blues Rock in the twin Guitar/Saxophone whine of "Why" - a Lonnie Mack composition where he lets rip on his considerable set of pipes - guttural and gravel-like. And that opening salvo of "Wham!" is astonishing even now - a frantic set of guitar riffs where he races up and down the frets like Jerry Lee Lewis would on a piano - one leg on the chair - hair flying in wild abandon. You can hear his influence on The Graham Bond Organization and The Spencer Davis Group in his cover of The Olympics hit "The Bounce" - another R&B-influenced instrumental bolstered up by The Charmaines with their cha cha refrains and "just one more time" chants towards the end. There's even a Countrified Soul shuffle to his cover of Martha Carson's "Satisfied" – very cool stuff.

This is the kind of genre-busting brilliant album that's been overlooked for eons. Yet with reissues starting with President Records in 1967 in the UK - right through to Ace and Edsel in the later decades - Lonnie Mack's "The Wham Of That Memphis Man!" keeps getting rediscovered by new generations - and rightly so (sadly Lonnie Mack was lost to us in April 2016, aged 74). 

What an amazing listen. Bend that tremolo arm indeed...

PS: there's also a variant put out by Ace Records in late October 2006 of Lonnie Mack's "The Wham Of That Memphis Man!" - it's part of their 'Hip Pocket' CD Series where they repro the album's artwork in a 6" 'Hip Pocket' Card Sleeve. It's catalogue number is Ace CDCHM 1134 (Barcode 029667023627)...

"The MCA Years 1973-1975" by BUDGIE (June 2016 MCA Records/Universal UMC 3CD Box Set - Andy Pearce Remasters) - A Review by Mark Barry...

"...Breaking All The House Rules..." 

Ah BUDGIE! Should have been as big as Humble Pie or Sabbath or Purple - but criminally weren't. Yet today they not only elicit as much affection as they did four decades ago but are name-checked as hugely seminal influences on the likes of Metallica, Soundgarden and even Van Halen all of whom have covered their tunes with pride and glee.

Personally - Christmas 1972 and a 14-year old Markipoos has an LP pressy waiting for him beneath the festooned tree - their second album "Squawk" in a Dolphin Discs record bag! I've loved this Welsh power trio for over 45 years and this dinky Remaster Box Set that features 3 of their 5 albums on MCA Records in the 70ts has only sent me off on one. So much to love on here - but let's get to the original grunge rockers first...

UK released Friday, 2 June 2016 (10 June 2016 in the USA) - "The MCA Years 1973-1975" by BUDGIE on MCA Records/Universal UMC 5363393 (Barcode 600753633939) is a 3CD Hard Card Slipcase Mini Box Set with new 2016 Remasters (with no Bonus Tracks) and plays out as follows:

Disc 1 "Never Turn Your Back On A Friend" (41:50 minutes):

1. Breadfan

2. Baby Please Don't Go

3. You Know I'll Always Love You

4. You're The Biggest Thing Since Powdered Milk

5. In The Grip Of A Tyrefitter's Hand [Side 2]

6. Hiding My Nightmare

7. Parents

Tracks 1 to 7 are their 3rd studio album "Never Turn Your Back On A Friend" - released June 1973 in the UK on MCA Records MDKS 8010 (reissued MCA Records MCG 3513 in 1974)

Disc 2 "In For The Kill" (41:12 minutes):

1. In For The Kill

2. Crash Course In Brain Surgery

3. Wondering What Everyone Knows

4. Zoom Club

5. Hammer And Tongs [Side 2]

6. Running From My Soul

7. Living On Your Own

Tracks 1 to 7 are their 4th studio album "In For The Kill" - released June 1974 in the UK on MCA Records MCF 2546 and in the USA on MCA Records MCA 429

Disc 3 "Bandolier" (34:08 minutes):

1. Breaking All The House Rules

2. Slipaway

3. Who Do You Want For Your Love?

4. I Can't See My Feelings

5. I Ain't No Mountain

6. Napoleon Bona - Part 1

7. Napoleon Bona - Part 2

Tracks 1 to 7 are their 5th and last studio album for MCA Records "Bandolier" - released September 1975 in the UK on MCA Records MCF 2723 and in the USA on MCA Records MCA 4618

The first thing fans will notice is that the 2 or 3 Bonus Tracks that came with the 2004 singular Remasters of each album are AWOL - which is a damn shame because (a) they were good and (b) there's plenty of room (the non-album B-side "Honey" from the "I Ain't No Mountain" UK and US 7" single would have been a perfect addition for example). On the upside the "Never Turn Your Back On A Friend" LP was always a gatefold with that Roger Dean artwork cover and the live shots of the band (and lyrics) on the inner gatefold - that's been reproduced in the rather tasty oversized card sleeve. But both "In For The Kill" and "Bandolier" original LPs only came with single sleeves - here they've been given gatefolds with promo photos of the band on the inside. Each CD is also colour coded with the 'Budgie In A Spacesuit' Logo on each disc.

Noted writer and Music Historian MALCOLM DOME has done the excellent liner notes inside the colourful 16-page booklet. There's references to Producer Roger Bain (had Sabbath connections) who did so much to define their grungy hard rock sound on the July 1971 debut "Budgie" and its September 1972 follow-up "Squawk" and a nod to British DJ 'Kid Jensen' getting behind the first album on Pirate Radio thereby giving BUDGIE a career and following in Europe. There are 7" picture sleeves for rare foreign issues of the singles "Crash Course In Brain Surgery" and "Zoom Club" and a trade advert for the "I Ain't No Mountain" 45 as well as comments from key band members like Bourke Shelley and tributes from uberfans Dave Mustaine from Megadeath and Lars Ulrich from Metallica.

But the really great news is the AUDIO that absolutely rocks like the proverbial mother and her 'f' word. ANDY PEARCE has revisited the original mastertapes (he did a great job on the 2012 Rory Gallagher reissues) and these CDs trounce the 1991 and 2004 versions I've had for years. These transfers are loud and ballsy - but not loud for the sake of it. As the tracks play you can really hear that guitar - that chunky bass - those drum whacks. It's properly rocking and on stuff like the slide genius of "Breadfan" or the sweet ballad "Wondering What Everyone Knows" or the sheer riffage in the brilliant "Breaking All The House Rules" - the sound is genuinely great and makes everything feel new again.

With that Audio in mind - these albums suddenly feel far better than I remember them. Every Budgie fan loves "Never Turn Your Back..." with their blistering cover of Big Joe Williams and his R&B hit "Baby Please Don't Go" and the speaker-to-speaker hard rock of "In The Grip Of A Tyrefitter's Hand" - but suddenly that swirling Acoustic Guitar in the pretty ballad "Riding My Nightmare" seems huge - as does the doomy 10-minute-plus guitars of "Parents". There's a part about a minute in when it slows to Acoustic Guitar, Bass and echoed Lead - and the Remaster is fantastic.

I always felt "In For The Kill" showed the band going slightly off the boil even though it was their first to chart in Britain at No. 29. But again - there's real muscle in the kick-ass chug of "In For The Kill" sounding down right dirty and mean ("...when I was born I was given a will...") - nice. The 1971 non-album single "Crash Course In Brain Surgery" was supposedly given a slight remix for the 1974 album version but I'm buggered if I can actually hear any difference between this and the Roger Bain produced original (great tune though). The drums of Ray Phillips were replaced by Phil Boot for "In For The Kill" and you can hear it on the finisher "Living On Your Own" - a deceptively complex tune where guitarist Tony Bourge stretches out and Bourke Shelley gives it his best strangulated Geddy Lee vocals.

But the big winner here is "Bandolier" - an album I'd completely forgotten about. The opening "Breaking All The House Rules" is 7:22 minutes of fabulous Rock 'n' Roll riffage where Budgie sounds like Scott Gorham/Brian Robertson Thin Lizzy at their tightest and expressive best. And the Audio is just brilliant too. The treated Acoustic ballad "Slipaway" is again gorgeously reproduced as is the strangely Funky "Who Do You Want For Your Love?" They manage a Hard Rock version of Andy Fairweather-Lowe's "I Ain't No Mountain" (from his 1974 A&M album "Spider Jivin'") and is the nearest Budgie get to being commercial sounding a little like Nazareth in search of a Top Ten hit. The 2-parts of "Napoleon Bona" are close to 'Rush' Prog Rock and again the Remaster just elevates everything - and you can 'so' hear where Metallica got 'that' sound as the guitars riff like a goodun towards the end of Part 1.

Perfection would have been all five of the iconic MCA LPs including those first two masterpieces from 1971 and 1972. But what's on offer here (at just under eight-quid) is incredible value for money and a great reminder as to why BUDGIE still engenders such affection amongst ageing rockers like me whilst drawing in clued-up Metal newcomers too. Christmas has come early...and in even better packaging this time...

"Takin My Time" by BONNIE RAITT [feat members of LITTLE FEAT] (2002 Warner Brothers CD - Lee Herschberg Remaster) - A Review by Mark Barry...

"...I Know You're Leavin'...But I'm Leavin' Too..."

Bonnie's quietly superb third Warner Brothers platter "Takin My Time" from the winter of 1973 cemented the reputation of her career opener "Bonnie Raitt" in November 1971 and the superb follow-through "Give It Up" in October 1972 (see my separate reviews for those and the 'Original Album Series' 5CD Mini Box Set that carries the five albums that followed).

Like its two predecessors – "Takin My Time" was another great Blues and Rock album played by a woman steeped in the traditions of American R&B and Soul and ably supported by a gang of likeminded quality musicians – helmed this time by Producer John Hall (who would later form Orleans) and featuring members of LITTLE FEAT including Lowell George on three cuts. Her second LP "Give It Up" only made No. 138 in October 1972 on the American LP charts - so her placing of No. 87 for "Takin My Time" showed progress and a public that was finally picking up on her great albums. And this superlative 2002 CD Remaster only hammers that home. More moody this time around - here are the candles and the rainstorms...

UK released March 2002 – "Takin My Time" by BONNIE RAITT on Warner Brothers 8122-78379-2 (Barcode 081227837921) is a straightforward remaster of the album and plays out as follows (37:24 minutes):

1. You've Been In Love Too Long

2. I Gave My Love A Candle

3. Let Me In

4. Everybody's Cryin' Mercy

5. Cry Like A Rainstorm

6. Wah She Go Do [Side 2]

7. I Feel The Same

8. I Thought I Was A Child

9. Write Me A Few Of Your Lines/Kokomo Blues

10. Guilty

Tracks 1 to 10 are her third studio album "Takin My Time" - released October 1973 in the USA on Warner Brothers BS 2729 and November 1973 in the UK on Warner Brothers K 46261. Produced by JOHN HALL - it peaked at No. 87 on the US album charts (didn’t chart UK).

The 6-leaf foldout inlay gives song-by-song breakdowns, reproduces the gatefold artwork and offers basic reissue credits but no new liner notes. There's a 'Digitally Remastered' logo sticker on the jewel case and a silver inlay that says the same. GREGG GELLER has co-ordinated the Warner Remasters Series with LEE HERSCHBERG carrying out the remaster. Like its two predecessors (also in this series) - this CD sounds fantastic – a transfer that's brought out the original production values with aplomb. Fans are going to love it.

"Takin My Time" opens on a Martha And The Vandellas cover – a funky rendition of their September 1965 Gordy Records hit "You’ve Been In Love Too Long". With Paul Barrere and Bill Payne of Little Feat on Guitar and Electric Piano – it’s hardly surprising that the songs sounds like a very cool Little Feat outtake. Warners tried it as a 45 in October 1973 in the USA with “Everybody’s Cryin’ Mercy” on the flipside (Warner Brothers 7758) but it didn’t ignite. That said - you also notice John Hall’s truly expert Production values throughout – warm and full – really great stuff. Written by Joel Zoss "I Gave My Love A Candle" slows things down to a middle pace – a lovely ballad that perhaps overdone with John Hall's Mellotron backdrop (great guitars though). Written by Yvonne Baker of the Soul/R&B Vocal Group The Sensations – "Let Me In" was their lone chart hit back in February 1962 on Argo. Bonnie keeps it peppy with a New Orleans ragtime twist – her band featuring Taj Mahal on Acoustic Bass, Bill Payne of Little Feat on Piano and master Trumpeter Oscar Brashear giving it some funeral-happy Flugelhorn. One of my fave-raves on the album is her fantastically sleazy-Blues take on Mose Allison's "Everybody's Cryin' Mercy" with Taj Mahal's Harmonica warble throughout making the song (Bill Payne, Bonnie, Freebo (Bassist), John Hall and Taj Mahal do the backing vocals). Linda Ronstadt also saw the heartbreak potential in Eric Kaz's hurting song when she named a whole album after it in October 1989 – even completing the lyric  "Cry Like A Rainstorm – Howl Like The Wind".

Side 2 opens with a cod Reggae conga in the shape of "Way She Go Do" written by Calypso artist McCartha Lewis – but it's a rhythm that's best left to people like Ry Cooder (feels oddly out of place here). Far, far better is the Acoustic Blues of "I Feel The Same" which features a sucker-punch house band of greats – Bonnie on Acoustic with Little Feat's Lowell George on Electric Slide, Bill Payne on Keyboards and Earl Palmer on Drums with Milt Holland patting the Tabla. It's fabulous stuff. "I Feel The Same" was written by a songwriter I love called CHRIS SMITHER. Bonnie would record a stunning duet with Smither and his deep dark voice of Bob Dylan's "Desolation Row" on his 2003 CD album "Train Home" – a near 8-minute masterpiece of interpretation that I urge you seek out (their voices so sweet together).

Jackson Browne provides the plaintive ballad "I Thought I Was A Child" where the singer comes upon wisdom "...in your eyes..." Billy Payne and John Hall keep the instrumentation simple and sweet - exacting a Jackson Browne feel to the outcome. Back to her first love – Blues – and a wickedly good doubled-up hand-clapping set of covers by Mississippi Fred McDowell - "Write Me A Few Of Your Lines/Kokomo Blues". Her bottleneck guitar playing is so damn good as the duo of tunes chug along with their infectious and irresistible beat (would have been a great single). It ends on a Randy Newman classic – "Guilty". A slow Bluesy Piano plinkers in and a clearly hurting and very drunk singer is miserable as he reminisces at the blurry black and white keys (done his baby wrong – again). The rendition builds with a great set of four horn players giving it some serious Orleans lament - while Lowell George floats over proceedings with the tastiest of slide guitar. It's short but oh so sweet and like all great albums – leaves you wanting more...

In February 2016 Bonnie released her 20th album "Dig In Deep" and already it's received a warm welcome and many rave reviews. This great American Blues Lady has been a class act for a very long time...time to respect that...

"Life On Mars" by DEXTER WANSEL (Inside the 'Philadelphia International Records: The Collection' 2014 Sony Music 20CD Mini Box Set) - A Review by Mark Barry...

"…Theme From The Planets…" 

I suspect many Jazz Funk nutters (like me) can trace their obsession to the genre when they 'stumbled' on this Fusion masterpiece in the late summer of 1976 – "Life On Mars" by Keyboardist DEXTER WANSEL. But in some instances it’s become expensive to acquire on CD.

Might I suggest – cheap as the proverbial chip bag – the best and cheapest place to get the song is the magnificent 20CD Box Set "The Collection" given over to that most iconic of American Soul and Funk labels - Philadelphia International Records. Before the album - let's get to the details of the Box Set first...

"Philadelphia International Records: The Collection" offers you 20 Philly Soul albums in single repro card sleeves inside a hard-card box set with a chunky 36-page booklet (5 of the discs even have bonus tracks). UK released May 2014 – Disc 11 with "Life On Mars" by DEXTER WANSEL inside Sony Music 8843055662 (Barcode 88430556621) is a straightforward Remaster of the album and breaks down as follows:

CD 11 (36:40 minutes):

1. A Prophet Named K.G.

2. Life On Mars

3. Together Once Again

4. Stargazer

5. One Million Miles From The Ground [Side 2]

6. You Can Be What You Wanna Be

7. Theme From The Planets

8. Rings Of Saturn

Tracks 1 to 8 are the album "Life On Mars" by DEXTER WANSEL - released August 1976 in the USA on Philadelphia International PZ 34079 (no UK release).

All albums are documented in the lovely 36-page colour booklet with features brief reviews of each title by long-time Soul aficionado DEAN RUDLAND. These are followed by page-after-page of the albums pictured alongside detailed track lists. Each of the CDs is numbered on the label so you know where they're placed in the order of things. There are no mastering credits - but as all of these albums have been available before at one point on Sony/Legacy reissues so those remasters have been used and the sound quality is uniformly great. "Life On Mars" sounds incredible here – chunky and funky to the max...

The album opens on the famous wavering synth funk of "A Prophet Named K.G." – then the strings kick in and about two minutes into it's four BOBBY MALACH hits us with His Saxophone playing ably abetted by AL HARRISON on Trumpet. The swirling magic continues with the title track "Life On Mars" where Philly band INSTANT FUNK soon turn the proceedings into the nastiest groove cleverly made more accessible by the trio of ladies singing along to the Funk – BARBARA INGRAM, CARLA BENSON and EVETTE BENTON. "Together Once Again" is almost Jon Anderson of Yes in its fusion beginning - but soon settles into love song territory as TERRY WELLES takes lead vocals – a very pretty number indeed. Arranged by Jack Faith "Stargazer" is a breakneck-speed instrumental that perfectly mixes his Funk with those Philly Strings.

Side 2 opens with one of my faves - the ballad 'n' strings floater "One Million Miles From The Ground" where Dexter fronts the Lead Vocals (again subtle doubled-vocals from the ladies). I've always thought it a gorgeous tune – a Philly nugget hidden on an album too many people don't know about. They issued it Stateside as a 45 on Philadelphia International ZS8-3606 with "Stargazer" on the flipside but it didn't break the Top 40. One of the albums Big Funk cornerstones is "You Can Be What You Wanna Be" which again features INSTANT FUNK as the backing band. Even sweeter for me is superlative instrumental "Theme From The Planets" – a fabulous piece of slick and smooth Funk that never overdoes it as the synths soar and the Saxophone blows cool and sexy (gorgeous remastered Audio too). It ends on "Rings Of Saturn" – another Fusion instrumental that even has ‘Blade Runner’ vibes in the Sax soloing.

For over 40 years fans of Jazz Funk and Jazz Fusion have had a 'thing' for "Life On Mars" by Dexter Wansel.

"...Hold me real tight when it starts to storm..." – Wansel sings on "One Million Miles From The Ground" and I agree. Embrace this space I say...

"Turnstiles" by BILLY JOEL (1998 and 2001 Columbia 'Remaster' CD) - A Review by Mark Barry...

"...It's Either Sadness Or Euphoria..." 

As so many have noted - New Yorker Billy Joel smashed his way into people's heart (and charts around the world) in 1977 with his magnificent album "The Stranger". But the one that went before "Turnstiles" in 1976 is an unsung masterpiece in my book and equal to its more famous follow-up in many ways. Here are the New York States Of Mind...

UK and USA released October 1998 (reissued April 2001) - "Turnstiles" by BILLY JOEL on Columbia 491183 2 (Barcode 5099749118324) is a straightforward transfers and 'Remaster' of that album and plays outs as follows (43:23 minutes):

1. Say Goodbye To Hollywood

2. Summer, Highland Falls

3. All You Wanna Do Is Dance

4. New York State Of Mind

5. James [Side 2]

6. Prelude/Angry Young Man

7. I've Loved These Days

8. Miami 2017 (Seen The Lights Go Out On Broadway)

Tracks 1 to 8 are his 4th studio album "Turnstiles" - released May 1976 in the USA on Columbia PC 33848 and July 1976 in the UK on CBS Records S 81195. Produced by BILLY JOEL - it peaked at No. 122 in the USA but didn't chart in the UK.

The Band:

BILLY JOEL - Piano and Lead Vocals

HOWIE EMERSON, JAMES SMITH and RUSSELL HAVORS - Electric and Acoustic Guitars

RICHIE CANNATA - Saxophone

DOUG STEGMEYER - Bass

LIBERTY DeVITTO - Drums

MINGO LEWIS - Percussion

KEN ASCHER - Orchestra Arrangements

The supposed 'upgraded' 8-page booklet offers lyrics to all eight songs; original recording credits with reissue details and little else by way of history or input. Still - the TED JENSEN Remaster (done at Sterling Sound in New York) is good - if not a little too clean in the bottom end.

But that's quickly wiped away by the quality of the songs that keep hammering you - one after another. Compared to "Piano Man" (1973) and "Street Life Serenade" (1974) - there’s huge songwriting maturity in the opening double salvo - the castanets and Ronettes big-bass-drum sound of "Say Goodbye To Hollywood" and the gorgeous "Summer, Highland Falls" - a piano masterpiece if ever there was one. He opens with "...they say these are not the best of times...but their the only times I've ever known..." and later on "...so we argue and we compromise...and realize that nothing's ever changed..." I've never liked the cod-reggae rhythms in "All You Wanna Do Is Dance" but if you're a fan - the Audio is amazing - right in your face for all the right reasons. Side 1 ends with the album's high water moment - the amazingly poignant "New York State Of Mind" - a song that he has to play live every night or they may indeed be a riot that would require the NYPD to sort it out.

Side 2 opens with the plinking keyboard sound of "James" - sounding for a moment like "Just The Way You Are" - a tale about Joel who goes on the road while his pal pursues an education and a possible writing career. We get that rapid-fire piano "Prelude" to the caustic and street-witty "Angry Young Man" where the listener is asked to empathise "...give a moment or two to the angry young man...with his foot in his mouth and his heart in his hand..." Here we have a man that’s proud of his battles and scars - and while his finger-pointing anger irritates - at least his Soul is the right place even if his chances of success are in the crapper.  Both the hurting "I've Loved These Days" and the finisher "Miami 2017..." have featured heavily in his live sets - that fabulous piano opening being the perfect appetite wetter. There's a melodrama to "Miami 2017..." - an opera out on the turnpike, as Bruce would say - with that defiant guitar chopping. This is a song where "...they burned the churches up in Harlem..." and "...The Mafia took over Mexico..." What a tune and an epic way to finish the album.

"...There are not many who remember...they say a handful still survive..." And as those piano notes fade out like some Saturday Night hangover melody on the brilliant "Miami 2017 (Seen The Lights Go Out On Broadway)" - you can't feel that's true about this whole brilliant but overlooked album...

"The Bothy Band" by THE BOTHY BAND - March 1976 UK Debut Album on Polydor Records (Mulligan Records in Ireland with Three Different Rear Sleeves) - Featuring Donal Lunny, Matt Molloy, Tommy Peoples and Paddy Keenan, Michael and Triona O'Donnell] (1990s Mulligan CD Reissue and Remaster) - A Review by Mark Barry...

This Review Along With 145 Others Is Available In My

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1976

Your All-Genres Guide To 

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"...Do You Love A Laddie With Curly Brown Hair?" 

Taking their name from the ramshackle homes of migrant workers (they were called 'bothies') and the traditional music groups that sprang up from them – as a Dubliner who lived through it - I loved THE BOTHY BAND then and have done with a passion all of my life. But a bit of history is needed to fully review the impact of their arrival and especially their magical first platter "The Bothy Band" aka "The Bothy Band 1975" or just "1975" because of the photos on the front cover (it's actually credited as "The Bothy Band" on the label and spine so that's its official title).

When their properly Traditional debut album hit the streets of the UK in March 1976 on Polydor Super 2383 379 (reissued by Mulligan in June 1976) - Irish Folk music was often mired in horrible pro-Nationalist rhetoric and the bloodshed that followed it. Sure we had Planxty with Christy Moore (who were also wonderful and on Polydor Records) and Clannad and the boozy shenanigans of The Dubliners and the crossover Folk-Rock of Horslips and The Woods Band - but little else we young Irish with half a brain wanted to hear. THE BOTHY BAND changed all of that. They brought the 'Tradition' back into the Traditional. And in the live environment, they were utterly magical too. 

First up there were six in THE BOTHY BAND...

MICHAEL O'DOMHNAILL (Michael O'Donnell) - Guitar and Lead Vocals

TRIONA NI DHOMHNAILL (Triona O'Donnell) - Harpsichord, Bodhran and Lead Vocals

DONAL LUNNY - Bouzouki and Vocals

MATT MALLOY - Flute and Whistle

TOMMY PEOPLES - Fiddle

PADDY KEENAN - Uilleann Pipes and Whistle

1. The Kesh Jig/Give Us A Drink Of Water/The Flower Of The Flock/Famous Ballymote – Instrumental [Side 1]

2. The Green Groves Of Erin/The Flowers Of The Red Hill - Instrumental

3. Do You Love An Apple? - Lead Vocals, Triona

4. Julia Delaney - Instrumental

5. Patsy Geary's/Coleman's Cross - Instrumental

6. Is Trua Nach Bhfuil Me In Eirinn - Lead Vocals, Michael

7. The Navvy On The Line/The Rainy Day - Instrumental

8. The Tar Road To Sligo/Paddy Clancy's - Instrumental [Side 2]

9. Martin Wynn's/The Longford Tinker

10. Pretty Peg/Craig's Pipes

11. Hector The Hero/The Laird Of Drumblaire (Strathspey & Reel)

12. The Traveller/The Humours Of Lissadel

13. The Butterfly

14. The Salamanca/The Banshee/The Sailor's Bonnet

Tracks 1 to 14 are their debut album "The Bothy Band" - released March 1976 in the UK on Polydor Super 2383 379 and May 1976 in Ireland on Mulligan Records LUN 002 (with three different rear sleeve photos).

The significance of the sheer number of bodies meant that The Bothy Band's rhythm section had an 'oomph' other four-piece Traditional Irish Folk groups like say Planxty simply didn't have. As the songs progressed - the combo of Triona's Harpsichord and Donal Lunny's Bouzouki would provide a backbeat that elevated the expert Fiddle playing of Tommy Peoples and the amazing pipes of Paddy Keenan. The power of this both in the studio and live would have audiences in raptures - clapping and feet-stomping. This musical set up is taken for granted now – but at the time it was kind of revolutionary (see You Tube footage of The Bothy Band doing The Green Groves of Erin and you will get the gist of what I'm saying). 

Throw in two deeply beautiful voices from the leads (brother and sister) - Triona singing "Do You Love An Apple" or Michael singing "Is Trua Nach Bhfuil Me In Eirinn" and the heartstrings would be tugged as well. Bands such as STOCKTON'S WING and DE DANAAN followed in their wake at the time and into the 90's and 00's with ALTAN, DERVISH and even Scotland's CAPERCAILLIE.

The 'Irish' CD I have is made in Austria and distributed by CM Distributions in Harrogate, North Yorkshire using the Mulligan Records logo and catalogue number Mulligan LUN CD 002 (Barcode 5016364300859) and is a straightforward transfer of the album (47:48 minutes) issued in the 1990s. Outside of the musician credits that came with the original LP - there's absolutely zero info on the gatefold slip of paper that acts as an inlay - essentially an advert for other CM Distribution titles. There are no mastering credits of any kind but the AUDIO IS GREAT - full and lively. There's a wonderful vitality to the disc. I know there's a Shanachie Records reissue of the album out of the States but I can't comment on it as I don't own a copy.

Of all the 14 songs - each was a Traditional Irish air arranged by the group - and most unknown to us. These were musicians in their late 20s when they formed - steeped in Irish Folk - expert players - giving us jigs, reels, pipe solos and following the instrumental dexterity with vocal ballads full of fun - songs about love and longing. I can remember being in The National Stadium in Dublin when Triona sang "...before I got married I wore a black shawl...but since I got married...I wore bugger all...but still I love him...I can't deny him...I'll be with him wherever he goes..." in "Do You Love An Apple". The men laughed but the women shed a tear because they knew the woman's voice and heart (too damned true). 

Triona would then make us laugh with "Pretty Peg" where a frisky girl has "...a boy in her bed..." with her mum downstairs - prayer book in hand - praying for the doubtful soul of her lusty daughter. The lyrical craic then segues into Paddy Keenan and Tommy Peoples doing a Pipes/Fiddle double that romps it home. I can also remember feeling an 'Irish' awakening at the time - this was music we could be proud of off. I even had "The Bothy Band" sewn onto the back of my Wrangler shirt by a girlfriend of mine in beautiful gold and green Irish calligraphy - it was the envy of many and I got asked to sell it a hundred times over (wore out after too many washes).

Of the jigs and reels the opening "Kesh Jig" ensemble is fantastic stuff and if you've heard the posthumous live BBC set - you'll know that Paddy Keenan's pipe playing on "Patsy Geary's..." would bring the house down. I don't know how many notes he hit in three minutes but I wouldn't like to count them. The Harpsichord is used to fabulous effect on "The Butterfly" lending the song an English madrigal feel. Other highlights include "Pretty Peg" and the builder "Julia Delaney" - an instrumental that would convert even the doubter. In fact, "The Kesh Jig..." Medley appears as an entry for exemplary Irish Folk Music on the 2002 Topic Records 4CD Box set "The Acoustic Folk Box" - all tracks Remastered by Denis Blackham at Skye Mastering in Scotland (see separate review). 

MULLIGAN Records and THE BOTHY BAND. 

DONAL LUNNY (who'd been with Planxty) formed Mulligan Records in Ireland in 1975 releasing important albums like Paul Brady's brilliant "Welcome Here Kind Stranger" from September 1978 as well as Rock acts like Scullion (Sonny Condell from Tir na n'Og with Phillip King and Greg Boland)), Matt Malloy's debut solo LP, pre Scullion Irish band Supply Demand And Curve (with guitarist Greg Boland), Gay and Terry Woods, Freddie White and even Irish punk band The Vipers. But Mulligan Records was primarily about Irish Folk and gave voice to Mick Hanley, Kevin Burke, Jim Crowley, Andy Irvine, Matt Molloy, Liam Weldon, Dolores Keane and Christy Moore's brother Barry Moore (know as Luka Bloom now) whose "Treaty Stone" LP from September 1978 is one of the most beautiful Irish Folk-Rock LPs I've ever heard. Lunny would also have involvement with U2 and Windmill Lane Studios and remains a leading light in Irish music to this day. 

Irish Pressings of Bothy Band albums were usually on Mulligan Records with the circled 'p' before the date that normally denotes a 'Made In The Republic of Ireland' pressing. You can see from a discography that I've provided below – they were usually issued 'after' the Polydor pressings in England and I've provided those British release dates from a rare 'Fifth Anniversary Special Presentation Copy' of the Music Master Catalogue of 1979 (hardback). It's one of the few places where you can get accurate release dates for the mid Seventies onwards. 

A little known ditty is that the Irish album covers of "The Bothy Band" on Mulligan Records also featured three different rear photos in black and white – the shots missing from the photo-album depicted on the front sleeve. So one variant has Michael and Paddy (Top Left), another has Triona and Matt (Top Right) whilst the most commonly seen one has Donal and Tommy (Bottom Left) which is also the one used on the March 1976 British release. It is also often cited as first available 1975 on Vinyl and Cassette - but with cover photos dated early November 1975 (copyright date too) - it is more likely that 1976 is the true release date.

The Mulligan CDs usually all use those reissue catalogue numbers LUN CD 002 and LUN CD 007 etc.  There isn't any CD anywhere that tells you this nor did they use the three different photo rears. And as I say, they lazily call it "1975" because that is what is on the front cover or it suits them - leading to confusion over the release date of the LP (didn't arrive until March 1976). 

"The Bothy Band" debut has been reissued any number of times on Mulligan CDs with the same catalogue number – 1990, 1998, 2011 – it's hard to get any accuracy on exact dates and it seems they want it that way. There is also a Compass Records (USA) CD variant from 2008 on Mulligan LUNCD 3002 (use Barcode 766397300221 to locate it) that is readily available on Amazon. None give mastering credits. 

As for The Bothys music - hell even a dance band sampled the entirely Acapella 'mouth music' vocal racehorse that is "Fionnaghula" on their second album "Old Hag You Have Killed Me" from October 1976. If they reformed – many would come running from wide and afar...

"The Bothy Band" is a great album and a forgotten masterpiece of the Irish Folk genre minus any of its more dubious politics. They went on to make two more studio LPs and one cracking live album (see list below) – but my heart will always be with this brilliant opening salvo.

"...Do you love an apple...do you love a pear..." – they sang nigh on 50 years ago.

Indeed I do and I suggest (in the best possible taste of course) you get rightly fruity with them too...

THE BOTHY BAND Discography on LP and CD

1. The Bothy Band

March 1976 UK LP on Polydor Super 2383 379, reissued May 1976 on Mulligan LUN 002 - Mulligan LUN CD OO2 (Barcode 5016364300859)

2. Old Hag You Have Killed Me

October 1976 UK LP on Polydor Super 2383 417, reissued November 1976 on Mulligan LUN 007 - Mulligan LUN CD 007 (Barcode 5016364300774)

3. Out Of The Wind, Into The Sun

October 1977 UK LP on Polydor Super 2383 456, reissued September 1978 on Mulligan LUN 013 - Mulligan LUN CD 013 (Barcode 5098990120803)

4. Afterhours – Recorded Live In Paris

February 1979 UK LP on Polydor Super 2383 530 (with insert), reissued March 1979 on Mulligan LUN 030 - Mulligan LUN CD 030 (Barcode 5098990120902)

5. The Best Of The Bothy Band

September 1980 UK LP on Polydor Super 2383 583, reissued August 1986 on Mulligan LUN 041 - Mulligan LUN CD 041 (Barcode 5098990121008)

6. Live In Concert (Recorded in London in 1976 and 1978)

May 1994 CD-only compilation on Windsong International WINCD 060 (Barcode 5018766943061)

"Give It Up" by BONNIE RAITT (2002 Warner Brothers 'Remasters' CD) - A Review by Mark Barry...

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"...Love Has No Pride..." 

Bonnie's second Warner Brothers platter "Give It Up" from the winter of 1972 cemented the reputation and career opener of "Bonnie Raitt" in 1971 - another great Blues Rock album played by a woman steeped in the traditions of American R&B and ably supported by a gang of likeminded quality musicians. And for "Give It Up" - the Burbank Blues woman threw in three songs of her own amidst the cleverly chosen covers. Here are the ladylike details...

UK released March 2002 – "Give It Up" by BONNIE RAITT on Warner Brothers 8122-78378-2 (Barcode 081227837822) is a straightforward Remaster of the album and plays out as follows (36:57 minutes):

1. Give It Up Or Let Me Go

2. Nothing Seems To Matter

3. I Know

4. If You Gotta Make A Fool Somebody

5. Love Me Like A Man

6. Two Long At The Fair [Side 2]

7. Under The Falling Sky

8. You Got To Know How

9. You Told Me Baby

10. Love Has No Pride

Tracks 1 to 10 are her second studio album "Give It Up" - released October 1972 in the USA on Warner Brothers BS 2643 and November 1972 in the UK on Warner Brothers K 46189. Produced by MICHAEL CUSCUNA - it peaked at No. 138 on the US album charts.

The 8-page inlay gives song-by-song breakdowns, photos of the ensemble musicians and some liner notes on the players by producer MICHAEL CUSCANA (as well as reissue credits). There's a 'Digitally Remastered' logo sticker on the jewel case and a silver inlay that says the same. GREGG GELLER has co-ordinated the Warner Remasters Series with TERESA CAFFIN and ED CHERNEY carrying out the transfers and remasters. They've done a fab job. This CD sounds fantastic – a transfer that's brought out the original production values with aplomb. Fans are going to love it.

It opens on the barnstorming and decidedly jolly (for a mean song) "Give It Up Or Let Me Go" where our Bonnie warns her potential suitor that if he wants he's... The ragtime Bluesy tune benefits from her giving it some National Steel bottleneck while John Payne, Peter Eckland, Amos Garrett and Freebo do the honours on Saxophone, Cornet, Trombone and Tuba. It's followed by the gorgeous "Nothing Seems To Matter" (without you) - a ballad with Dave Holland on Double Bass and John Payne on Saxophone (of "Astral Weeks" fame) both adding a huge amount of ambience to the song. Both opening tracks are singing with the Remaster too. New Orleans songwriter and R&B singer Barbara George enjoyed a No. 3 Pop placing with her own "I Know" on the obscure A.F.O. Records 302 way back December 1961 - Bonnie keeps it Orleans and does some fantastic National Steel while Marc Jordan plays funky piano and John Hall (later with Orleans) and British Apple singing Jackie Lomax provide backing vocals). The goodies just keep on coming with a wickedly good cover of James Ray's "If You Gotta Make A Fool Of Somebody" (written by Rudy Clark) - a No. 22 Pop hit Washington DC singer way back in December 1961 on Caprice Records 110. 

A perfect Side 1 ends on another winner - a Chris Smither Blues boogie and probably many people's fave track on the album - "Love Me Like A Man". I loved Smither's CD album "Drive You Home Again" from 1999 on Hightone Records (check it out if you can) and fell for his huge voice and sly way with a lyric. They’re songwriting/musical connection stretches way past 1972 though. Raitt does a duet with him on a haunting cover of Bob Dylan's "Desolation Row" on Smither's "Train Home" CD album from 2003 – fantastic stuff. Back to 1972 - on "Love Me Like A Man" it's like Smither has tapped into her zeitgeist - the swagger and sexiness of the woman mixed with a need for a pair of strong arms and not flapping jaws ("...a man who take me home instead of taking me for a ride..."). And she plays great slide on it too - superb stuff.

Side 2 changes mood big time and offers us "Too Long At The Fair" by Joel Zoss - a forlorn tired song with John Hall giving it some superb Lead Electric Guitar. None other than Jackson Browne penned the driving boogie of "Under The Falling Sky" which features Paul Butterfield on Harmonica and Tim Moore on Backing Vocals (very cool little tune and the remaster rocks). "You Got To Know How" is an old Sippie Wallace song with additional lyrics from Jack Viertel - Van Morrison's blower John Payne giving it some ragtime clarinet throughout. Bonnie's own "You Told Me Baby" is original number three - an excellent song that's a bit marred by too many instruments fighting for supremacy (horn arrangements by Eric Kaz). Libby Titus and Eric Kaz wrote the touching closer "Love Has No Pride" where Bonnie sings with conviction - "...love has no pride...when I call out your name...I'd give anything...to see you again..." She also plays all instruments except Freebo on the Fretless Bass.

You'd have to say that Side 2 isn't as consistently good as Side 1 - but that doesn't stop the whole album from feeling like "Give It Up" is some kind an 'overlooked' gem that begs rediscovery.

In February 2016 Bonnie released her 20th album "Dig In Deep" and already it's received a warm welcome and many rave reviews. This great American Blues Lady has been a class act for a very long time...time to respect that...

"The Clovers" by THE CLOVERS (2012 Japan 'Atlantic 1000 R&B Best Collection' CD Remaster) - A Review by Mark Barry...

"...Lovey Dovey All The Time..."

THE CLOVERS rare self-titled debut LP from 1956 on Atlantic Records (re-issued in 1957) is a bit of a R 'n' B and Vocal group barnstormer. And although it didn't contain the immortal drinking-creates-babies song "One Mint Julep" – its cracking 14 tracks represented a sort of 'Best Of' in all but name (US singles that sold huge numbers between 1950 and 1956 on the American R&B charts).

First though a little bit about the CD Series this reissue is presented on - using the generic title 'Atlantic 1000 Best R&B Collection' - these 'limited release' titles out of Warner Brothers Japan were released steadily between October 2012 and February 2014. In the end the tally reached an amazing 250+ different rare releases across the huge WEA catalogue covering Atlantic, Atco, Stax, Curtom and so on (mostly 50ts R&B and Blues with 60ts and 70ts Soul and Funk - see my online blog for a full list and catalogue numbers). Some (you may have noticed) have even been re-pressed in Europe and sold with the Japanese Obi strips behind the shrinkwrap at less than a fiver (using the same Barcodes and Masters).

For the Japanese-Pressed issues the '1000' in the title refers to their price code. Each features a budget price tag of 952 Yen that depending on exchange rates is roughly $9 to $11 for US customers, £5.50 to £7.50 for UK buyers and 8 to 9.20 Euros for Europeans (with P&P added on of course). Roughly speaking they weigh in at about £10 sterling per title INCLUDING post - which is the cheapest I've seen quality Japanese-pressed CDs ever go for.

And what's really enticing is that all issues feature 2012 and 2013 Digital Remastering (DSD) with many titles reissued that were long out of print (and due sonic upgrades) – or new to CD entirely. They come in standard jewel cases (NOT mini repro sleeves – nor SHMs) with an inner booklet containing the lyrics and description etc and an outer Obi strip. The CD label design will usually mimic the original release too – in this case the black 'Atlantic' Records logo with its 'Long Playing Unbreakable' promise beneath.

This 7 November 2012 Japan-only reissue of "The Clovers" by THE CLOVERS on Atlantic/Rhino/Warner Music WPCR-27567 (Barcode 4943674126668) is a straightforward CD transfer of the rare American LP (37:45 minutes). The 12-page booklet features Japanese-language liner notes - lyrics in English and a very clear repro of the LP's rear sleeve liner notes by Jack Walker. The Obi has 'Digital Remastering' on it – other than that It doesn't say who or what. Having said that - the Audio is fantastic - there's a great depth of sound off these Japanese issues - although I'd say in a heartbeat that the 9 tracks across Bear Family's fabulous "Street Corner Symphonies" CD Series (stretching from 1950 to 1959) sound better - especially in the notorious "Don't You Know I Love You" track that seems to have distortion on every version. The Bear issue is the cleanest I've ever heard it - although the rest are excellent - that track here is decidedly sub-par.

Side 1:

1. Love, Love, Love (May 1956 USA 7" single on Atlantic 45-1094, A)

2. Lovey Dovey (March 1954 USA 7" single on Atlantic 45-1022, A)

3. Yes, It's You (March 1953 USA 7" single on Atlantic 45-989, B-side of "Crawlin'")

4. Ting-A-Ling (July 1952 USA 7" single on Atlantic 45-969, A)

5. I Played The Fool (October 1952 USA 7" single 45-977, A)

6. Hey Miss Fanny (October 1952 USA 7" single 45-977, B-side of "I Played The Fool")

7. Don't You Know I Love You (March 1951 USA 7" single 45-934, A - their 1st Atlantic 45)

Side 2:

8. Middle Of The Night (March 1952 USA 7" single on Atlantic 45-963, B-side of "One Mint Julep")

9. Blue Velvet (April 1955 USA 7" single on Atlantic 45-1052, A)

10. Little Mama (March 1954 USA 7" single on Atlantic 45-1022, A)

11. Crawlin' (March 1953 USA 7" single on Atlantic 45-989, A)

12. Here Goes A Fool (June 1953 USA 7" single on Atlantic 45-1000, B-side of "Good Lovin'")

13. I Got My Eyes On You (July 1954 USA 7" single on Atlantic 45-1035, A)

14. Devil Or Angel (January 1956 USA 7" single on Atlantic 45-1083, A)

Tracks 1 to 14 are their debut LP "The Clovers" (aka "Rock & Roll") - released 1956 in the USA on Atlantic 1248, re-issued in 1957 on Atlantic 8009 (both in Mono). The 1957 reissue Artwork and Label are used for this Japanese CD.

As you can see from the list above - every track was a single - what the 14 entries don't tell you is the amazing track record they had on the R 'n' B charts. Between the years this LP covers (1950 and 1956) - they clocked up three No. 1's - "Don't You Know I Love You", "Fool, Fool, Fool" and "Ting-A-Ling" - four No. 3's - "Middle Of The Night", "I Played The Fool", "Crawlin'" and "Devil Or Angel" with the remainder Top 5 or Top 10 at worst. Along with Joe Turner, Ruth Brown and LaVern Baker - THE CLOVERS were a huge star attraction for Atlantic Records - and that's what makes this LP so damn good - it's chock full of hits and their equally cool flip-sides. 

You could argue I suppose that you just get "The Platinum Collection" 22-track CD for less than five quid (remastered also - see separate review) - but I'd argue there's something about these Japanese issues that both sounds and looks the part. 

And that's all the Rock 'n' Roll enticement I need...