"There’s A Riot Goin’ On” by SLY & THE FAMILY STONE (Inside The 2010 and 2013 Epic/Legacy 'Original Album Classics' 5CD Mini Box Set Remasters) - A Review by Mark Barry...

"…It's A Family Affair…"

1971's iconic Soul LP "There's A Riot Goin' On" by SLY & THE FAMILY STONE was yet another winner in a long line of album releases (their 5th LP and a USA R&B No.1).

The 2007 Sony/Legacy CD reissue of it features a 'best we can do' BOB IRWIN and VIC ANESINI Remaster. Thankfully this is also used in the 2010 5CD "Original Album Classics" Mini Box Set (reissued in Europe in 2013). I mention this because the Mini Box sets weigh in at about ten quid – two pounds per album – ludicrously great value for money. And in the case of the Funky-Soulful manic maestro Sly Stone – too much is never enough (if ya know what I mean baby...sorry about that)...

First appearing in 2010 in the USA as part of Sony's "Original Album Classics" series of 5CD mini box sets (Catalogue No. 8869770802) – the 2013 repackaged version out of Europe uses different (some would say prettier) artwork and sports a new catalogue number (88883743022). Although you get a flimsy card slipcase (as opposed to the hard card of the original American issues) - the best news is that you also get the 2007 BOB IRWIN/VIC ANESINI CD remasters – with all five of the albums retaining their expanded bonus tracks. Here are the Luv N’ Haight details…

Euro released August 2013 – "Original Album Classics" by SLY & THE FAMILY STONE on Epic/Legacy 88883743022 (Barcode 888837430227) is a 5CD Mini Box Set in a Card Slipcase that contains "There's A Riot Goin' On" on Disc 5 and plays out as follows:

Disc 5 (65:32 minutes):

1. Luv N' Haight

2. Just Like A Baby

3. Poet

4. Family Affair

5. Africa Talks To You (“The Asphalt Jungle”)

6. There’s A Riot Goin’ On

7. Brave & Strong [Side 2]

8. (You Caught Me) Smilin’

9. Time

10. Spaced Cowboy

11. Runnin’ Away

12. Thank You For Talkin' To Me, Africa

Tracks 1 to 12 are their 5th album "There's A Riot Goin' On" – released November 1971 in the USA on Epic KC 30986 and January 1972 in the UK on Epic S EPC 64613). Although the title is famously listed as "There's A Riot Goin' On" at the end of Side 1 on the original vinyl album – the song is in fact not there (no seconds – no playing time). In order to acknowledge its presence however - the CD reissue gives it a playing time of 4 seconds of silence (hence the confusion with people feeling it’s a mastering mistake/track missing – it’s not)

BONUS TRACKS:

13. Runnin’ Away (Single Version)

14. My Gorilla Is My Butler (Instrumental)

15. Do You Know What? (Instrumental)

16. That’s Pretty Clean (Instrumental)

The card repro sleeves are lovely to look at for the first three upbeat Soul albums - but with "Stand!" having a virtually blank rear and "There's A Riot Goin' On" missing its gatefold (with all the recording info on the inner) – there’s nothing to get your teeth into reading wise. And as fans will know – there have been almost entire books devoted to the recording, release of and posthumous importance of the acidic and incoherently trippy "There's A Riot Goin' On" LP alone. This is one of those times in this value-for-money series where you wish a half-decent booklet accompanied the release – because there’s much to say (and learn).

The 2007 BOB IRWIN and VIC ANESINI Stereo remasters are thankfully used and are typically superb - this time making the best of a bad lot. Even on the notorious overdubbed tape mess that is 1971's "Riot" where Sly went over things so many times that to this day there is 'muddiness' to the whole recording that cannot be removed (and some would say cannot be improved upon either). Even that is audibly improved (to a degree). That blurred sound to the brass work on "Runnin' Away" is a good example and the mumbling druggy crap that he spouts in “Spaced Cowboy” is almost coherent (almost).

The album opens with "Luv N' Haight" – a song so influential – a Funk and Soul reissue label took it as their moniker – Luv N Haight Records. The clavinet funkiness continues with "Just Like A Baby". But that's trumped up by the fantastic groove of "Poet" where Sly mumbles about his only weapon being words and music – a songwriter with his weapon of music. It sounds like Stevie Wonder's "Innervisions" (1973) and Jeff Beck's "Blow By Blow" (1975) years before those Funky events. November 1971 also saw the monster "Family Affair" track become their 3rd No. 1 single on the Pop charts. Huge like the album was – it still raises a smile and a butt wiggle.

But then you get magnificence like the nine-minute funk of "Africa Talks To You…" with its drum/keyboard/vocal layers that amble but yet somehow work. The CD audio is excellent here compared to my battered British vinyl original where turning it up back in the day only elicited walls of hiss. Admittedly "Brave And Strong" sounds compromised on the Audio front – kind of strangulated and lacking in clarity. Better is "(You Caught Me) Smilin'" where Sly lets out a few of his best Al Green screams as the Guitars do battle with Funky Horns. The laid back and shuffling "Time" is the kind of Sly Stone ramble I love – a mouthful of mumble turned into a groove. It goes out on the seven-minute Funkathon that is "Thank You For Talkin' To Me Africa" – a monster track amongst Jazz Funk aficionados. The Audio dips in and out as it used to – but the CD is still better than my record – and that Bass line is chugging and chunky in my speakers.

A pioneer, a hero, a drugged-up nutjob – Sly Stone was all of these and more. Mostly though you’re left impressed and wanting more…and that’s a complaint I’ll take any day of the week…

"Nilsson Sings Newman" by NILSSON (Inside 2013's "The RCA Albums Collection" 17CD Box Set - Vic Anesini Remasters) - A Review by Mark Barry...

"...Living Without You..."

With the LPs "Pandemonium Shadow Show" (October 1967), "Aerial Ballet" (June 1968) and "Harry" (July 1969) under his album belt and hits like "Everybody's Talkin'" from the smash movie "Midnight Cowboy" and “I Guess The Lord Must Be In New York City” endearing him to anyone and everyone – Brooklyn’s Harry Nilsson then took a sharp left turn for his next project. He ups and makes a smart musical choice - giving the then relatively unknown RANDY NEWMAN a whole album of cover versions. But it turns out to be a commercially disastrous pick – almost stalling his career.

"Nilsson Sings Newman" by NILSSON was released in the USA January 1970 on RCA Victor LSP-4289 in Stereo only (March 1970 in the UK) and was received with rave trade reviews and almost total public indifference (it didn't go Top 100 in either the UK or the USA). The premise is simple - a whole LP of Randy Newman songs - most old - some new - and with the great Author himself guesting on Piano on every song - Harry Nilsson at the microphone throughout.

It's cliché I suppose to say that some records deserved a better fate - got overlooked. But in the sunny pre-Brexit honeymoon days of June 2016 and with the benefit of hindsight and nearly five decades – this is one of those lost records that absolutely demands your attention. One reviewer has described this album as 'beautiful' - and that's both accurate and apt. But I'd go further - there are songs on this LP like "Caroline" and "Living Without You" where the combo of Nilsson's voice and arrangements sided by Newman's trademark low-key piano notes produces something bordering on sublime. Both written especially for the album - "I'll Be Home" and "Caroline" are in my all-time Top Ten cover versions - with Nilsson's delicate takes on The Beatles 'White Album' ballads “Blackbird” and "Mother Nature's Son" lagging not far behind.

But some reissue history first: after a February 1989 RCA fuddle on the new fangled format (ND 90305) - the first decent CD remaster came in July 2000 from the USA on Buddah 74465 99703 2 (Barcode 886972493527) - a CD that boasted five previously unreleased outtakes/alternate versions.

That stand-alone disc is still widely available - but I'd advise going for the album within the NILSSON "The RCA Albums Collection" RCA/Legacy 17-Disc Box Set from July 2013 (Barcode 886979155022). It offers the same line-up - the original 10-track LP from 1970 and those five bonus tracks - but this time the liner notes claim it's been newly remastered for that set by an Audio Engineer hero of mine - VIC ANESINI. He did the Remasters at Battery Studios in New York – and he's a name I've sung the praises of before. Anesini has handled very prestigious SONY catalogue – Elvis Presley, Simon & Garfunkel, The Byrds, Stevie Ray Vaughan, Carole King, Janis Joplin, Blood, Sweat & Tears, Santana, Paul Simon, Mountain, Lou Reed, Roy Orbison and The Jayhawks to name but a few. Clean – full of presence and warmth – this thing is a joy to listen too – mostly piano and lead vocals with some overdubbed voices and other keyboards. Beautiful. Let’s get to the music...

1. Vine Street
2. Love Story
3. Yellow Man
4. Caroline
5. Cowboy
6. The Beehive State [Side 2]
7. I'll Be Home
8. Living Without You
9. Dayton, Ohio 1903
10. So Long Dad
Tracks 1 to 10 are the album "Nilsson Sings Newman" - released January 1970 in the USA on RCA Victor LSP-4269 and March 1970 in the UK on RCA Victor SF 8166. Produced by HARRY NILSSON - Nilsson sings and RANDY NEWMAN plays Piano. Other musicians not credited.

BONUS TRACKS:
11. Snow
12. Love Story (Alternate Version)
13. Cowboy (Alternate Version)
14. I'll Be Home (Alternate Version)
15. Living Without You (Alternate Version)
Tracks 11 to 15 first appeared as 'Bonus Tracks' on the 2000 CD reissue of "Nilsson Sings Newman"

"Vine Street" was first aired by Van Dyke Parks on his December 1967 LP "Song Cycle" - whilst five songs "Love Story", "The Beehive State", "Cowboy", "Living Without You" and "So Long Dad" first showed on Newman's June 1968 debut album "Something New Under The Sun" on Reprise Records. He would tackle "Yellow Man" himself on his 2nd LP - April 1970's "12 Songs". The rest were written for the album. "Vine Street" opens with a great bopping tambourine followed by clever layered vocals - but soon settles into a different 'that's a take' slow pace. Probably seemed like a good idea at the time but I wished they'd settled on one groove or another. Things start to shine with the lovely yet weirdly sad "Love Story" with its 'you and me' chorus. That acidic social commentary voice of Randy Newman comes sailing through "Yellow Man". How many songwriters can pen lyrics like "...eating rice all day...while the children play...you see he believes...in the family...just like you and me..." and still sound like he's slagging off the rednecks who would put down any colour or creed that isn't white.

I can't be rational about "Caroline" - I was mesmerised by it 46 years ago - and not much has changed. The way he arranges it - the melody - the gorgeous delicate layering of the vocals - not intrusive strings to syrup up proceedings. I could never understand why RCA didn't pick this masterpiece as a 45 on either side of the pond (no 7" singles off the album). A lonesome chill wind brings in Nilsson's voice in "Cowboy" but then he adds others vocal layers - and along with Newman's sweet piano playing - it aches. Politics rears its ugly head again in the Kansas Farmer song "The Beehive State" where locals are getting shafted again by silver tongues from Utah in slick suits and cars that can get away fast once they've made all those false promises. Another beauty is "I'll Be Home" - a song that almost feels like a Prayer rather than a love song. "When you're felling down and need some sympathy...and there's no one else around to keep you company...you can count on me...I'll be home..." Many feel "Living Without You" may well be one of Nilsson's best undiscovered-moments - a gorgeous ache floating through those polite and softly pressed piano notes. You just 'know' this man is dying inside - 'so hard' living without you. It ends on a double set of goodies - the friendly neighbours and simpler times of "Dayton, Ohio 1903" and the goodbye to all that loss of "So Long Dad".

The incredibly bleak outtake "Snow" is ropey audio-wise (not a madly great song either) - but its cool to hear Newman and Nilsson both talk and note that the ending was 'bad' as the songs fades out. The following four 'Alternate Versions' are fabulous stuff - beautiful clarity and each carrying real vocal differences between them and the released versions. At 2:18 minutes the Alternate of "Cowboy" is shorter than the released take of 2:58 minutes - but still feels epic for its short duration. Both "I'll Be Home" and "Living Without You" feature a floating organ that hurts - Nilsson trying out different vocal approaches towards the end of each song ("I'll Be Home" has dialogue between Newman and Nilsson at the close). These are Bonus Tracks actually worthy of the moniker.

I know it's a lot of money to buy "The RCA Albums Collection" to access just one NILSSON album (even if the Audio is fabulous). But of course there's so much more on offer in there - an embarrassment of riches really (and unfortunately some embarrassments in the later albums - see my separate review).

NILSSON was an extraordinary talent and apparently legend has it that RANDY NEWMAN and he fought over the arrangements and numbers of takes needed - to the point where the album and their collaboration didn't seem like such a good idea anymore. Whatever is true - "Nilsson Sings Newman" is an overlooked car-full-of-tunes LP that cries out to be driven again. "Without You" - don't be without this...

"I Never Loved A Man The Way I Love You" by ARETHA FRANKLIN (1995 Rhino 'Expanded' MONO CD Remaster) - A Review by Mark Barry...

"...A Soul Serenade..."

"Sock it to me! Sock it to me! Sock it to me!" That famous refrain in a groovy take on Otis Redding's "Respect" opens Aretha Franklin's March 1967 Atlantic Records debut album "I Never Loved A Man The Way I Love You". And by the time you make it to Track 2 - a gorgeously arranged cover of Ray Charles' 1956 Atlantic R&B weeper "Drown In My Own Tears" – and that amazing title track at No. 3 - those arbitrary accolades of 'Best Soul Album Ever Released' actually start to make total sense.

Even now in sunny June 2016 - Aretha's first album for the mighty Atlantic Records is an awesome thing to behold - so many great tracks, so much feel and it's damn moving too (I rate her own "Baby, Baby, Baby" as one of 'the' best songs on the iconic record). Let's get to Soul Music's real deal...

UK, Europe and USA released June 1995 - "I Never Loved A Man The Way I Love You" by ARETHA FRANKLIN on Rhino/Atlantic Remasters 8122-719340-2 (Barcode 081227193423, UK and Europe issue) is a CD Remaster of the 1967 11-track album with four Bonus Tracks and plays out as follows (41:26 minutes):

Side 1:
1. Respect (Otis Redding song)

2. Drown In My Own Tears (Danny Glover song, Ray Charles cover)

3. I Never Loved A Man (The Way I Love You) (Ronny Shannon song)

4. Soul Serenade (Curtis Ousley/Luther Dixon song)

5. Don't Let Me Lose This Dream (Aretha Franklin/Ted White song)

6. Baby, Baby, Baby (Aretha and Carolyn Franklin song)

Side 2:
7. Dr. Feelgood (Love Is A Serious Business) (Aretha Franklin/Ted White song)

8. Good Times (Sam Cooke cover)

9. Do Right Woman - Do Right Man (Dan Penn/Chips Moman song)

10. Save Me (Curtis Ousley/Aretha and Carolyn Franklin song)

11. A Change Is Gonna Come (Sam Cooke cover)

Tracks 1 to 11 are the album "I Never Loved A Man The Way I Love You" - released 10 March 1967 in the USA on Atlantic 8139 (Mono) and Atlantic SD 8139 (Stereo) and June 1967 in the UK on Atlantic 587 066 (Mono) and Atlantic 588 066 (Stereo). 

The MONO MIX is used for this CD reissue. Arranged and Directed by TOM DOWD and Produced by JERRY WEXLER - the LP was recorded in January and February of 1967 in the FAME Studios in Muscle Shoals, Alabama. It peaked at No. 2 in the USA on the Pop charts (No. 1 on the R&B charts) and No. 36 in the UK on the Pop charts.

BONUS TRACKS:

12. Respect (Stereo Version)

Mono Version used for the USA 7" single of "Respect" released 16 April 1967 on Atlantic 2403 - Pop and R&B No. 1

13.  I Never Loved A Man (The Way I Love You) (Stereo Version)

Mono Version used for the USA 7" single of "I Never Loved A Man The Way I Love You" released 10 February 1967 on Atlantic 2386, A-side - Pop No. 9 and No. 1 R&B

14. Do Right Man - Do Right Woman (Stereo Version)

Mono Version used for the USA 7" single of "Do Right Woman - Do Right Man" released 10 February 1967 on Atlantic 2386, B-side

The players:

ARETHA FRANKLIN - Vocals and Piano

SPOONER OLDHAM - Organ and Electric Piano

JIMMY JOHNSON - Guitar (All Tracks except 3 and 10)

CHIPS MOMAN - Guitar (Tracks 3 and 10)

TOMMY COGBILL - Bass

ROGER HAWKINS - Drums (All Tracks except 4, 7 and 8)

GENE CHRISSMAN - Drums (Tracks 4, 7 and 8)

MELVIN LASTIE, KEN LAXTON, DAVID HOOD, CHARLIE CHALMERS, KING CURTIS, JOE ARNOLD and WILLIE BRIDGES - Horns

ARIF MARDIN - Vibes

CAROLYN FRANKLIN, ERMA FRANKLIN and CISSY HOUSTON - Backing Vocals

The 8-leaf foldout inlay has liner notes from noted writer and Soul historian DAVID NATHAN followed by Jerry Wexler's original album liner notes. You get a detailed history of the Muscle Shoals sessions and how the whole thing together. There are also full album credits and reissue details. The mighty duo of DAN HERSCH and BILL INGLOT carried out the MONO Transfers and Remaster and it sounds just great - punchy and vibrant - air around the loose sessions. The three STEREO versions of the big single sides are only icing on a very tasty cake.

Knowing they were onto something special - Atlantic rush-released the title track "I Never Loved A Man The Way I Love You" on the 10th of February 1967 as an American 45. Recorded a few weeks prior on the 24th of January and written by Detroit's Ronny Shannon - it's a song that is so synonamous with Aretha that its entered into legend and myth by now. But the moment that wicked Spooner Oldham electric piano starts on those slinky notes - you're hooked and then moved - and that's rare. "Soul Serenade" and "Don't Let Me Lose This Dream" continue that Bluesy Soul vibe with only the cha-cha shuffle of "Don't Let Me Lose This Dream" feeling slightly awkward and actually out of place.

But then you're whacked with sheer magic - her own "Baby, Baby, Baby". As she sings "...I didn't mean to hurt you..." - you 'feel' it - the power of the lyrics given that extra oomph by the three ladies giving it some backing vocals (Erma and Carolyn Franklin with Cissy Houston). Atlantic used the wickedly sexy "Dr. Feelgood" as the B-side to "Respect" on Atlantic 2403 in April 1967. My other craves are the fab groover "Save Me", Dan Penn's magnificent "Do Right Woman-Do Right Man" which he returned to on his June 1994 CD album "Do Right Man" (see separate review) ands the final nod to the master - a heartbreakingly beautiful take of Sam Cooke's progress anthem "A Change Is Gonna Come" - the perfect ending to the most rounded of Soul LPs from the period.

"...Woman's only human...you should understand..." - Aretha sang on "Do Right Woman - Do Right Man". Not sure there's anything 'human' about this superhuman LP. A CD you should treasure - never mind own...

"Do Right Man" by DAN PENN (1994 Sire/Warmer Brothers/Blue Horizon CD Album) - A Review by Mark Barry...

"...I Leave Myself Wide Open..."

It's one thing to be able to write great songs that are name-checked as masterpieces some 45 years later (Penn has scribed many as you will find out) – but it's another ball of wax to find out that the man can actually sing 'Soulful' too - gargle warmth and personality with the best of them –reminding you at times of great unsung white male singers with black Soulful voices like Eddie Hinton and Terry Reid.

The premise here is this – Alabama’s DAN PENN - a 60ts and 70ts gifted white boy in-house songwriter working with huge names in the Soul and Rock world in Rick Hall’s legendary powerhouse FAME STUDIOS in Muscle Shoals – revisits his old hits in his old stomping ground with his playing buddies at his side. He will do 'his' versions of songs made famous by icons like Aretha Franklin - her 1967 smash "Do Right Woman, Do Right Man" on Atlantic Records, James Carr's 1967 hurting "The Dark End Of The Street" on Goldwax, Percy Sledge's 1966 heartbreaker "It Tears Me Up" on Atlantic, James and Bobby Purify's 1966 ode to devotion "I'm Your Puppet" on Bell Records and "You Left The Water Running" - a song so popular it was first done by Barbara Lynn, Otis Redding, Maurice & Mac, Sam & Dave, Ralph Jackson and Wilson Pickett. In fact in the case of "I'm Your Puppet" - a song also done by Dionne Warwick and as a duet with Marvin Gaye and Valerie Simpson - I'd argue that the new 1994 Penn version excels the sublime original and all other retellings - instilling the new take with incredible pathos, genuine beauty and feel. I play this sucker into the ground - always moving me. But let's get to the technical details first...

UK released 31 October 1994 - "Do Right Man" by DAN PENN on Sire/Warner Brothers/Blue Horizon 9362-45519-2 (Barcode 093624551928) was Produced by DAN PENN and GEORGE DRAKOULIAS, Recorded and Mixed at MUSCLE SHOALS SOUND STUDIOS in Sheffield, Alabama and Mastered by STEPHEN MARCUSSEN (he handled the 2009 Rolling Stones Remasters). The 16-page booklet has liner notes from noted R 'n' B and Soul Writer/Historian PETER GURALNICK and its ten-tracks plays to 37:15 minutes:

1. The Dark End Of The Street

2. Cry Like A Man

3. It Tears Me Up

4. You Left The Water Running

5. Do Right Woman Do Right Man

6. Memphis Women And Chicken

7. Zero Willpower

8. He'll Take Care Of You

9. I'm Your Puppet

10. Where There's A Will (There's A Way)

The band reunites Penn with:

REGGIE YOUNG and JIMMIE JOHNSON on Lead Guitars

BOBBY EMMONS, SPOONER OLDHAM, DAVID BRIGGS and CARSON WHITSETT on Keyboards

DAVID HOOD on Bass

ROGER HAWKINS on Drums.

The MEMPHIS HORNS on all cuts are:

WAYNE JACKSON on Trumpet, HARVEY THOMPSON on Tenor Sax

DOUG MOFFET on Baritone Sax (Flute on "He'll Take Care Of You")

CHARLES ROSE on Trombone

BACKING SINGERS on all cuts are:

AVA ALDRIDGE, CINDY RICHARDS-WALKER, LENNY LeBLANC, BUZZ CASON and GEORGE SOULE

DELBERT McCLINTON plays Harmonica on "Memphis Women And Chicken"

It's true that the new songs are competing with tunes so ingrained in your consciousness that it's hard to think of the newbees as anything you could compare favourably with the old - but I'd argue that Penn succeeds. His interpretations of "Dark End Of The Street", "It Tears Me Up" and especially "Do Right Woman Do Right Man" are spine-tinglingly good. And that "I'm Your Puppet" just does me in. Not to be outdone there are 'new' old songs too - tunes he's returned to that apparently lay unfinished - some for over twenty years.

There's the slow groove of "Cry Like A Man" - maybe an answer song to "Cry Like A Baby" - a Penn tune picked up by Arthur Alexander and Cher in 1969. The jaunty greasy food song "Memphis Women And Chicken" and the truly gorgeous "Zero Willpower" - a song you'd swear has to have been done by some Soul giant back in the Sixties but turns out to be new - a modern day classic (lyrics from it title this review). It ends on the Funky Brass groover "Where There's A Will (There's A Way)" which is good rather than being great.

He would tour this album with just Spooner Oldham - voices and keyboards - simple, eloquent and Soulful. And in some ways that's how you would sum up this overlooked beauty of an album – an eloquent slice of Modern Day Soul by a songwriter who helped shape its very foundations.

Get the 'Do Right Man' into your life soon as poss...

"Tracks On Wax 4" by DAVE EDMUNDS (Part Of 2015's 'Original Album Series' 5CD Mini Box Set on Parlophone/Warners) - A Review by Mark Barry...

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"...Here Come The Trouble Boys..."

"Tracks On Wax 4" by DAVE EDMUNDS (1978 LP on Swan Song)

It feels like I've been waiting for this 5CD mini box set peach for years precisely because it contains many of my favourite Dave Edmunds albums – least not all is 1977's criminally forgotten "Get It" and our main concern here - the equally cool 1978 set "Tracks On Wax 4".

There's something about Dave Edmunds Rock 'n' Roll fixation throughout the whole of the Seventies that I've always loved. He rocked and his records were fun listens too. But what's perhaps forgotten is that his LPs mixed in his 50ts and 60ts obsessions with the ‘New Wave’ songwriting genius of Rockpile's Nick Lowe and Billy Bremner - not to mention the acidic tongues of Elvis Costello and Graham Parker. The result was albums - that although retro in feel and sound - were also somehow incredibly contemporary.

Oddly though - availability has always been an issue. Outside of Rhino's superb 1993 2CD "Anthology" career-overview – Remasters of his primo full-album catalogue have remained off the general CD availability radar until now. Well here at last is a salty 5CD set to sort out my DE needs – and it’s a humdinger too containing both "Get It", "Tracks On Wax 4" and much more. Here are the 'Worn Out Suits & Brand New Pockets'...

UK released September 2015 – "Original Album Series" by DAVE EDMUNDS (including LOVE SCULPTURE) on Parlophone/Warners/Swan Song 0081227952006 (Barcode same number) is a 5CD mini Box set containing the "Tracks On Wax 4" album (Disc 3) that plays out as follows:

Disc 3 (34:11 minutes):
Side 1:
1. Trouble Boys [Billy Bremner song]
2. Never Been In Love [Nick Lowe & Rockpile song]
3. Not A Woman, Not A Child [Billy Bremner song]
4. Television [Nick Lowe song]
5. What Looks Best On You [Dave Edmunds and Nick Lowe song]
6. Readers Wives [Noel Brown song]

Side 2:
7. Deborah [Dave Edmunds and Nick Lowe song]
8. Thread Your Needle [Brenda Lee Jones and Welton Young song – Dean and Jean cover]
9. A.I. On The Jukebox [Dave Edmunds/William Birch (of The Kursaal Flyers)]
10. It's My Own Business [Chuck Berry cover]
11. Heart Of The City [Nick Lowe song]
Tracks 1 to 11 are the album "Tracks On Wax 4" – released April 1978 in the UK on Swan Song SSK 59407 and in the USA on Swan Song SS 8505

Everyone knows the visual story with these "Original Album Series" Mini 5CD Box sets – five single card sleeves with the original artwork front and rear – look nice but you can’t read the details. At least the CDs themselves have the track credits on each. It doesn’t say who remastered the four Swan Song albums or indeed if they’ve been even been redone (the Love Sculpture CD is the 1999 EMI Remaster) – I doubt it. The sound is great but there's no doubt in my mind that the Rhino Remasters of 1993 on the "Anthology" 2CD set are infinitely better. Having said that - as the bulk of these albums are late 70ts and early 80s recordings – the audio was on the money anyway – so for most casual listeners these CDs will sound just dandy.

Typical of Edmunds – he seemed to always know what song suited him and how to re-arrange it into his own updated DE style. For example - a genius choice on 1978's "Tracks On Wax 4" is an ultra-obscure B-side on Rust Records of the USA called "Thread Your Needle". It was put out by Dean and Jean in 1966 as the flipside to "You're The Love Of My Life" and penned by Brenda Lee Jones and Welton Young – both of whom authored "The Majestic" for Dion in 1961. It's the kind of Eddie Cochran-ish guitar rocker that just comes in – does the business – and leaves – no muss - no fuss.

That gem is followed by the hugely likeable "A.I. On The Jukebox" which feels like old-time Fifties Rock 'n' Roll but is actually a modern 1978 co-write between Dave Edmunds and William Birch of The Kursaal Flyers. It was issued as a UK A-side 45 on Swan Song SSK 19417 in February 1979 with the fab rocker "It's My Own Business" as its flipside – but despite the strength of both tracks – it tanked (yet you’ll find yourself replaying these little nuggets over and over again). His instincts to record Nick Lowe's brilliant and incendiary "Heart Of The City" 'live' pays off (no venue or date provided) because it gives the tune that Punky punch it warrants.

Other winners include Billy Bremner's ode to laddishness "Trouble Boys" where our hero initially wimps out in front of his girl when confronted by some mouthy oiks but soon steps up to the protective plate. The slightly dangerous and sexually loaded theme continues with Noel Brown's raucous rocker where all our Dave wants to do is look at "Reader's Wives" in their varying magazine temptations. And his Everly Brothers sounding "What Looks Best On You" tells his lady that what looks best on her is 'Dave' (what a gent). All of it is rollicking great fun and so upbeat. In fact I can’t help thinking that 1978's "Tracks On Wax 4" is a forgotten nugget in Dave Edmunds' long cannon of enjoyable albums stretching all the way back to 1975's "Subtle As A Flying Mallet", 1972's "Rockpile" and the two Love Sculpture albums in 1970 and 1968 (see reviews for them all).

June 1979's "Repeat When Necessary" and April 1981's "Twangin'" would only cement his album reputation with fans – more wickedly good stuff from a master interpreter. A modern day Rock 'n' Roll Hoochie Coochie Man indeed...

"Waiting For Columbus: Deluxe Edition" by LITTLE FEAT (Inside The 2014 'Rad Gumbo: The Complete Warner Bros. Years 1971 to 1990' 13CD Box Set) - A Review by Mary Barry...

"…Tripe Face Boogie…"

"Waiting For Columbus" by LITTLE FEAT (1978 Double Live Album)

Taking its Box Set title from a New Orleans bopper on 1990's "Representing The Mambo" LP - "Rad Gumbo: The Complete Warner Bros. Years 1971 to 1990" by LITTLE FEAT is a 13CD Mini Box Set that many fans will say has been a long-time coming.

And for the purpose of this review - amongst its many Audio pleasures is the 2CD 'Deluxe Edition' of their fabulous "Waiting For Columbus" 2LP set from 1978 – their official 'live album' whilst Lead Guitarist Lowell George was still with us and leader of the band. And yet even though "Columbus" has garnished a legendary status amongst LF fans (Funky-Rock at its finest) - as a release it's somehow gotten lost across the decades for everyone else - often overlooked for more famous studio efforts like "Sailin' Shows" and "The Last Record Album". I'd argue 'over look' no more music lovers and let's dig in. Here are the Fat Men In Bathtubs consuming weeds, whites and wine...

UK released Monday 24 February 2014 (4 March 2014 in the USA) - “Rad Gumbo: The Complete Warner Bros. Years 1971 to 1990" by LITTLE FEAT on Rhino/Warner Brothers 8122796057 (Barcode 081227960575) is a 13CD Mini Box Set of Remasters. Discs 7 and 8 of the 13 are the 1978 double live-album "Waiting For Columbus" Remastered onto 2CDs with Bonus Tracks. It plays as follows...

Disc 1 (60:19 minutes):

1. Join The Band [Side 1]

2. Fat Man In The Bathtub

3. All That You Dream

4. Oh Atlanta

5. Old Folk’s Boogie

6. Dixie Chicken [Side 3]

7. Tripe Face Boogie

8. Rocket In My Pocket

9. Time Loves A Hero [Side 2]

10. Day Or Night

11. Mercenary Territory

12. Spanish Moon

Disc 2 (78:02 minutes):

THE ENCORE:

1. Willin' [Side 4]

2. Don't Bogart That Joint

3. A Apolitical Blues

4. Sailin' Shoes

5. Feats Don’t Fail Me Now

OUTTAKES

6. One Love Stand

7. Rock And Roll Doctor

8. Skin It Back

9. On Your Way Down

10. Walkin’ All Night

11. Cold, Cold, Cold

12. Day At The Dog Races

"HOY HOY" OUTTAKES

13. Skin It Back

14. Red Streamliner

15. Teenage Nervous Breakdown

Tracks 1 to 12 on Disc 1 and Tracks 1 to 5 on Disc 2 make up the original 2LP vinyl set "Waiting For Columbus" – released March 1978 in the USA on Warner Brothers B2K 3140 and in the UK on Warner Brothers K 66075. Tracks 6 to 12 on Disc 2 are previously unreleased outtakes with 13 to 15 also being are outtakes first issued on the “Hoy Hoy” double album retrospective in 1981. It peaked at No. 18 on the USA LP chart and No. 43 in the UK.

Audiowise fans will know that in April 2002 Rhino issued an 'Expanded Edition' of "Waiting For Columbus" onto 2CDs with a card slipcase (Barcode 081227827427). Luckily this superb 2014 Box Set gatefold card sleeve repro apes that reissue and remaster by including its 10 Bonus Tracks – seven 'Previously Unreleased' Outtakes from the concerts and three more Live Outtakes that first appeared on the "Hoy Hoy" double-album compilation issued in July 1981. BILL INGLOT and DAN HERSCH carried out the 2002 CD Remasters and that's what you get here – gorgeous sound and real ballsy clarity.

It opens with the jokey ditty "Join The Band" – a recorded in a bucket two-minute mess around before launching into proceedings proper with a Funky-As-A-Vicar's-Teacakes "Fat Man In A Bathtub". You're struck the great Remaster and just how tight this band is – swaying like this beautifully sexy thing – and achieving that unique 'Little Feat' sound. It had been no secret that on the Warner Brothers Live Show Tour - Little Feat would regularly slaughter good live bands like The Doobie Brothers, Kokomo and Graham Central Station every night. At times the crowd would get so hot they'd actually boo the other quality acts – calling for the Feat's return. And followed by the equally cool "All That You Dream" – it's easy to hear why – and why so many say that you can only really appreciate the band in a live setting.

Then there’s the band players and those big league guests – BILL PAYNE on Piano, PAUL BARRERE on Lead Guitar and Vocals, KENNY GRADNEY on Bass, RICHARD HAYWARD on Drums and Percussion with LOWELL GEORGE on Lead Vocals and Guitar. Friends like Mick Taylor of The Rolling Stones guest (he's on "A-Political Blues") whilst the "Hoy Hoy" outtake allowed us to hear Michael McDonald and Patrick Simmons of The Doobie Brothers guest on "Red Steamliner". But probably best of all is the TOWER OF POWER Horn section on fab stuff like "Spanish Moon".

Amongst the extras are very cool Funky tunes like "One Man Show" that could easily have been a 45 and the Bluesy "On Your Way Down" - a forgotten slow and moody nugget on the "Dixie Chicken" album from 1973. Rocking boogie comes in the shape of "Walkin' All Night" where they sound like The Band finding their inner Betty Davis - getting all bitchy with that rhythm...

"Waiting For Columbus" is a wickedly good live double and combined with those superb CD extras on the 'Deluxe Edition' - elevated to something extraordinary. And lodged inside the 13CD embarrassment of riches that is the 'Rad Gumbo' LITTLE FEAT Box Set - it's also a value-for-money 'feats won't fail you now' purchase. 

God bless you Lowell George...

"Link Wray" by LINK WRAY (Inside 2015's 2CD Remaster Set "3-Track Shack" by Ace Records of the UK) - A Review by Mark Barry...

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"...I Feel The Thunder...I Feel The Fallin' Rain..."

"Link Wray" by LINK WRAY (1971 LP on Polydor Records)

Even as a veteran of secondhand record shops and a rarities buyer for nearly 20 years at the fab Reckless Records in London – I'm kind of shocked at the sheer undiscovered classiness of this Link Wray music. Truthfully I never gave it the time of day back in the day. In fact I can recall seeing British copies of 1971's "Link Wray" turn up in our busy Berwick Street shop in its American die-cut gatefold sleeve with his side profile face – and we’d all sigh.

The same would apply to the other album culled from these sessions - the single sleeve UK issue of Mordicai Jones by MORDICAI JONES (a gatefold in the USA with different artwork). We knew from previous experience that these obscure LPs would sit in our racks for months on end - until eventually reduced to a nominal amount - someone would buy them as a curio rather than a sought-out deliberate purchase. How times have changed...

For this superb UK 2CD reissue the simplest comparison musically is The Band and Folk-Rock Americana. Most fans who worship the ground that The Band's "Music From Big Pink" (1968) and "The Band" (1969) walks on – they would never in their wildest dreams look at the Rock 'n' Roll guitar 'rumble' of Carolina Shawnee Indian LINK WRAY and think 'Americana' – the beginnings of Tony Joe White, J.J. Cale, Townes Van Zandt and then onwards into the Indi Folk-Rock of Ryan Adams, The Jayhawks, Bon Iver, Sufjan Stevens and The Fleet Foxes. But that's what this rather brilliant little reissue contains. Simple but original Country, Folk, Blues and Roots tunes recorded live on guitars and upright piano in a converted Chicken Shack in Accokeek in the State of Maryland on his brother's farm (Doug Wray) with no overdubs and barely enough electricity. If they had no drums – they simply stomped feet hard and rattled those loose nails. If the song was quiet - it's said you can hear bullfrogs croaking and dogs howling outside the miked-up windows. Throw in Wray's strangely expressive Paul Siebel/Mickey Newbury twanging-voice and the results are earthy, real, simple and wonderfully melodic. Like classic J.J. Cale albums from the 70s – each guitar-chug and clever string-bend eats its way into your heart – each tune is simple and direct and warm and full of local stories ("Rise And Fall Of Jimmy Stokes"). I can even hear traces of a hopeful Rodriguez in his vocal style and lyrics - his commentaries on urban life and people trying to find their way in a mixed up world – elegant and truthful ("Fallin' Rain" and "Ice People"). There's a lot to get through so once more unto the backwater shed and that Ampex 3-track...

UK released August 2015 (September 2015 in the USA) – "3-Track Shack" by LINK WRAY on Ace Records CDCH2 1451 (Barcode 029667073820) offers up 3LPs from 1971 and 1973 onto 2CDs with one British 7" single edit as a bonus track. The "Link Wray" LP portion of it plays out as follows:

Disc 1 (63:36 minutes):

1. La De Da

2. Take Me Home Jesus

3. Juke Box Mama

4. Rise And Fall Of Jimmy Stokes

5. Fallin' Rain

6. Fire And Brimstone [Side 2]

7. Ice People

8. God Out West

9. Crowbar

10. Black Rover Stomp

11. Tail Dragger

Tracks 1 to 11 are the album "Link Wray" – released June 1971 in the USA on Polydor 24-4064 and September 1971 in the UK on Polydor Super 2425 029

You can't argue that the chunky 28-page booklet scrimps it on details or photos – recounting his career from Fifties and Sixties 'rumble' style guitar Rock 'n' Roll into these three albums - a 70's change of gear into Americana where the loud guitars of old are replaced with downhome acoustic tunes. The fantastic DAVE BURKE and ALLAN TAYLOR liner notes (co-editors of the "Pipeline" Fanzine on Rock Instrumentals) also do a lot to unravel the mysterious 'Mordicai Jones' project issued only months after the failed "Link Wray" album of June 1971. It turns out that the stunning Terry Reid-type vocals by the fictional Mordicai Jones character are in fact by Gene Johnson and not the keyboardist in Wray’s band Bobby Howard (as had been presumed). But the big news for fans (apart from the availability of this music after decades in the wilderness) is the amazingly clear remasters by long-time Engineer NICK ROBBINS – a name that has graced hundreds of quality British reissues. There is nothing lo-fi about these transfers despite how the original recordings were laid down.

A world away from his previous style of instrumental Rock 'n' Roll guitar – the two more Folksy albums were not well received at the time. "Link Wray" barely scraped into No. 186 on the American album charts in July 1971 (lasting only 4 weeks) - while the pseudonym "Mordicai Jones" project advertised in early June 1971 but not released until November simply confused people and most ignored it. Let's get to the music...

The openers "La De Da" and "Take Me Home Jesus" set the tone for the "Link Wray" album – The Band recording Americana with two-fingers held up to 24-track mixing consoles. There's Washboard melodrama to the catchy "Juke Box Mama" which Polydor USA put on the flipside of the 45 for the beautiful "Fallin' Rain" (Polydor PD 14096). We get a little Elvin Bishop and J.J. Cale with the very cool chugger "Rise And Fall Of Jimmy Stokes" which chronicles a boy with a shirt on his back trying to make it in the big city. It's amazing to think now that something as obviously lovely and topical as "Fallin' Rain" with lyrics like "...where kids lay bleeding on the ground...there's no place where peace can be found..." didn’t make an impression on the radios of the day – very Mickey Newbury and Eric Andersen. The hugely likeable "Fire And Brimstone" opens Side 2 in style – Jug Band music with a Mungo Jerry commerciality. "Ice People" bemoans the Red Man’s fate on the Reservation and again Link's vocals remind you of Levon Helm at his touching best. The ragged electric lead guitar in "God Out West" is the nearest nod to his loud 'rumbling' style of old (that guitar sound would turn up on the outtakes album "Beans And Fatback" in 1973). The acoustic-slide Blues of "Crowbar" reminds me of James Taylor's "Steamroller" on "Sweet Baby James" where Link tells his girl "...I'm a crowbar baby and I’m sure gonna ply you loose..." (how very gentlemanly of him). The opening flickering mandolin strums of "Black River Swamp" suit an impossibly laconic melody that’s full of Southern Soul (voices and guitars recorded for pure feel). Wray means it as he sings "...I can hear them bullfrogs croaking...calling me back to my childhood...down here in Black River Swamp..." The album ends on the only cover version – a fantastic Bo Diddley guitar chug at "Tail Dragger" (written by Willie Dixon for Howlin' Wolf). I'm a sucker for slide bottleneck guitar and this baby has guitars going on everywhere as Link does his best Chester Burnett vocal growl.

One of the Backing Vocalists credited simply as 'Gene' on the "Link Wray" albums turns out to be GENE JOHNSON – the principal vocalist for the Mordicai Jones album and project (not Bobby Howard as was long thought). The moniker of Mordicai Jones might have been Polydor's way of dealing with the fan backlash/indifference to "Link Wray" (hide him behind some other band). The booklet also reproduces in full the gatefold artwork of the American LP (the shack pictured in the woods nestled in a canopy of trees). The inside photo on the inner gatefold was used by British copies on their front covers and reduced to a single matt sleeve. The inner right side of the gatefold was used as the artwork for the rear of the British LP and the album didn’t show until early 1972 (about March) where it was met with as much non-interest as it had been in 1971 USA.

So why did it all fail – why don’t you know about these albums? I suppose you could say that all three records lacked an overall impact to make them classics of the day – but in hindsight - these Countrified Americana albums by Link Wray make for a fabulous listen - offering up music that gets to you after repeated listens – music you want to champion and rave about.

A stunning release then from Ace Records of the UK and a reminder that there’s so much great music out there to still find and cherish. "Link Wray" from 1971 is an album you want in your life. Properly impressed I am...