"Number 5" by STEVE MILLER BAND (2012 Edsel 'Special Edition' CD Remaster in Digipak) - A Review by Mark Barry...

 

"...Industrial Military Complex Hex..."

For many worshippers of 70ts Rock and Steve Miller's LP output from that revered period – our home collections would probably have consisted of 1973's "The Joker" on Capitol Records (in a natty gatefold), 1976's "Fly Like An Eagle" and the wonderful but sorely overlooked "Book Of Dreams" from 1977 (with Inner Sleeve) – both on Mercury Records.

Well here's another 'overlooked' nugget in his voluminous back catalogue - 1970's "Number 5" - loaded down with the talent of Boz Scaggs, Ben Sidran, Nicky Hopkins, Lee Michaels and members of Charlie McCoy's Area Code 615 (who did the 'Old Grey Whistle Test' theme "Stone Fox Chase" on their 1970 LP "Trip In The Country").

Edsel of the UK have been steadily feeding Steve Miller Band fans a diet of these tastefully presented CD reissues in foldout card digipaks - all newly mastered with superb Audio and featuring upgraded booklets with the artists’ involvement (photos from his own collection, reminiscences) - but sadly minus any outtakes (see full list of titles in the series below). Here are the details for five alive...

UK released 17 September 2012 (25 September 2012 in the USA) - "Number 5" by STEVE MILLER BAND on Edsel EDSA 5007 (Barcode 740155500733) is a straightforward 'Special Edition' Remaster of the 1970 US 10-Track LP with CD Digipak Packaging/Expanded Liner Notes and plays out as follows (36:20 minutes):

1. Good Morning

2. I Love You

3. Going To The Country

4. Hot Chili

5. Tokin's

6. Going To Mexico [Side 2]

7. Steve Miller's Midnight Tango

8. Industrial Military Complex Hex

9. Jackson-Kent Blues

10. Never Kill Another Man

Tracks 1 to 10 are his 5th studio album "Number 5" - released July 1970 in the USA on Capital SKAO-436 and November 1970 in the UK on Capitol EA-ST 436. Produced by STEVE MILLER - it peaked at No. 23 in the USA but didn't chart in the UK.

As you can see from the list of reissues provided below - Edsel of the UK have had a go at a huge swath of his entire recorded out (excepting a few albums from 1971, 1972 and 1973). The card-digipak is a three-way foldout affair with a picture CD and a new 12-page booklet. JOEL SLEVIN of the Soul Francisco Chronicle fanzine and all-round Music Consultant has done the short but informative liner notes which includes photos from Steve's collection, lyrics, original recording credits/reissue details and some label repro's of American 45s ("Going To The Country" on Capitol 2878 and "Going To Mexico" on Capitol 2945) and the British LP on Capitol Records EA-ST 436. It's nicely done. PHIL KINRADE did the new CD Master at Alchemy in London and it sounds amazing - really lovely warmth on the instruments - none too hissy - but too dry either where NR has been excessively used.

"Number 5" was Steve Miller's best selling American album to date (over 350,000 copies on release in 1970) and featured the songwriting talent of BOZ SCAGGS, Fusion Keyboardist BEN SIDRAN, his Bassist BOBBY WINKELMAN and his Drummer TIM DAVIS as well as great STEVE MILLER originals. The players included England's ace Keyboardist NICKY HOPKINS and members of AREA CODE 615 - Charlie McCoy, Bobby Thompson, Buddy Spicher and Wayne Moss along with ex Family Tree Guitarist LEE MICHAELS. It opens on a song from their soon-to-depart bassist Bob Winkelman called "Good Morning". Winkelman takes Lead Vocals on the song while Steve's younger brother Jimmy Miller plays Lead Guitar - it's tippy wind-swirling entrance is almost Todd Rundgren in its feel and Winkelman's voice could easily be mistaken fro Steve's. Jimmy Miller plays a lead guitar blinder on it too.

Things go decidedly 'Steve Miller' with the wickedly good "I Love You" - the first of four solo-penned songs on the album. While the Acoustic Guitars strum and cascading vocals swoon over your speakers like The Beach Boys circa "Sunflower" and "Surf's Up" - the song is anchored by brilliant Charlie McCoy Harmonica playing. Along with his fellow Area Code 615 band mate Buddy Spicher on Fiddle - McCoy's Harmonica presence is felt again on the first single released from the album in August 1970 - "Going To The Country" - an unconvincing Country-Rock song that's busy but not particularly memorable. Drummer Tim Davis offers up the first of two songs "Hot Chili" (with one 'l') - the other being "Tokin's". Bud Billings provides the multi-layered Trumpet on the Herb Alpert 'Tijuana' vibe to "Hot Chili" while three members of Area Code 615 countrified the hometown "Tokin's" with McCoy's Harp and Bobby Thompson's Banjo.

Side 2 opens strongly with the 2nd 45 single issued by Capitol from the album - a Funky-Blues co-write with Boz Scaggs by Miller on "Going To Mexico". I've always been a sucker for this groovy little tune that features Lee Michaels on Organ and Curley Cooke on Rhythm Guitar while Steve lets rip on some rather excellent lead Guitar. Benefitting from an expert remix from famed Audio Engineer Glyn Johns - "Going To Mexico" was paired on the rarely seen Capitol 2945 7" single in the USA with "Steve Miller's Midnight Tango" - the first of Ben Sidran's compositions on the album (his second was a co-write with Miller on "Going To The Country"). Love it. With Sidran providing cool keyboard tinkles - "Steve Miller’s Midnight Tango" is the kind of SM song that stays with you.

Jon Savage who compiled the superb "1966" double-CD and accompanying book - put together a CD compilation I loved called "Meridian 1970". On it he chose Miller’s sick-of-it anti-war song "Industrial Military Complex Hex" where he wearily sings "...from Sunday to Sunday...all I hear is bad news..." as the mood chugs along feeling like The Who on a melodic song tip. Just as good is the album’s final showings – two more SM originals – the trippy seven-minute guitar and voices of "Jackson-Kent Blues" - another song raging at the 'four shot down by the National Guards' because they didn't agree with Nixon's views on Vietnam. I've always loved it's echoed space guitars and manic voices - like a nation stoned - a nation that doesn't want to be. The album bows out on "Never Kill Another Man" with Lonnie Turner on Fretless Bass and Nicky Hopkins on Piano - both they and Keith Spicher (on Strings) give the ballad a majesty as Miller wishes "...if I can make it through through this life...I'll never kill another man..."

For sure the grittier 'trying times' Side 2 of the "Number 5" LP feels far better than the slightly ditzy Country jigs of Side 1 - but its once again one of those Steve Miller albums that has great moments criminally overlooked with the passage of four and half decades. Time to brings the numbers back into your home...

The 2011 and 2012 STEVE MILLER BAND 'Special Edition' 

CD Reissue Series from Edsel Records of the UK

1. Children Of The Future (April 1968) - released 17 September 2012 on Edsel EDSA 5003 - Barcode 0740155500337

2. Sailor (October 1968) – released 17 September 2012 on Edsel EDSA 5004 - Barcode 740155500733

3. Brave New World (June 1969) - released 17 September 2012 on Edsel EDSA 5005 - Barcode 740155500535

4. Your Saving Grace (November 1969) - released 17 September 2012 on Edsel EDSA 5006 - Barcode 740155500634

5. Number 5 (July 1970) – released 17 September 2012 on Edsel EDSA 5007 – Barcode 740155500733

6. Fly Like An Eagle (July 1976) – released 11 October 2010 on Edsel EDSX 3010 (with Bonus DVD) – Barcode 740155301033 – see REVIEW

7. Book Of Dreams (May 1977) - released 7 February 2011 on Edsel EDSS 1051 – Barcode 740155105136 – see REVIEW

8. Circle Of Love (October 1981) – released 7 February 2011 on Edsel EDSS 1052 – Barcode 740155105235

9. Abracadabra (June 1982) - released 7 March 2011 on Edsel EDSS 1053 – Barcode 740155105334

10. The Steve Miller Band Live! (April 1983) - released 4 April 2011 on Edsel EDSS 1056 – Barcode 740155105631

11. Italian X-Rays (November 1984) - released 7 March 2011 on Edsel EDSS 1054 – Barcode 740155105433

12. Wide River (July 1993) - released 7 March 2011 on Edsel EDSS 1055 – Barcode 740155105532

PPS: Could someone please get to Remastering long-standing holes in the Steve Miller back catalogue - October 1971's "Rock Love", March 1972's "Recall The Beginning...A Journey From Eden" and especially October 1973's "The Joker" – that way fans and the curious would have access to a 'near' complete run in decent Audio... 

"Goats Head Soup" by THE ROLLING STONES (1994 UK Virgin CD Remaster vs. 2009 Polydor CD Remaster - Track Differences) - A Review by Mark Barry...

Above the VIRGIN 1994 'Collector's Edition' CD Remaster with the 'Uncensored' "Star Star" and an Amazon Link

The 2009 Polydor CD Remaster with the 'Censored' "Pussy" lyrics version and an Amazon Link

 

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"...Can We Hear The Music..."

After a four-album run like 1968's "Beggars Banquet", 1969's "Let It Bleed" and their own label meisterworks 1971's "Sticky Fingers" and 1972's double "Exile On Main St." - the single LP "Goats Head Soup" was bound to disappoint. And in 1973 it did. Big time.

But try as I might and despite that truly rubbish 'yellow veils' artwork (and the stupid album title for that matter) - Side 2 of this sucker rarely stayed off my Garrard SP25 turntable for years and years. Like many Stones fans I hold a candle for the mess that is "Goats Head Soup". 

 

But with the Censored and Uncensored versions of "Star Star" on different timeframe Remasters without either announcing that fact - it's had a chequered history on CD and I'd like to sort out what's what. One CD has the original (1994) and the newest version (2009) has the 'doctored' or 'censored' cut. Let's get to the goaties...

1. Dancing With Mr. D [Side 1]
2. 100 Years Ago
3. Coming Down Again
4. Doo Doo Doo Doo Doo (Heartbreaker)
5. Angie
6. Silver Train [Side 2]
7. Hide Your Love
8. Winter
9. Can You Hear The Music
10. Star Star
Tracks 1 to 10 are the album "Goats Head Soup" by THE ROLLING STONES - released 31 August 1973 in both the USA and UK on Rolling Stones COC 59101. Produced by JIMMY MILLER - it also hit the No. 1 spot on both LP charts.

THE ROLLING STONES were:
MICK JAGGER - Lead Vocals, Guitar, Harmonica and Piano
KEITH RICHARD - Lead Guitar, Bass and Vocals
MICK TAYLOR - Lead Guitar, Bass and Vocals
BILL WYMAN - Bass
CHARLIE WATTS - Drums

Guests:
NICKY HOPKINS - Piano on Tracks 1, 3, 5, 8 and 9
BILLY PRESTON - Clavinet on Track 1, 2 and Piano on Track 4
IAN STEWART - Piano on Tracks 6 and 10
BOBBY KEYS - Tenor and Baritone Saxophone
JIM HORN - Flute and Saxophone
CHUCK FINLEY - Trumpet
JIM PRICE - Horns on Track 4
NICKY HARRISON - String Arrangements on Tracks 5 and 8
PASCHAL BEBOP and JIMMY MILLER - Percussion

Outside of endless Japanese SHM-CD and Platinum SHM-CD reissues - for most punters wanting the 'original' album for a reasonable sum of money requires Barcode knowledge. But first let's get to that "Star Star" track that ends Side 2 of this much maligned album. It's about groupies and contains some hard-hitting lyrics running alongside a knockoff Chuck Berry riff. Although its title is "Star Star" - it's clear that Jagger is singing  "You're a Starfucker Starfucker Star!" during every chorus - something the BBC apparently didn't notice when DJs first got the album and needed to play an upbeat 'fast' Stones track. 

So there they were - British DJs on Aunty Beeb blasting it away on morally upright Blighty airwaves (much to the amusement of the public) - when at a launch party for the album (you could only get in if you had a mock vial of drugs sent out by the Promo people) Jagger approached a BBC Radio 1 Controller and congratulated him for having the balls to air such a tune. Drink in hand and puce-faced - the Controller quickly retired and the next day had the song quickly 'banned' from schedules (I heard that story from a BBC insider I bought records off when I was working at Reckless). 

But while that 's' word was iffy to say the least - the lines "...Yeah I heard about your Polaroids...that's what I call obscene...your tricks with fruit is kind of cute...I bet you keep your pussy clean..." went too far for conservative American Radio. They did a 'doctored' cut that sort of hide the offending 'p' word. Talk is that Jagger wanted Atlantic USA (who distributed The Rolling Stones label there) to put out "Star Star" as a 45 - but they wisely went for "Angie" instead and were rewarded with another Stones No. 1 in September 1973. How does "Star Star" affect the CD Remasters and which CD Reissue has what version?

The June 1994 BOB LUDWIG Virgin CD Remaster of "Goat's Head Soup" by THE ROLLING STONES that carries the original un-doctored song came in two forms - Virgin CDV 2375 (Barcode 724383951925) as a standard jewel case - while Virgin CDVX 2375 (Barcode 724383949823) came as a stickered jewel case 'Collector's Edition' with 'Original Album Packaging' housed inside the see-through casing (total playing time 46:57 minutes). I own the CDVX Collector’s Edition. The repro'd artwork is very cool - the gatefold LP sleeve - the 'Goat's Head Soup' Photo Insert and the two-sided Inner Sleeve that came with August 1973 original Vinyl LPs are all there held within the specially constructed jewel case. Be careful because once out of the shrink-wrap these jewel cases get scuffed so easily and getting a Near Mint one is hard work. Remastered by BOB LUDWIG using the UV22 Apogee Process - that 1994 Virgin version used the English tapes and therefore included the proper 'uncensored' version of "Star Star" as originally released by The Rolling Stones. 

But the May 2009 STEPHEN MARCUSSEN Polydor CD Remaster of "Goat's Head Soup" by THE ROLLING STONES on Polydor 0602527015606 (Barcode 602527015606) apparently used the American Tapes and has 'only' the 'censored' version (without saying so) where someone played with the vocals so that the offending 'p' word is sort of muddled out. That 2009 'censored' version of the album (there is only one version on Polydor in a round corner 'super jewel case') has been used ever since. Farcical really when you hear it too. So which version do you buy and which has best Audio?

For me therein lies another problem. You will probably notice that seemingly knowledgeable Audiophile types state categorically that the 1994 CD is better - I say this is knob. It's very good - it is - and it can't be accused of what they claim is Marcussen's 'loudness' on the 2009 version. But I own both and the 2009 Remaster 'sings' compared to the older variant. This 1973 LP was always kind of 'muddy' and needed to be lifted out of that. The Marcussen version is 'loud' - it is - but man what a wallop it packs. Let's get to the album itself...

On key tracks like the beautiful "Winter" and the trippy "Can You Hear The Music?" - the 2009 Remaster truly excels. Stuff like "Dancing With Mr. D" rocks too (a sequel to “Sympathy To The Devil” that isn’t quite as great) and the largely Acoustic "Angie" can only be described as sublime Audio - not something you say about The Rolling Stones on CD very often. Although they didn't issue it as a 45 in the UK - the USA put out "Doo Doo Doo Doo Doo (Heartbreaker)" as an A-side 7" single in February 1974 with "Dancing With Mr. D" on the flip - it went to No. 15. 

The sinking into dark-eyes and rotten-teeth druginess of "Coming Down Again" has Keith taking the Lead Vocals before Mick takes over. But as Richards sings in a pleading ache "...she was dying to survive..." and later "...where are all my friends..." - you can literally feel his own spirit crying out for rescue from what was surely a suicidal and inevitable path towards Heroin. Again the 2009 Remaster on this track is fantastic. The 'case of mistaken identity' song "Heartbreaker" about cops with their trigger-happy forty-fours sounds incredible as does Billy Preston’s piano and that trio of expert brass players. And "Silver Train" rocks too - huge build of slide guitars - Mick Taylor adding so much as he always did – while Mick blows a mean Harmonica and claims he 'did not know her name' but she left with all the money anyway (yikes).

I've always loved "Goats Head Soup" - especially the whole of Side 2. Whether you buy the standard CD version of the 1994 Virgin Remaster (use Barcode 724383951925 to locate that issue) or the 2009 Polydor variant (better to my ears - use Barcode 602527015606 to locate that issue) - in 2016 - both are cheap as chips and just as tasty. "Goat's Head Soup" is overlooked in the Stones cannon of work and shouldn't be. 

"...Can You Hear The Music...Can You Feel The Magic..." - Mick Jagger sang on that trippy Side 2 gem. Yes I can Michael...and better too...

"Todd Rundgren's Utopia/Another Live" by TODD RUNDGREN'S UTOPIA (2012 Edsel 2CD Reissue with 1990 Rhino Remasters) - A Review by Mark Barry...

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"...In A Time Unique...In A Time Devine..."

A clever pairing by Edsel of the UK - Todd's Prog masterpiece "Todd Rundgren's Utopia" from 1974 and "Another Live" - the atmospheric live album that followed in 1975 - a record done in front of an audience (instead of in the studio) which concentrated on mainly new material penned by the same 'Utopia' line-up. 

But as one reviewer has pointed out - there's a mastering error on the "The Ikon" from "Todd Rundgren's Utopia" that's been carried over from the 1990 Rhino Remaster CD onto this Edsel Reissue. But frankly Frank - it lasts five seconds at the most and I can live with it. Here are the Freedom Fighters and Freak Parades...

UK released 27 February 2012 (6 March 2012 in the USA) - "Todd Rundgren's Utopia/Another Live" by TODD RUNDGREN'S UTOPIA on Edsel EDSD 2127 (Barcode 740155212735) is a 'Collector's Edition' that offers straightforward transfers of 2LPs (1974 and 1975) onto 2CDs and plays out as follows:

Disc 1 (59:22 minutes): 

1. Utopia

2. Freak Parade

3. Freedom Fighters

4. The Ikon [Side 2]

Tracks 1 to 4 are the album "Todd Rundgren's Utopia" by TODD RUNDGREN'S UTOPIA - released November 1974 in the USA on Bearsville BS 6954 and November 1974 in the UK on Bearsville K 55501. Produced and Engineered by TODD RUNDGREN - it peaked at No. 34 in the USA (didn't chart in Britain). "Utopia" (aka "Utopia Theme") was recorded live at The Fox Theatre in Atlanta, Georgia in November 1973 - the rest of the album is studio.

The Band:

TODD RUNDGREN - Guitars and Vocals

MOOGY KLINGMAN - Keyboards

(Jean-Yves) M. FROG LABAT - Synthesizers

RALPH SCHUCKETT - Keyboards

JOHN SIEGLER - Bass and Cello

KEVIN ELLMAN - Percussion

Disc 2 (46:09 minutes):

1. Another Life

2. The Wheel

3. The Seven Rays

4. Intro/Mister Triscuits

5. Something's Coming

6. Heavy Metal Kids

7. Do Ya

8. Just One Victory

Tracks 1 to 8 are the album "Another Live" by TODD RUNDGREN'S UTOPIA - released November 1975 in the USA on Bearsville BS 6961 and October 1975 in the UK on Bearsville K 55508. Produced by TODD RUNDGREN - it peaked at No. 66 in the USA (didn't chart in Britain).

The Band:

TODD RUNDGREN - Guitar and Vocals

ROGER POWELL - Moog Synthesiser, Trumpet and Vocals

RALPH SCHUCKETT – Keyboards, Accordion and Vocals

MOOGY KLINGMAN – Keyboards, Harmonica, Glockenspiel and Vocals

JOHN SIEGLER - Bass

JOHN WILCOX - Drums

DAVID LASLEY, ARNOLD McCULLER and PHILLIP BALLOU - Backing Vocals

The 20-page booklet is a fabulous thing to look at – original artwork, press clippings, band photos, trade adverts, live shots, lyrics, concert posters – and all of it washed down with new liner notes from Rundgren expert PAUL MYERS – Author of "A Wizard A True Star: Todd Rundgren In The Studio". Although its credited at a PHIL KINRADE master (at Alchemy) - Edsel have used and licensed the Rhino 1990 Remasters complete as we've already said with a mastering error on "The Ikon" between 16:15 and 16:20 minutes where the music pours into the right speaker for five seconds in a very bad panning mistake. Personally I can live with it - but I can wholly understand the rage of fans that could have expected Edsel to notice this and perhaps correct it. As the February 2016 "Bearsville Albums Collection" Box Set for Todd Rundgren 'doesn't' include Utopia material - original Rhino and Edsel reissues appear to be the only place you can get the "Todd Rundgren's Utopia" album digitally. There are no Audio issues with the "Another Live" set. To the music... 

When I bought "Todd Rundgren's Utopia" in November 1974 on Vinyl – I was already steeped in ELP, Yes, Genesis, Camel, Van Der Graaf Generator, East Of Eden, Greenslade and god knows what all from the preceding five years. Its long tracks didn’t make my musical resolve buckle - in fact I found it utterly mesmerising. I loved everything about the LP - the cover art - the virtuoso playing – the hippy-babble lyrics that talked of inner exploration - never mind the sheer deluge of musical ideas and themes going on in Side Two’s 30-minute opus "The Ikon". Along with "The Lamb Lies Down On Broadway", Greenslade's "Spyglass Guest" and "Relayer" by Yes (all 1974) - Rundgren's first "Utopia" LP represented the height of Progressive Rock for me (and the end of its golden era too). It still feels that way.

It opens with "Utopia" (co-written with Dave Mason) – a difficult 13-minute guitar driven Progster recorded live in Atlanta, Georgia at The Fox Theatre – a full year prior to the album's release. The three/four minute Todd Rundgren "I Saw The Light” pop songs of old had gone for good - and in their place had come 'exploratory' pieces – many of enormous length and complexity and primarily based around his guitar and a bank of four uber-fluent keyboard players - Moogy Klingman, Ralph Schuckett, M. Frog Labat and Roger Powell (Powell would join him for the live set and all Utopia albums afterwards). Given that it was not the norm – huge guitar passages that had more to do with Zappa than the Brill Building - the crowd’s roar of approval reaction at the end of "Utopia" with it's "City In My Head" lyrics is celebratory – like they’d heard the beginnings of something new and exciting. As the crowd applause fades at the beginning of "Freak Parade" we segue into a brilliant funky keyboard riff that's very Stevie Wonder but soon settles into a drunk Bluesy guitar thing. It's 10:18-minutes chops and changes from slow to Rock to Funky and are utterly brilliant. The four-minute riffage of "Freedom Fighters" is the nearest the album comes to what could have been a single - but it's "Soldier Of The Mind" lyrics and manic pace and wall-of-sound production keep it firmly in the 'we don't play this Progressive stuff on the radio' category.

But then comes the monster - the 30-minute Side 2 magnum - "The Ikon". Because they owned the studio - they spent months preparing the multiple segments before recording and editing the lot. There are fast parts - slow parts - trippy parts - freak-out passages - finally ending in an instrument-builder passage like Mike Oldfield's "Tubular Bells" did. I can't be rational about - as a Progressive Rock piece its without peer - think "The Gates Of Delirium" from "Relayer" only 10 minutes longer and musically more imaginative. According to the liner notes there's another 30 or 40 minutes of it that couldn't be fitted onto an almost 60-minute vinyl LP (unheard of at the time).  I once inflicted this 30-minute density on The Grove in Clontarf before the dancing proper started (forgive me Cecil)...

After the hard work of "Todd Rundgren's Utopia" - the "Another Live" set comes as a clever musical counterpoint. Mostly all new material recorded 'live' instead of in the studio to give it that 'oomph' – but as far as I'm concerned it only partially worked. This is one of those infuriating live records that could have been a masterpiece but doesn't get there. But man-oh-man that good stuff. "Another Live" has moments of undoubted brilliance like "The Wheel" and stunning emotional finisher "Just One Victory" and even features a cool cover of The Move’s “Do Ya”.

The album opens with the trippy Brass Funk of "Another Life" complete with backing Singers and Roger Powell giving some Herb Alpert on the Trumpet as Todd sings of "...certain things affect me certain ways..." But that's soundly trumped by the beautiful melody in "The Wheel". As the crowd are settling and shouting from the excitement of the previous Prog Rocker - Rundgren is impervious to their demands and opens with an Acoustic Guitar. The gorgeous lullaby is soon joined by Moogy Klingman giving it some Fred Neil Harmonica while Powell adds Trumpet and Schuckett does a fairground Accordion refrain as the 'Ferris Wheel' lyrics eventually have the crowd clapping - Rundgren going Acapella for the final passage to huge applause. Although "Seven Rays" is good - you wish it had been a studio recording because somehow this live version lacks something despite its jaunty disposition.

We enter Mahavishnu Orchestra Fusion with the wild keyboard soloing of "Intro/Mister Triscuits" that is both brilliant and dreadfully self-indulgent at one and the same time.  This bizarrely but effectively segues into Leonard Bernstein's "Something's Coming" from "West Side Story" which I feel is a cover to far no matter how much fun it must have been to arrange and play. We return to 1974's "Todd" double album for the hard-hitting "Heavy Metal Kids" which features a wild guitar solo and they then do an excellent cover of Jeff Lynne's "Do Ya" (the B-side of "California Man" from 1972 by The Move). But the whole record is redeemed by a fabulous live version of that "A Wizard, A True Star" classic "Just One Victory" where the layered vocals are so well done. The crowd feels it all the way as he sings "...we've been praying for it all day...give us just one victory...and we're on our way..."

To sum up - a clever pairing of albums even if it is a mixed batch of genius, knob and self-indulgence. And sloppy mastering error or no - I love it.

As the pre-amble liner notes to "The Ikon" on the back cover of the "Todd Rundgren's Utopia" LP says - "...men discover themselves to be mankind and joyfully begin to adjust their thinking along these lines..." 

Amen to that baby...

"Sunday's Child" by JOHN MARTYN - January 1975 UK LP on Island Records (2005 UK Island Masters 'Expanded Edition' CD Remaster) - A Review by Mark Barry of his 1975 LP on Island Records...

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"...I Believe You Can Make Me Feel Better..." 

In a 10-year period between 1967 and 1977 - John Martyn (onew of the UK's finest Folk-Soul troubadours) made so many albums that it was all too easy to 'not notice' the rough diamonds amongst the polished paste.

Most music fans will be aware of his acknowledged masterpieces - 1973's "Solid Air" and 1977's "One World" – but they miss out on the truly lovely Folk simplicity of his October 1967 Mono debut "London Conversation" (see review) and the gorgeous Nick Drake vibe that flows off his equally forgotten November 1971 album "Bless The Weather". But there’s also "Sunday's Child" - his unfairly ignored LP from early 1975. Featuring some of his loveliest songs - "You Can Discover", "Lay It All Down" and a spine-tingling rendition of an English Traditional "Spencer The Rover" - sat alongside Jazzier pieces like "Call Me Crazy" and the straight-up Pop of "Clutches" – the whole record is a wonderful fusion of trippy Acoustic warmth, Funky-Rock and Echoplex Folk-Soul. There is only one bum note for me (a misplaced Rock song called "Root Love") – but apart from that – it’s another gem from JM...

Recorded in August 1974 at Island's Studios in Hammersmith and released January 1975 - few people outside of diehard fans seemed to heed its release. It was his sixth studio LP (not counting his own privately pressed live album "Live At Leeds") for the ever patient Island Records but the public just weren’t buying in sufficient numbers to make a real break through. Hell even something as obviously brilliant and tuneful as the "One World" LP that hit the UK shop racks in November 1977 would have to wait until February 1978 to chart - and even then it was for only one week at No. 54. 

Martyn toured and promoted the "Sunday's Child" album extensively - joined on stage most nights by his Double Bass playing rhythm section and integral piece of his sound - Danny Thompson. Even Paul Kossoff of Free legendarily pulled out his axe on occasion on that tour (struggling as he was with drug addiction even then). Musically "Sunday's Child" saw Iain David McGeachy in a really good place - married with a daughter and another child on the way (his son would be born after the album’s release in May 1975) - his contented family vibe oozing off tracks like the gorgeous "Lay It On Down" (lyrics from it title this review) and "You Can Discover". 

Time to get to the CD Reissue details...

UK released November 2005 - "Sunday's Child" by JOHN MARTYN on Island Masters IMCD 323 (Barcode 602498307359) is an 'Expanded Edition' CD Remaster that offers the 11-track 1975 LP bolstered up with 7 Previously Unreleased Bonus Tracks and plays out as follows (63:16 minutes):

1. One Day Without You
2. Lay It On Down
3. Root Love
4. My Baby Girl
5. Sunday's Child
6. Spencer The Rover
7. Clutches [Side 2]
8. The Message
9. Satisfied Mind
10. You Can Discover
11. Call Me Crazy
Tracks 1 to 11 are his 8th studio album "Sunday's Child" - released January 1975 in the UK and USA on Island Records ILPS 9296 (same catalogue number for both countries - it didn't chart in either). Produced by JOHN MARTYN - all songs written by JM except "Spencer The Rover" and "Satisfied Mind" which are Traditional Song cover versions.

BONUS TRACKS (all PREVIOUSLY UNRELEASED):
12. Ellie Rhee - recorded 26 August 1974 at Island Studios in Hammersmith, London
13. Satisfied Mind (First Mix) - recorded 25 August 1974 at Island Studios in Hammersmith, London
14. One Day Without You
15. You Can Discover
16. My Baby Girl
17. The Message
18. Spencer The Rover - Tracks 14 to 18 recorded 7 January 1975 for a BBC Radio 1 'John Peel Session'

Musicians:
JOHN MARTYN - Guitar, Moog, Clavinet and Lead Vocals (Duet Vocals with Beverly Martyn on "My Baby Girl")
JOHN "Rabbit" BUNDRICK - Piano, Kesh Sathie and Tablas
DANNY THOMPSON - Double Bass
AL ANDERSON - Electric Bass on "One Day Without You"
TERRY WILSON - Electric Bass on "Clutches"
LIAM GENOCKEY - Drums
TONY BRAUNAGEL - Drums on "Clutches"

Compiled for CD by Mark Powell of Esoteric Recordings - the 12-page colour booklet has new liner notes from noted Martyn expert JOHN HILLARBY. They go into a brief history of his career with Island Records (who stuck with him to 1986) - the before, during and after of the album and his sad demise in 2009 - as beloved as ever by fans and those within the music business. There are photos of Martyn in various live poses (usually with his Acoustic Guitar) and a fabulous new PASCHAL BYRNE Remaster that makes everything sing. This is a beautiful sounding CD...and one that comes with genuinely excellent and exciting Bonus Tracks too.

The album opens on a great one-two sucker punch of winning melodies - "One Day Without You" and the immensely touching "Lay It All Down". John Martyn's style at this time had been honed right from 1971 through to "Solid Air" in 1973 - a sort of half Folk-half Jazz feel - all Acoustic Guitars heavily strummed while a funky rhythm section headed up by Upright Bass genius Danny Thompson. I love these songs (especially "Lay It All Down" where he sex-slurs that deep voice of his into a sensual drawl that would make audience knicker-elastic melt at ten paces. 

But then he does what he did on too many albums - he throws in something way too harsh and out of step with the other songs. In this case it's the brash and cynical Hard Rock of "Root Love" - a poor riffage tune that I can't abide even now - 41 years after the event. Side One thankfully gets rescued by a trio of sweethearts - a ballad to their daughter Mhairi (who was born February 1971 and is pictured on the rear sleeve of the original vinyl LP), the sexy Funk of "Sunday's Child" and the gorgeous Traditional acoustic amble of "Spencer The Rover" - a song he wrestled out of Robin Dransfield in the mid Sixties at the Glasgow Folk Centre when he accosted the Guitarist post gig and forced him to teach a 16-year old Martyn the song.

Side 2 opens with the Little Feat boogie funk of "Clutches" - and again - even though it's good - it feels slightly out of place on a largely mellow album. Back to business with "The Message" that incorporates the Traditional Folk ditty "Marie's Wedding" into its lovely rhythms and lyrics. Written by Joe 'Red Hayes and Jack Rhoads - Country superstar Porter Wagoner had a hit in 1955 on RCA Victor with "Satisfied Mind" - here Martyn slows it down into a creeping Blues song - a troubled mind longing for peace (a bit like himself I'm guessing). The Byrds, Dylan and Tim Hardin have covered “Satisfied Mind” amongst many others.

Fans adore "You Can Discover" - a great Martyn groove that turns up on Best Of's and Anthologies - and surely one of the LPs real highlights (the Remaster has brought out Bundrick's piano playing). It ends well. Just when you think you know the measure of the seven and half minute "Call Me Crazy" (Funk Rock) - about 4:20 minutes in - it suddenly grinds to an almost halt and you get an Acoustic three minutes of astonishing beauty. Plucked guitar strings rattle and shimmy - his Acoustic Guitar plugged into an echo chamber while Danny Thompson runs up and down the frets of his Double Bass caressing sliding refrains. It's like a precursor to the beautiful "Small Hours" eight-minute Echoplex and workout on "One World". Fabulous stuff...

Fans will flip for the truly gorgeous "Ellie Rhee" - an entirely Acoustic Folk song dating from the American Civil War with a properly lovely feel and melody. Hillarby reproduces its lyrics in the booklet on Page 10 and it should have replaced the awful "Root Love" on Side 1 in my books. The 'First Mix' of "Satisfied Mind" is superb too but I can hear why the released version was instead. The excellence continues with five recorded for John Peel's Radio 1 show in January 1975. Good news on all fronts - the Audio is shockingly good even if there is a little wobble here and there (especially on "The Message") and the performances (largely Acoustic) are thrilling. He slays "One Day Without You" as he plucks and slaps his Guitar's scratch plate. An equally pretty "You Can Discover" follows but an overloaded tape distortion does for a beautiful version of "Spencer The Rover" - a song that often made me cry and leaves you wondering how come no-one noticed this quality back in the day?

Would it have been different if he'd included "Ellie Rhee" and dropped the 'too heavy' "Root Love" - a song that confused listeners and killed the mood before it had a chance to blossom. Whatever way you look at it I've always felt "Sunday's Child" was a couple of whippets short of a Folk-Soul masterpiece and this wickedly good (and dirt cheap) CD only hammers that home.

"...As valiant a man as ever left home..." he sang on the beautiful "Spencer The Rover". Gorgeous and then some...be with the angels you songsmith hero...

"A Stranger In My Own Back Yard" by GILBERT O'SULLIVAN (2012 Salvo 'Expanded Edition' CD Remaster) - A Review by Mark Barry of his 4th LP from 1974 on Mam Records...

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"...You've Got To Be Honest..."

"A Stranger In My Own Backyard" is the 4th release in a full-on reissue campaign by Salvo Records of the UK for Irish singer-songwriter (Raymond) Gilbert O'Sullivan. 

His UK debut album "Himself" from 1971 was relaunched in November 2011, his second "Back To Front" from 1972 in February 2012 and his third from 1973 "I'm A Writer, Not A Fighter" in April 2012 (all are reviewed separately). With fantastic new sound, copious bonus tracks, quality packaging and a none-too steep price-tag - legions of his fans worldwide will be thrilled to see that his MAM Records catalogue is finally receiving a thorough going-over (and like the others - this release is artist-approved too). But in this case - I just wish the material matched the packaging. Here are the Back Yard details...

UK released Monday 4 June 2012 (12 June 2012 in the USA) - "A Stranger In My Own Back Yard" by GILBERT O'SULLIVAN on Salvo SALVOXCD004 (Barcode 698458050427) is an 'Expanded Edition' CD Remaster and plays out as follows (62: 02 minutes):

1. Number 4

2. A Woman's Place 

3. No More

4. It's So Easy To Be Sad 

5. My Father 

6. The Marriage Machine 

7. If You Ever 

8. The Thing Is 

9. Just Like Me [Side 2]

10. Victor E

11. I Wonder Would You Mind 

12. 15 Times

13. Nothing To Do About Much 

14. Can't Get You To Love Me 

15. Always Somebody 

Tracks 1 to 15 are his fourth studio album "A Stranger In My Own Back Yard" - released October 1974 in the UK on Mam Records MAM-SS 506 and on Mam Records MAM 10 in the USA. It peaked at 9 on the album charts in the UK - but didn't reach the top 200 in the USA.

Tracks 16 and 17 are "Happiness Is Me And You" and "Breakfast Dinner And Tea" - the A & B-sides of a non-album 7" single released February 1974 in the UK on Mam Records MAM 114 (it reached Number 19 on the single charts).

Track 18 is "Too Bad" - the non-album B-side of "A Woman's Place" - the first single lifted off the album. "A Woman's Place" was issued August 1974 in the UK on Mam Records MAM 122 and charted at Number 42.

Track 19 is "To Cut A Long Story Short" - the non-album B-side of "Christmas Song" - a 7" single released December 1974 in the UK on Mam Records MAM 124 (it peaked at Number 12). The A-side is missing and isn't on other CD reissues (an error no doubt).

Tracks 20 and 21 are "You Are You" and "Tell Me Why" - the A & B-sides of a non-album 7" single released January 1975 in the UK on Mam Records MAM 126 (it didn't chart).

Track 22 is "That's A Fact" - the non-album B-side to "I Don't Love You But I Think I Like You" - released May 1975 in the UK on Mam Records MAM 130 (it peaked at 14 on the charts). Again the non-album A-side is a no show and isn't on other CDs?

The original UK and US LP artwork by David Larkham was an elaborate affair - a cut-corners gatefold sleeve with 4 book-like leaves inside (he'd been responsible for the lavish LP covers of "Madman Across The Water", "Goodbye Yellow Brick Road" and "Captain Fantastic" for Elton John). All of it is repro'd either on the card digipak or in the beautifully laid-out 20-page colour booklet. The inlay features lyrics for all tracks (including the bonuses), photos of rare 7" foreign picture sleeves from all over the world, Japanese trade adverts, fanzine covers, snaps from the recording sessions. There are reminiscences on the album by Gilbert and thoughts on the disastrous US tour of late 1973 - and a paragraph-by-paragraph critique on each song by Chris Ingham (author of a "A Rough Guide To The Beatles"). There's even a 'Gilbert O'Sullivan - A Singer And His Songs' logo sticker on the front of the card digipak which accompanies all of these expanded reissues. A minor niggle would be that the Amazon photo seems to indicate that the card repro matches the cut-corner look of the original LP design - it doesn't - and neither does the booklet on the inside.

But the really big news for fans here is the AUDIO... Remastered from original master tapes - the sound quality is a vast improvement on what went before (compilations and expensive Japanese imports). Right from the off both the Intro "Number 4" and its follow up track "A Woman's Place" sound amazing. Unfortunately that's where the good news ends as far as the album is concerned. "A Woman's Place" is a cloying awful piece of pap that grated at the time too ("...a woman's place is in the home...") for God's sake. I'd argue that it single-handedly turned whole swaths of people off him and gave his begrudgers ammunition to dismiss his genuine song-writing capabilities. The arrangements on "It's Easy To Be Sad" are lovely while "My Father" harks back to the melodies and sound of the superb "Himself" debut album. And the "Get Down" boogie of "The Thing Is" should have been a single while "Just Like Me" shows sophistication in the arrangements. But there's the terribly preachy "Marriage Machine" and the mock jaunty "15 Times". The schooldays "I Wonder Would You Mind" is OK but too many tracks like "Nothing To Do About Much" and the terribly-worded album-finisher "Always Somebody" are cheesy and sounded dated on release - never mind 35 years later.

While the extras will finally allow fans to sequence rare 7" single releases on CD for the first time - another real downside here is the sloppy exclusion of the two 45s "Christmas Song" and "I Don't Love You But I Like You" (both of which charted). Having said that the bonuses have surprises like the b-sides "Too Bad" and "Tell Me Why" (lyrics above) - both as good as anything he'd done on the "Back To Front" and "I'm A Writer..." albums.

He followed 1974's "Stranger" with the equally forgotten "Southpaw" in 1977 - and wouldn't chart again with a proper album until he signed to CBS in 1980 and delivered the truly cringing "What's In A Kiss".

To sum up - while Salvo is to be praised for handling Gilbert's reissues so well - I just wish I could recommend this particular one.

What we have here is two to three-star material - and as much as I love the guy - I'd urge you get a listen in before you buy...

PS: Salvo of the UK have also done his 1971 debut LP "Himself", his 2nd LP "Back To Front" from 1972, his 3rd album "I'm A Writer, Not A Fighter" from 1973 and beyond into the CBS years of the 80ts. All are ‘Expanded’ Edition CD Remasters with Bonus Tracks and Repro Packaging (see detailed reviews for "Himself", "Back To Front" and "I'm A Writer, Not A Fighter").

"Katy Lied" by STEELY DAN (1999 MCA 'Walter Becker and Donald Fagen' CD Remaster) - A Review by Mark Barry...

"...It's Chain Lighting...And It Feels So Good..." 

I suppose its fitting to be reviewing this most American of Rock Bands on 'Independence Day' the 4th of July - a mere 41 years and 3 months after the LP's release. But then any excuse for me to rave about STEELY DAN is fair game.

The 1972 debut album "Can't Buy A Thrill" and 1977's glorious "Aja" are always cited as high points in their extraordinary career - but what about those 'overlooked' nuggets like 1973's masterful "Countdown To Ecstasy" and this -1975's "Katy Lied". 

Re-listening to it in July 2016 and you're struck by the sheer class of every song (and not just a few) - let alone just how beautiful the Remastered CD has turned out. No 'Bad Sneakers' here. Let's get to the chain lightning and the daddy who doesn’t live in New York City anymore...

UK released 28 June 1999 (11 May 1999 in the USA) - "Katy Lied" by STEELY DAN on MCA 111 916-2 (Barcode 008811191627) is a straightforward CD Remaster of the 10-track 1975 ABC Records LP and plays out as follows (35:25 minutes):

1. Black Friday

2. Bad Sneakers

3. Rose Darling

4. Daddy Don't Live In That New York City No More

5. Doctor Wu

6. Everyone's Gone To The Movies [Side 2]

7. Your Gold Teeth II

8. Chain Lightning

9. Any World (That I'm Welcome To)

10. Throw Back The Little Ones

Tracks 1 to 10 are their 4th studio album "Katy Lied" - released April 1975 in the USA on ABC Records ABCD-846 and in the UK on ABC Records ABCL 5094. Produced by GARY KATZ, Engineered by ROGER NICHOLS with all songs written by DONALD FAGEN and WALTER BECKER - it peaked at No. 13 in both the US and UK LP charts.

Personnel:

DONALD FAGEN - Lead and Backing Vocals and Various Keyboards

WALTER BECKER - Bass

DENNY DIAS, WALTER BECKER, RICK DERRINGER, DEAN PARKS, ELLIOT RANDALL HUGH McCRACKEN and LARRY CARLTON - Guitars

DAVID PAICH (of Toto) and MICHAEL OMARTIAN - Keyboards

PHIL WOODS - Alto Saxophone Solo on "Doctor Wu"

WILTON FELDER and CHUCK RAINEY - Bass

JEFF PORCARO (of Toto) - Drums and Dorophone

HAL BLAINE - Drums on "Any World (That I'm Welcome To)”

VICTOR FELDMAN - Percussion and Vibes

MICHAEL McDONALD - Backing Vocals on "Bad Sneakers" and "Everyone's Gone To The Movies"

SHERLIE MATTHEWS, CAROLYN WILLIS and MYRNA MATTHEWS - Backing Vocals

JIMMIE HASKELL – Arranged the Horns on "Throw Back The Little Ones"

The 12-page foldout inlay (with the Dorothy White 'Preying Mantis' photo artwork) provides the recording info that was on the back cover of the original vinyl album along with the lyrics that graced the inner sleeve. But the real hoot is the very, very funny liner notes by Becker and Fagan that reminisce in their own sarcastic but articulate way about the making of the album, the "Pretzel Logic" tour they'd just left (broke and tired) and the dissolution of Steely Dan as a band - now reduced to only Becker, Fagan and Diaz from the group who would then bring in a huge array of top quality sessionmen for the rest of their albums. 

They made smart decisions too. I can remember looking at the black and white photos on the rear sleeve and thinking who are 'Michael McDonald' and 'Jeff Porcaro' - and that's what those Gary Katz (Producer) and "The Immortal" Roger Nichols (Engineer) geezers look like. McDonald hadn’t joined The Doobie Brothers yet to produce their changeover album "Takin' It To The Streets" in 1976 - but how clued-in of Becker and Fagen to know what his vocal brilliance would bring to everything he graced (he's on "The Royal Scam", "Aja" and "Gaucho" too). 

The AUDIO on this Becker/Fagen CD Remaster is fabulous - subtle yet powerful - every track sparkling like a newly discovered diamond. In fact this may be the best of all the 70ts LPs in terms of Audiophile. 

“Katy Lied” opens with the truly fantastic guitar-blitz of "Black Friday" - a vicious little chugger. It doesn't say who is ripping out those angry guitar solos (the liner notes didn't say either) but it sounds like Rick Derringer who tore up the slide on "Show Biz Kids" on 1973's "Countdown To Ecstasy". There's also a keyboard funky break towards the end of the song that I swear I've never heard before. Although the musician credits don't say so - I 'd swear that's Michael McDonald on the 'going insane' backing vocals for the wicked "Bad Sneakers" - and is that Elliot Randall doing the sweet guitar solo. I should mention the remaster on this track - I've the Japan SHM-CD version and this 1999 version - they both absolute rock as regards to audiophile audio. "...I would guess she's in Detroit with lots of money in the bank...although I could be wrong..." Donald Fagen advises us on the shockingly upbeat piano-bop of "Rose Darling" - and once again here in glorious audio. The last two contrasting tracks on Side 1 only confirm the album's brilliance - the slick Guitar-Funk of "Daddy Don't Live In That New York City No More" and the beautifully constructed yet melodious "Doctor Wu" - those beautiful keyboards changes as he sings "...Katy tried...I was halfway crucified...I was on the other side of no tomorrow..."

For such pervy subject matter (Mr. LaPage in his film den with his projection machine) - "Everyone's Gone To The Movies" is a happy vibe with that great catchy-as-a-cold chorus. As a song title "Your Gold Teeth" first turned up two albums back on 1973's "Countdown To Ecstasy" - here we get "Your Gold Teeth II" which opens with Crusaders-type keyboard Jazz-Funk before settling into that cool piano riff. It's properly gorgeous stuff - so accomplished as a song and again the audio makes it glisten. "...Don't question the little man...be part of the neighbourhood...yes it's chain lightning...it feels so good..." - the voices croon on the Funky "Chain Lightning" - a song that convinces many Dance Kids that Steely Dan the Rock Band had Soul in their grooves. "Any World (That I'm Welcome To)" is the quiet one on the record - Fagan's impassioned lead, a brilliant melody, hurting yet real lyrics, guitar solos and the warmth of Michael McDonald's backing vocals - all of it combine to create that effortless classiness they had. Their 4th LP ends on "Throw Back The Little Ones" - another song that takes many listens - but once it's in your noggin - it counts as another audio winner.

How many of us fans devoured the liner notes on the back cover - going on about '36-input this' and '24-channel that'. And then wondered what in God's name Walter Becker and Donald Fagen were rabbiting on about with techno gobbledygook like "...for best results observe the R.I.A.A. curve..." Why sure thing boys (you deadpan perfectionist nutjobs). 
I suppose this is what you get when you name your band after a steam-powered dildo in a William Rice Burroughs book – out there, steaming ahead and always up for it.

They would 'get along to Kid Charlemagne' for the next LP (1976's "The Royal Scam"). 

But my heart has always been with this 'Rose Darling' of an LP. 

"Katy Lied" is absolute freaking genius and then some...