"Friend's Friend's Friend" by AUDIENCE (2015 Esoteric Recordings 'Expanded Edition' CD Reissue - Ben Wiseman Remaster) - A Review by Mark Barry...

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"...Sweetly Scented Smoke..." 

There are some who hold the view that Audience's 2nd platter on that pretty-looking Pink Scroll Famous Charisma Records label is a bit of an unsung Proggy meisterwork – I'd say that's only partially true. But if you like your Jethro Tull flute, your Roxy Music Saxophone, your Van Der Graaf Generator squalling Moog and all of it sung by a man with a ten-inch noose around his jugular (Werth's voice is a high end acquired taste) – then the quirkily titled "Friend's Friend's Friend" by AUDIENCE is the dirty baby for you. Others might want to taste the bathwater first – or steer clear and wash somewhere else entirely.

Having said that - this is actually one of those CD reissues that pushes up a very dated 3-star Prog LP (from the spring of 1970) into 4-star territory by a combo of all the right things – superb new audio – quality presentation by a company that gives a damn – and Previously Unreleased extras that enhance rather than test your patience (almost the entire album remixed by Elton John's Gus Dudgeon in February 1971 and an impossible-to-find non-album B-side).

In my book Esoteric Recordings CD Reissues are always a sign of quality – a British company that gives vent once again to lost musical stuff that deserves a second go-round. And Audience’s second album deserves just that. Here are the Belladonna Moonshines and the Ebony Variations...

UK released 29 June 2015 (14 July 2015 in the USA) – "Friend's Friend's Friend" by AUDIENCE on Esoteric Recordings ECLEC 2499 (Barcode 5013929459946) is an 'Expanded Edition' CD Remaster with Seven Bonus Tracks and breaks down as follows (73:42 minutes):

1. Nothing To Do

2. Belladonna Moonshine

3. It Brings A Tear

4. The Raid

5. Right On Their Side [Side 2]

6. Ebony Variations

7. Priestess

8. Friend's Friend's Friend

Tracks 1 to 8 are their 2nd studio album "Friend's Friend's Friend" – released May 1970 in the UK on Charisma Recordings CAS 1012 (no USA issue). Produced by AUDIENCE - Tracks 1, 2, 3, 5 and 8 are written by Werth and Williams, Tracks 4 and 7 are written by Gemmell and Connor with Track 6 written by all four – Gemmell, Connor, Werth and Williams

BONUS TRACKS:

9. The Big Spell – Non-album B-side to "Belladonna Moonshine" – a UK 7" single released 26 June 1970 on Charisma CB 126

10. Nothing To Do (1971 Remix)

11. Belladonna Moonshine (1971 Remix)

12. It Brings A Tear (1971 Remix)

13. The Raid (1971 Remix)

14. Ebony Variations (1971 Remix)

15. Priestess (1971 Remix)

AUDIENCE was:

HOWARD WERTH - Lead Vocals, Acoustic Guitar and Banjo

KEITH GEMMELL – Saxophones and All Woodwind

TREVOR WILLIAMS – Bass Guitar and Vocals

TONY CONNOR – Drums, Percussion and Piano

Recorded at Morgan and Olympic Studios in London and self-produced - the wonderful gatefold album artwork designed by the band and CCS Advertising is more 60ts Psych than 70ts Prog. At least the 16-page booklet repro’s all of it – the front and rear gatefold – the lyrics on the inner spread and also comes with March 2015 liner notes by noted freelance writer and reviewer SID SMITH that features new interviews with Howard Werth. The hard-to-find "Belladonna Moonshine" British 45 on Pink Charisma CB 126 is pictured on Page 13 alongside an even rarer Euro Picture Sleeve for the single - and there's two live photos of the boys with Acoustic Guitar and Flute. Smith's liner notes go into the history of the band and are finished off with the usual re-issue credits.

But the big news for fans (as it is with all the other issues) is a 24-bit remaster from original Charisma master tapes by Sound Engineer BEN WISEMAN who has done loads of great work for a large number of reissue labels. The audio is wonderful – giving truly lovely clarity to those classical acoustic guitar passages and the Move/Roy Wood/Tull soundscapes on tracks like "It Brings A Tear" and the near 9-minuteProg Romp that is "The Raid". This remaster is superb.

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It opens with "Nothing To Do" and the audio on the Drums and Bass is fantastically clear. Once you've navigated past Howard Werth's strangulated nasal whine – you begin to hear the clever musical breaks - that woodbine background - their very Prog sound that's anchored by a gentle acoustic guitar - like Duncan Browne fronting Focus. You can so hear why someone thought the jolly sing-a-long Lindisfarne vibe to "Belladonna Moonshine" would make for an acceptable single - a tale of Jeremiah's home-brewed paint-stripper setting the strings of his guitar on fire and the crowd loving every drunken minute (St. Peter at the Gates has promised not to touch the stuff either). "It Brings A Tear" could be the beginning of an eleven-minute Genesis track - an acoustic guitar and flute intro soon crashes into life - a song about a favourite toy as a child - our singer was happy then - until he decided to write the Viking tale of maurading in "The Raid". Complete with Nordic references and Werth sing 'ha ha' which he rhymes with 'war' - it's hard to take now - but it has a redeeming final two thirds - a wild saxophone whig out is followed by strummed acoustic guitar as the sax solos and echoes. It's so early Roxy Music and a clever way to end the last three minutes of the song.

Side 2 opens with "Right On Their Side" - a five-minute 'palace in the hills' tune of ye olde knights wielding swords in the name of the Lord. With Werth sounding not unlike Ozzy Osbourne - the acoustic breaks and saxophone duelling with vocals are very good and lead well into the England’s green and pleasant land instrumental "Ebony Variations". More dodgy worship comes in the shape of the murderess "Priestess" - a tedious tale of crowd's eager to witness torture - which is only saved by an Acoustic Guitar/Flute passage as the song limps to its six-minute finish. It ends on the short acoustic title track where Werth sounds like the child-catcher in Chitty Chitty Bang Bang singing for his cage (oh dear). Lyrics from it title this review. The B-side is surprisingly good - but the February 1971 remixes from Gus Dudgeon will thrill fans - extra oomph given to those acoustic guitars and saxophone flourishes like hearing six-eights of the album in a better version.

"The House On The Hill" - Audience's 3rd album for the eclectic Charisma label in April 1971 - would finally realise that 'Beautiful Rock' sound they made. Their 4th and last studio album  "Lunch" followed in July 1972 showing even more maturity. Along with their uber-rare debut LP on Polydor Records in 1969 – Esoteric Recordings (part of Cherry Red of the UK) have reissued all of their albums in 2015 onto Expanded Edition CDs (see the list of 4 titles below).

Audience’s music is never going to be everyone’s favourite tipple if I'm honest (none of their albums charted in the UK) - but there's beauty and Rock wonder on here – and more than once or twice too. A top job done by Esoteric Recordings and an absolute must-buy for fans...

AUDIENCE Expanded CD Remasters on Esoteric Recordings

1. Audience (1969 debut LP on Polydor 583 065)

29 June 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2494 (Barcode 5013929459441)

2. Friend’s Friend’s Friend (May 1970 2nd LP on Charisma CAS 1012)

29 June 2015 Expanded CD Remaster with 7 Bonus Tracks on Esoteric Records ECLEC 2499 (Barcode 5013929459946)

3. The House On The Hill (April 1971 3rd LP on Charisma CAS 1032)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243)

4. Lunch (July 1972 4th and final studio LP on Charisma CAS 1054)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342)

"Blood On The Tracks" by BOB DYLAN (2012 Mobile Fidelity Sound Lab Audiophile CD Reissue - ULTRADISC UHR GAIN 2 Remaster in Repro Artwork) - A Review by Mark Barry...

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BLOW BY BLOW - 1975

Your All-Genres Guide To

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All Reviews From The Discs Themselves 

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"…In The Tall Grass…In The Ones I Love…"

The undisputed singer-songwriter champ/people's poet of the Sixties was all but commercially washed up by 1974. Neither the weedy "Dylan" from 1973 nor "Planet Waves" from 1974 were good as whole albums - with that old melody/lyrical magic only sporadically evident on songs like "Spanish Is The Loving Tongue" and "Knocking On Heaven's Door". A pointless live double "Before The Flood" with The Band followed in July of 1974 and smacked of contract filler damaging his reputation further. But come early the following year - all that lost faith was about to change...

Fast forward to April 1975 - and I'm scouring the singles boxes in Dublin's cool and trendy Dandelion Market (a sort of indoor Camden Town). Dealers would collect ex chart singles that were a few weeks past their sell-by-date from the city's abundant record shops and flog them for 50p or less. New and in their label bags - you'd pick up deals and take chances on new names. So I'm flicking through the Dawn and Bell label bubble gum pop when I spot "Tangled Up In Blue" by Bob Dylan on its Orange and Yellow CBS Records label (3160). I paid my 50p, took it home and hoped for the best when I put the needle down. My jaw promptly fell to the kitchen lino...and in many unhygienic ways...its been there ever since...

There can't be too many Dylan nuts who don't worship at the feet of CBS Records S 69097 and Columbia PC 33235 released January 1975 in the States and February 1975 in the UK. Charted at 4 in Blighty but going all the way to the top in America - "Blood On The Tracks" signalled that the man was back - and how. In all truth he hadn't sounded this vital (or confused) since "Blonde On Blonde" in 1966.

Let's get to the CD - two standard versions in 1989 and 1993 preceded the real deal - a proper remaster on a 2003 Columbia SACD Hybrid CD that contained both an SACD layer and a Standard STEREO mix. Easily available in a glossy card digipak - it has beautiful sound quality and should be enough for most. But this is Bob Dylan's "Blood On The Tracks" and if I can attain another microscopic ounce of audio quality out of yet another release - I'm gonna spend money on that sucker. So I bought this gorgeous USA-Only Mobile Fidelity Sound Lab audiophile pressing - and I'm thrilled I did. Here are the buckets of rain...

1. Tangled Up In Blue

2. Simple Twist Of Faith

3. You're A Big Girl Now

4. Idiot Wind

5. You're Gonna Make Me Lonesome When You Go

6. Meet Me In The Morning [Side 2]

7. Lily, Rosemary And The Jack Of Hearts

8. If You See Her, Say Hello

9. Shelter From The Storm

10. Buckets Of Rain

USA released November 2012 (February 2013 in the UK) - this issue of "Blood On The Tracks" is an "Original Master Recording" CD on Mobile Fidelity Sound Lab UDSACD 2098 (Barcode 821797209861). An Audiophile Hybrid Edition - it has both SACD and DSD CD layers and does not require an SACD player for playback (it will automatically default to the DSD CD layer once in standard machines). The transfer from the original master tapes used Mobile Fidelity's patented ULTRADISC UHR GAIN 2 Remaster System with mastering by ROB LoVERDE (assisted by SHAWN R. BRITTON). It's a straightforward 10-track transfer of the album at 51:48 minutes housed in oversized hard card repro artwork. An inner gatefold black and gold card sleeve houses the gold CD (itself in a gauze protective) and there's a numbered (embossed) square on the rear cover.

When you first hear the opening triple-whammy of brilliance - "Tangled Up In Blue", "Simple Twist Of Faith" and "You're A Big Girl Now" - the differences to my ear are the acoustic guitars and the beautiful clarity to the bass - they're floating around the room but not drowning out his impassioned vocals. The high hats and drum taps on "Big Girl" are crystal clear but again they're not amped to a point where they take over. It's properly beautiful stuff.

And as everyone now knows the album revolved around the dissolution of his marriage - so the lyrics and songs flit between apathy and stupor ("Meet Me In The Morning") to slighting bitterness ("Idiot Wind") and a sort of hurting reconciliation ("If You See Her, Say Hello"). But then they come roaring back to simplicity and lingering affection ("Shelter From The Storm" and "Buckets Of Rain"). Dylan ends Side 1 with the short but oh so sweet "You're Gonna Make Lonesome When You Go". It's typical of the album - confessional yet still guarded - its Sixties throwback sound and vocals has to be one of his loveliest songs -with lyrical rhymes that thrill to this day (words from it title this review). The smacking of the acoustic guitar strings on "Buckets Of Rain" have fabulous clarity and that double bass in the background is warm and full too. Wonderfully done...

In some respects it's a shame Columbia simply don't just get on with it and do a DELUXE EDITION of this most iconic of his albums - maybe they will with its 40th Anniversary looming in 2015. There are two outtakes on Biograph and a further four on "The Bootleg Series Volumes 1 - 3" and with the original withdrawn album mix - would make a corker of a reissue.

In the meantime - if it's the best sound you want - then the spondulicks spent on this lovely reissue of "Blood On The Tracks" will pay dividends...

"New Morning" by BOB DYLAN (2009 Columbia CD Reissue - Greg Calbi Remaster) - A Review by Mark Barry...

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"...Sign On The Window..."

Following on from June 1970's self-indulgent and often derided "Self Portrait" double album (funnily enough hindsight has many loving it to pieces) - critics and the public alike went nuts for the supposed 'return to form' of October's "New Morning". The British pummelled it into the No. 1 slot when it was issued slightly later in November of 1970 - and no self-respecting Bob Dylan "Greatest Hits" or "Anthology" is complete without "If Not For You".

Some have even said that "New Morning" is as good as 1975's meisterwork "Blood On The Tracks" - which in my mind is stretching credulity and the obvious audio truth way past its limit. "New Morning" is a solid Dylan album only with some moments of greatness. And re-listening to it in 2017 on this fabulous Remaster hasn't changed my opinion on that. Here are the Winterludes...

UK released May 2009 - "New Morning" by BOB DYLAN on Columbia 88697347002 (Barcode 886973470022) is a straightforward CD Remaster of the 12-track 1970 album and plays out as follows (35:50 minutes):

1. If Not For You

2. Day Of The Locusts

3. Time Passes Slowly

4. Went To See The Gypsy

5. Winterlude

6. If The Dogs Run Free

7. New Morning [Side 2]

8. Sign On The Window

9. One More Weekend

10. The Man In Me

11. Three Angels

12. Father Of Night

Tracks 1 to 12 are the album "New Morning" - released 21 October 1970 in the USA on Columbia KC 30290 and November 1970 in the UK on CBS Records S 69001. Produced by BOB JOHNSTON - it peaked at No. 7 in the USA and No. 1 in the UK.

Given that the original single-sleeve LP was so staggeringly boring to look at - the new 8-page inlay comes as a blessed relief. It's made up mostly of in-studio photos - Bob at the microphones - reading lyric sheets - the boys in the band discussing what to do next with Producer Bob Johnston. There's no new liner notes per say.

Al Kooper plays Keyboards, Guitar and French Horn - David Bromberg plays Electric Guitar and Dobro - Buzzy Feiten plays Electric Guitar - Russ Kunkel is on Drums with Maeretha Stewart guesting on "If Dogs Run Free" on Background Vocals. 

But at least we get that stunning GREG CALBI Remaster - a man whose had his mitts on McCartney's "Band On The Run", Paul Simon's "Graceland", Supertramp's "Crime Of The Century" and "Breakfast In America" and even John Mayer's Remastered catalogue. Calbi has turned in another winner - these Dylan remasters are all jobs well done it has to be said.

The photograph on the rear cover is a youthful Bob in early 1962 with one of his Blues heroes – the barnstorming big-lunged Victoria Spivey – famous for misery raunchy tunes like "Furniture Man Blues" and troublesome fools like "Dope Head Blues" (see my review for the 20CD Box Set "Roots & Blues"). Though in hindsight – it's an odd photo to feature here with precious little on the album resembling Blues Music except maybe some of "One More Weekend". Word has it that the "New Morning" project was going to be another double set – a sort of Part 2 to "Self Portrait" combining covers that moved him in his youth with new material (some of those outtakes have turned up on the "Bootleg Series" of CD reissues) - but perhaps because of the backlash to "Self Portrait" that idea was paired down to the single LP we now have made up entirely of BD originals.

The album opens with "If Not For You" – a hooky-as-Hell love song Beatle George Harrison had debuted to the world only weeks earlier on his 3LP Box Set "All Things Must Pass" on Apple Records (the opening song). People love this song to Dylan's wife of the time - perhaps because that weird organ sound Al Kooper gets harks back to his 60ts sound on "Highway 61 Revisited" and that thinny Harmonica back even further to "Freewheelin' Bob Dylan". And despite it’s rather slight feel BD sings - "...without your love I'd be nowhere at all..." and you can't help but think he actually means it this time (Olivia Newton John would lodge her first chart hit in February 1971 with "If Not For You" on Uni Records – No. 25 USA). "Day Of The Locust" feels like a great Bob Dylan song - while "Time Passes Slowly" was reputedly amongst the first three tunes recorded for an abandoned musical version of "The Devil And Daniel Webster" called "Scratch" (the other two were "New Morning" and "Father Of Night"). I have a very sweet cover of "Winterlude" by England's Steve Gibbons which he did for his 1998 CD "Bob Dylan Project" – Gibbons doesn't change its strangely casual nature and "...this dude thinks you're grand..." lyrics. We go early-morning smoky barroom Jazz for the spoken "If Dogs Run Free" that features scat vocals from Maeretha Stewart. As he'd veered away from 'Bob Dylan' – fans naturally went nuts and slagged off the song as derisory and all things unholy – but I've always thought it kind of brill. One man's heaven is...

Side 2 opens with the very Van Morrison sound of "New Morning" – acoustic guitars and lingering organ – marital bliss clearly keeping him happy (skies of blue – so happy just to see you smile). The album’s other biggie for me is "Sign On The Window" – a ballad with lyrics that I still can’t figure out – three’s a crowd – down on Mean Street – a cabin in Utah – catch rainbow trout. Whatever you read into the forlorn sad words – I love his piano playing while the band plays catch up and that impassioned vocal is the strongest on the whole record. "One More Weekend" is a slippin' and slidin' Bluesy trollop of a song – the band finally sounding like a cohesive unit as they boogie in that Bob Dylan way (great Remaster). Some people enjoy "The Man In Me" but those girly vocals feel forced to me - I much prefer the simpler almost Gospel spoken song "Three Angels" with its 'concrete world full of souls'. The album finishes on the piano and voices rumble of "Father Of Night" - a sound Cat Stevens would tap on his "Foreigner" album in 1973. The one-and-half-minute song is also an indication of his emerging beliefs - gorgeous audio as he sings of "...father of air and father of trees...that grows in our hearts and our memories..." 

Good - great - ordinary - different - the same – I love it – I don’t love it - it's Bob Dylan. Even now his enigma eludes me...and would we have it any other way...

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"Lunch" by AUDIENCE (May 2015 UK Esoteric Recordings 'Expanded Edition' CD – Ben Wiseman Remasters) - A Review by Mark Barry...

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CADENCE /CASCADE 

PROG ROCK, PSYCH, AVANT GARDE...
And Others Genres Thereabouts
Exceptional CD Remasters

Covering 1967 to 1977 - It Also Focuses On

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"...Can't Behave Myself..." 

AUDIENCE suited the eclectic roster of Charisma Records perfectly – their mixture of early-ELO/Lindisfarne/The Move dense melodic flourishes sat comfortably alongside their Prog musical label mates Genesis, Van Der Graaf Generator, The Nice, Jackson Heights, Atomic Rooster and Rare Bird.

Along with their uber-rare debut LP on Polydor Records in 1969 – Esoteric Recordings (part of Cherry Red of the UK) have reissued all 4 of their albums onto expanded CDs – remastered from original master tapes – all with bonus cuts and involvement from Howard Werth of the band (see list below).

"Lunch" was their 3rd and last LP for Charisma before they disbanded due to musical differences (it actually troubled the American LP charts in July 1972 on Elektra Records rising to the lofty placing of 175). They regrouped briefly and successfully in 2004 and Audience retain huge affection amongst fans to this day (they were monster in Europe – Number 1 in Italy in fact). And you have to say listening to their long-forgotten music that Esoteric Recordings have done a top-notch job on these remasters. Here are the ladies who lunch details...

UK released 25 May 2015 (June 2015 in the USA) – "Lunch" by AUDIENCE is an Expanded 13-track CD on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342) and breaks down as follows (45:50 minutes):

1. Stand By The Door

2. Seven Sore Bruises

3. Hula Girl

4. Ain't The Man You Need

5. In Accord

6. Barracuda Dan [Side 2]

7. Thunder And Lightnin'

8. Party Games

9. Trombone Gulch

10. Buy Me An Island

Tracks 1 to 10 are their 4th and last studio album "Lunch" – released February 1972 in the UK on Charisma Recordings CAS 1054 and July 1972 in the USA on Elektra Records EKS 75026

BONUS TRACKS:

11. Grief And Disbelief – Previously Unreleased

12. Hard Cruel World – non-album B-side to the UK 7" single "Raviole" released November 1972 on Charisma CB 196. The A-side can be found on "The House On The Hill" album from 1971 (see list below)

13. Elixir Of Youth – Previously Unreleased

Recorded at Trident Studios in London and Produced by the legendary GUS DUDGEON - the album title was suggested by Storm Thorgerson of Hipgnosis sleeve-art fame from the phrase "Ladies who lunch..." The softly sentimental gatefold artwork and inner sleeve of the original 1972 vinyl LP actually came from a knitting pattern and followed on in theme from that slightly 30s and 40s look the preceding album "The House On The Hill" had in April 1971. The AUDIENCE line-up for "Lunch" was Howard Werth (Guitar and Vocals), Keith Gemmell (Tenor Sax, Clarinet and Flute), Trevor Williams (Bass, Accordion and Vocals) and Tony Connor (Drums, Vibes and Marimba) with outsiders Nick Judd on Piano and the horn section on "Seven Sore Bruises", "Barracuda Dan", "Ain't The Man You Need" and "Trombone Gulch" provided by Rolling Stones regulars Bobby Keys on Tenor Saxophone and Jim Price on Trumpet and Trombone.

The 16-page booklet is coloured in the same tint as the original artwork (a nice touch) with 2015 liner notes by noted freelance writer and reviewer SID SMITH that features new interviews with Howard Werth. It goes into the history of the album, touring as the support band for the Faces in the USA (the song title "Trombone Gulch" comes from a flight over the Grand Canyon) and how they finally disbanded – tired and harassed by European authorities at Ostend. But the big news for fans is a 24-bit remaster from original Charisma master tapes by Sound Engineer BEN WISEMAN who has done loads of great work for a large number of reissue labels. The audio is wonderful – given clarity to those dense multi-layered arrangements.

It opens with "Stand By The Door" which comes at you like a strange mixture of Mott The Hoople meets Lindisfarne meets Roxy Music – Werth’s vocals sounding like the lovechild of Roy Wood and Lindisfarne's Alan Hull - while the Saxophones and layered vocals give it a lovely musicality. Charisma put "Stand By The Door" out as UK 7" single in late June 1972 on Charisma CB 185 with the album track "Thunder And Lightnin'" as its B-side but it did no business. A million miles away from Prog - the band jaunt it up with the cheeky-chappy "Seven Sore Bruises" which is more Rock 'n' Roll than "Foxtrot" by Genesis. I never liked the cod Hawaiian vibe (and whistling) of "Hula Girl" but the Americana The Band feel to "Ain't The Man You Need" is great – the nasal vocals impassioned and heartfelt. Side 1 ends with the accomplished Acoustic vs. Saxophone "In Accord" which feels like an outtake from the Move's 1971 "Message From The Country" album on Harvest.

Side 2 opens with a happy ditty – the 2:20 minutes of "Barracuda Dan" while the frantically paced "Trombone Gulch" seems to be hustling to be an American single albeit at one hundred miles an hour and terrified of heights. It ends on the 'money' song "Buy Me An Island" where a grumpy Werth shouts "...you ain't heard the half of it...and neither have I!" - our heroes longing to get away to sunnier places that are easier on the noggin (and once again the tune has that clever mixture of Acoustic Guitar duetting with the Saxophone and Vocals in a very Audience way). Charisma chucked out another Mad Hatter label 45 after the album – the Italian-sounding "Raviole" off the preceding LP "The House On The Hill" and released it as a single in November 1972. Its rare non-album B-side "Hard Cruel World" turns up here as one of the bonus tracks and it’s a great addition for fans. Both of the unreleased tracks are shockingly good in fact – both featuring prominent Flute from Keith Gemmell and the band’s trademark acoustic guitar mix (both very Jethro Tull in ways).

Sticks man Tony Connor joined Hot Chocolate, Trevor Williams did stints with Jonathan Kelly’s Outside and Judas Jump and has been a part of the Audience reunion gigs, Nick Judd joined with Chris Spedding and Free’s Andy Fraser (sadly passed away recently) for Sharks (did two albums on Island) - while Keith Gemmell moved into Stackridge and spent many years with The Pasadena Roof Orchestra. The band’s main man and principal songwriter Howard Werth released a solo album "King Brilliant" in September 1975 (Charisma CAS 1104) trading as Howard Werth & The Moonbeams.

Audience’s sound were never everyone’s favourite tipple if I'm honest (none of their albums charted in the UK) but this CD has been superbly done and made me reassess their music big time. A top job done and a must-buy for fans...

AUDIENCE Expanded CD Remasters on Esoteric Recordings:

1. Audience (1969 debut LP on Polydor 583 065)

29 June 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2494 (Barcode 5013929459441)

2. Friend’s Friend’s Friend (May 1970 2nd LP on Charisma CAS 1012)

29 June 2015 Expanded CD Remaster with 7 Bonus Tracks on Esoteric Records ECLEC 2499 (Barcode 5013929459946)

3. The House On The Hill (April 1971 3rd LP on Charisma CAS 1032)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243)

4. Lunch (July 1972 4th and final studio LP on Charisma CAS 1054)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342)

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"Rocks" by AEROSMITH - May 1976 US Third Studio Album on Columbia Records (November 1993 UK Columbia CD Reissue with Vic Anesini Remaster) - A Review by Mark Barry...

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MORE THAN A FEELING 

1976

Your All-Genres Guide To 

Exceptional CD Reissues & Remasters

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"...Back In The Saddle Again..."

In 1975 - Aerosmith's 3rd album "Toys In The Attic" was a vinyl monster stateside - clocking up over 8-million LP sales and a two and half year chart reign (128 weeks in total). Their 4th platter "Rocks" went one better – jumping the Top Ten and eventually peaking at No. 3 amassing quad-platinum status with indecent haste – a paltry four million albums sold amidst a blizzard of questionable underwear, white powder lines and thundering riffage. In 1976 Aerosmith were literally Sex, Drugs and Rock ‘n’ Roll incarnate.

Yet over here in Blighty most Rock lovers seemed utterly indifferent to their excess and musical success. Aerosmith didn't hit the UK charts until 1987 with "Permanent Vacation" – another anthem - only this time on Geffen Records and not their 1970ts spiritual home of Columbia. Even the mighty - and let's call it what it is - damn cool strut of "Walk This Way" didn't sell on 45 in the UK (CBS Records 4878) on initial release – it was stumbled on much later as 90s radio re-discovered its swagger for a generation already looking back.

Forty-one years on and "Rocks" is cited by everyone from Soundgarden, Guns n’ Roses, Motley Crue, Metallica and a whole host of other hard-hitting Rock ‘n’ Roll bands as one of their seminal influences – a boozy debauched little whippersnapper with bad hair and enflamed nostrils - naughtily leering at the big pucks of the lithesome hockey team in the locker-room. Which brings us to its digital incarnation...

This 1993 Columbia CD Reissue/Remaster celebrates that Rock beast with a stunning Don De Vito/Vic Anesini Remaster (shame about the lack on Bonus Tracks though). Back in the saddle again indeed – here are the diamond details...

UK released 8 November 1993 (reissued several times since including September 2011) - "Rocks" by AEROSMITH on Columbia 474965 2 (Barcode 5099747496523) is a straightforward CD Remaster of the 1976 album and plays out as follows (34:35 minutes):

1. Back In The Saddle

2. Last Child

3. Rats In The Cellar

4. Combination

5. Sick As A Dog [Side 2]

6. Nobody’s Fault

7. Get The Lead Out

8. Lick And A Promise

9. Home Tonight

Tracks 1 to 9 are their 4th studio album "Rocks" - released May 1976 in the USA on Columbia PC 34165 and June 1976 in the UK on CBS Records S 81379. Produced by JACK DOUGLAS and AEROSMITH - the album peaked at No. 3 in the USA. "Home Tonight" written by Steve Tyler - "Combination" written by Joe Perry - "Back In The Saddle", "Rats In The Cellar", "Get The Lead Out" and "Lick And A Promise" written by Steve Tyler and Joe Perry - "Last Child" and "Nobody’s Fault" written by Steve Tyler and Brad Whitford and "Sick As A Dog" written by Steve Tyler and Tom Hamilton.

AEROSMITH was:

STEVE TYLER - Vocals, Keyboards, Electric Bass on "Sick As A Dog"

JOE PERRY - Lead and Rhythm Guitars and Vocals

Six String Bass on "Back In The Saddle"

Lap Steel Guitar on "Home Tonight"

Electric Bass on "Sick As A Dog"

BRAD WHITFORD - Lead and Rhythm Guitars

TOM HAMILTON - Bass and Electric Guitar on "Sick As A Dog")

JOEY KRAMER – Drums, Percussion and Backing Vocals on "Home Tonight"

Guest:

Paul Prestopino – Banjo on "Last Child"

The mediocre double-sided four-leaf foldout-inlay of "Toys In The Attic" gets extended for "Rocks" into a six – a six-square long concertina effect (twelve leaves of photos on both sides in total). They repro 'The Record Plant Studios' Tape Boxes - the rear sleeve with its recorded data and throw in new colour collages of Aerosmith memorabilia. But there's no new liner notes for something that clocked up four million sales in the USA alone - a trend with Sony when it comes to anything that isn't a Deluxe Edition (visually their releases are o.k. rather than great). And surely someone could have located outtakes or live stuff and made this an 'Expanded Edition' with some decent Bonus Tracks to please long-suffering fans. But alas...

What we do get by way of compensation however is a stunning new 24-bit digital remaster from original tapes by DON DeVITO and Mastering Engineer supremo VIC ANESINI - an Audio transfer name I actively seek out when looking for exceptional CD Remasters. Anesini has had a long association with Sony and all things Columbia - Santana, Simon & Garfunkel, Elvis Presley, Mott The Hoople, Janis Joplin, Carole King, The Jayhawks, Stevie Ray Vaughan, Mountain, Nilsson and many more. Bringing out the power of those riffs and just how tight the band were was always the priority with this most 'Hard Rock' of LPs - and the team behind this transfer have achieved that.

Having established speed and attack on the mission-statement album "Toys In The Attic" the year prior – "Rocks" is even more down and dirty – returning with a 1976 big-arena swagger that's exemplified in the amazing opener "Back In The Saddle". This thing is HUGE and immediately you’re hearing Van Halen's self-titled debut in the two-year future – G n' R's "Appetite For Destruction" 11 years after that – all screaming vocals and fantastic rocking guitars with Joe Perry riffing away like a demented golem in search of some shinny ring. That's followed by the funky chug of "Last Child" where a Tallahassee Lassie is getting to the boys. That 'punk in the street' anthem is followed in turn by the very Ronnie Montrose blasting of "Rats In The Cellar" - rapid-fire rock that makes you want to do indecent things to a floor mop as you pose in the kitchen - lead guitarist by the soap suds. Side 1 ends on a typically great Aerosmith rocker "Combination" - talking about the shape I'm in - always moving on - restless - one step away from something - guitars wailing as Tyler sings "...I traded you for me..."

Side 2 opens with a melodic "Sick As A Dog" with more than a hint of a Boston/Foreigner combo sound - Tyler singing 'please' like he's begging a dealer for mercy. Or is he slagging off some socialite that thinks she's hot to trot when the truth is that life has taken its toll and you're not that young anymore. And just when you think they must be running out of killers – they roll out the Ted Nugent assault of "Nobody’s Fault" – an ultra-Produced wall of Hard Rock –an aural Chieftain Tank of guitars and voices trampling your living room with squeaky wheels and a mad driver with weeks of greasy stubble - giggling as he chews on his half-smoked Havana. "Get The Lead Out" threatens to do just that – strip your bathroom bare – and don't you just love those guitar-sounds Perry produces as the song fades out. Back to Rock 'n' Roll and Gurls with "Lick And A Promise" – a wall of rock sound that actually reminds me of The Sex Pistols debut - the kind of sound that would destroy the world in 1977 (well over in the U of the K anyway). It ends on the only concession to pace – the 'say goodnight to you' of "Home Tonight" – a tearful goodbye that for me is the least convincing song on an otherwise flawless Rock LP.

Boston's Aerosmith would tear it up yet again with their 5th platter "Draw The Line" in the lead up to Christmas 1977 - another winner that like “Toys In The Attic” went to No. 11 on the US album charts. But this is where their locker-room legend and guitar mayhem really started. 

Dude looks like a winner - and the CD Remaster is dirt-cheap too...