"5 Classic Albums" by TRAFFIC [feat Steve Winwood, Jim Capaldi and Dave Mason] (2017 Universal/Spectrum 5CD Mini Box Set Of Remasters) - A Review by Mark Barry...

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"...Sure Took Me For One Big Ride..." 

I suspect Traffic fans will say 'about bleeding time mate' - and they'd be right. Other artists like Fairport Convention, Pat Benatar, Scott Walker, The Jackson 5, Status Quo, Sandy Denny, Bob Marley & The Wailers, Dusty Springfield and even Graham Parker have received one of these '5 Classic Albums' multipack releases from Universal/Spectrum's monster back catalogue. But we've had to wait until January 2017 for that most brilliant of British groups - TRAFFIC. But at least we've been given five of their best and their remasters too. To the nitty gritty...

The packaging has good and bad points. The naff-looking outer card slipcase is flimsy and very easy to damage. In fact my shrink-wrapped set was already creased when I received it in the post. Each of the repro cards is a single sleeve (using UK Stereo artwork) with no inners. Back in the day the first three albums were gatefolds originally and the last two had cut-corner shaped packaging with inner sleeves. Bit much I suppose to expect faithful accuracy – but as a cheapo reissue (less than two quid per album) – the five front and rear sleeves are clear and the colour is very, very good. Another nice touch is that each CD label uses the differing Island Records logo designs as they progressed through the years - the pink label with the orange and black eye logo on the "Mr. Fantasy" debut from 1967 through to the pink-rimmed palm tree label of "Shoot Out At The Fantasy Factory" in 1973 (see photos below).

The two albums missing are "Last Exit" from 1969 (partially Live) and the double live set "Welcome To The Canteen" from 1971 and those poppy but (let's face it) horrible singles "Paper Sun" and "Hole In My Shoe" (many will feel that all of these are losses we can do without). But the best news is that these are Remasters (doesn’t say what date) – each sounding absolutely toppermost. I suspect these are the 24-bit digital transfers done in 1999 and later in 2005 by Ellen Fitton for the much praised "Gold" double. Whichever – they sound great. Here are the Pearly Queens...

UK released January 2017 – "5 Classic Albums" by TRAFFIC on Universal/Spectrum 5374164 (Barcode 600753741641) is a 5CD Set Of Remastered CDs housed in a card slipcase with singular repro art sleeves and plays out as follows:

Disc 1 "Mr. Fantasy" (34:39 minutes):

1. Heaven Is In Your Mind

2. Berkshire Poppies

3. House For Everyone

4. No Face, No Name And No Number

5. Dear Mr Fantasy

6. Dealer [Side 2]

7. Utterly Simple

8. Coloured Rain

9. Hope I Never Find Me There

10. Giving To You

Tracks 1 to 10 are their debut album "Mr. Fantasy" – released December 1967 in the UK on Island ILP 9061 (Mono) and ILPS 9061 (Stereo) and April 1968 in the USA on United Artists UAL 6651 (Mono) and UAS 6651 (Stereo) – the Stereo Mix is used. It was originally called "Heaven Is In Your Mind" in the USA when released on United Artists UAS 6651 with different artwork front and rear. It also featured two extra tracks – the hit singles "Paper Sun" and "Hole In My Shoe". This 2017 CD reissue uses the British 'fireside' cover artwork and the UK track list of 10.

Disc 2 "Traffic" (40:47 minutes):

1. You Can All Join In

2. Pearly Queen

3. Don't Be Sad

4. Who Knows What Tomorrow Might Bring

5. Feelin' Alright?

6. Vagabond Virgin [Side 2]

7. Forty Thousand Headmen

8. Cryin' To Be Heard

9. No Time To Love

10. Means To An End

Tracks 1 to 10 are their 2nd studio album "Traffic" – released October 1968 in the UK on Island ILPS 9081T and in the USA on United Artists UAS 6676 (Stereo).

Disc 3 "John Barleycorn Must Die" (34:35 minutes):

1. Glad

2. Freedom Rider

3. Empty Pages

4. Stranger To Himself [Side 2]

5. John Barleycorn

6. Every Mother's Son

Tracks 1 to 6 are their 4th studio album "John Barleycorn Must Die" – released July 1970 in the UK on Island ILPS 9116 (Stereo) and in the USA on United Artists UAS 5504 (Stereo). Produced by CHRIS BLACKWELL and STEVE WINWOOD -

Disc 4 "The Low Spark Of High Heeled Boys" (40:27 minutes):

1. Hidden Treasure

2. The Low Spark Of High Heeled Boys

3. Rock 'n' Roll Stew

4. Many A Mile To Freedom [Side 2]

5. Light Up Or Leave Me Alone

6. Rainmaker

Tracks 1 to 6 are their 5th studio album "The Low Spark Of High Heeled Boys" – released November 1971 in the UK on Island ILPS 9180 and in the USA on Island SW-9306. Produced by Steve Winwood – it peaked at No. 7 on the USA LP charts (didn’t chart UK).

Disc 5 "Shoot Out At The Fantasy Factory" (37:24 minutes):

1. Shoot Out At The Fantasy Factory

2. Roll Right Stones

3. Evening Blue [Side 2]

4. Tragic Magic

5. (Sometimes I Feel So) Uninspired

Tracks 1 to 5 are their 6th studio album "Shoot Out At The Fantasy Factory" – released January 1973 in the UK on Island ILPS 9273 and in the USA on Island SW-9323. Produced by Jim Capaldi and Steve Winwood – it peaked at No. 6 on the USA LP charts (didn't chart UK).

The debut album is a hippy beast - all Psychedelic soundscapes as the boys romp around the countryside in afghans and tie-die shirts with poppies in their hair and joints hanging out of their mouths - shagging anything that looks cute and grows mushrooms. The sound is unbelievably good - that wound up clock at the beginning of "House For Everyone" - Winwood's aching vocal accompanied by acoustic guitar on the lovely "No Face, No Name And No Number" and the sexy, sly 'tune' in "Dear Mr. Fantasy". Check out the Crosby, Stills, Nash & Young cover version from 1980 of the long and slow "Dear Mr. Fantasy" that turned up on their 1991 4CD Box set as a Previously Unreleased Track - it's unbelievably good with Stephen Stills stretching out on Guitar. The 'Summer Of Love' Sitar and spoken voice in "Utterly Simple" (you do understand that Lewis is Alice) is evocative stuff too. Overall a great beginning...

The improvement in songwriting for the second self-titled "Traffic" album is amazing (and who hasn't had that Island Records sampler LP "You Can All Join In" on Island IWPS 2 in their homes at one point - Traffic get the titular track at the end of Side 1). Comparing "Pearly Queen" on this CD to the 1995 Mobile Fidelity version I have (an Ultradisc II audiophile disc) holds up well - but there's no doubt the MF version is better. I'd forgotten how good "Don't Be Sad" is - that Harmonica and Saxophone combo - that 'Traffic' sound they made. The double-combo of "Who Knows What Tomorrow May Bring" and the mucho-covered Mason winner "Feelin' Alright?" confirm the album's greatness. "Feelin' Alright?" (with its question mark intact) is one of those Rock songs that lends itself to other artists - Joe Cocker, Grand Funk, Lulu, David Ruffin, The Chairmen Of The Board, Three Dog Night, Rare Earth, Hubert Laws, Wade Marcus - they're just some who've had a go (what a song - lyrics from it title this review). But it’s surely the flute and shakers of "Forty Thousand Headmen" that has cemented the album into hearts – a wickedly good groove with Steve Winwood 'soaring high above the clouds'. The harpsichord in "Cryin' To Be Heard" is clear as are the band when they kick in - drums and organ taking off. "No Time To Live" is amazingly accomplished - sounding just spiff - a big wheel of fortune ace. The funky Rock of "Means To An End" is similar to the vibe of "Feelin' Alright?" and at times the guitars sound so Delaney & Bonnie or Derek And The Dominoes...

If "Traffic" was an indication of greatness impending - 1970's "John Barleycorn Must Die" landed it. Right from the opening of "Glad" (a song that sounds like its title) – there’s a swagger in the Funky Rock on offer. In this near seven-minute instrumental (penned by Winwood) - Saxophones alongside Organ and Piano vie for the listener’s attention as they engage in cheery runs up and down the scales like time is of no consequence. LP3 almost sounds like another band compared to LP2 – Happy Jazz Hour meets Mellow Prog Rock and wins. This is confirmed by the Winwood-Capaldi sophistication of "Freedom Rider" – Chris Wood's Flute and Saxophone playing added a Jethro Tull/Blodwyn Pig feel to the song – Capaldi's drumming anchoring Winwood's piano runs and world weary vocals as he cries "...here he comes..."

You can almost feel Winwood's 'solo career' start with "Empty Pages" - a decidedly upbeat and commercial little bopper that at times feels like Charisma Genesis in its signature sounds (thumping Bass too). Side 2 gets all Bluesy with the brilliant "Stranger To Himself" - another Winwood/Capaldi funky one with a fuzzed-up guitar solo and a fabulous Stevie vocal. Things mellow into Folk with the ancient tale of "John Barleycorn" where Traffic sound like Fairport Convention - a tale of 'solemn vows' and 'bleeding' poor JB and 'men with pitch forks' doing their worst. The piano and flute are very clear - those voices harmonising beautifully - there's an amazing warmth to this transfer. It ends on yet another sound - treated guitars and keyboards wrapped around Winwood's impassioned vocals where Traffic almost sound like Joe Walsh’s James Gang impersonating Traffic. "Every Mother's Son" (like so many tracks on this album) has an epic feel that's hard to describe – it’s near seven minutes floating over you as that huge organ sound builds and builds and then crescendos – working those notes and guitars to the big finish (Winwood plays most instruments including guitar). Brilliant - I love this album...

"...There's a lot you can learn...if you listen..." - Winwood advises on "Hidden Treasure" (the band now a six-piece). A floating Acoustic/Flute melody that feels older than 1971 – "Hidden Treasure" is a song that feels smarter than us all. While that opener is good it's followed by Rock brilliance – one of my fave-rave Traffic songs – the 12-minute title track "The Low Spark Of High Heeled Boys". I never tire of this stunning groove and even at such a duration – it doesn't feel like the song overstays its welcome - huge organ notes drawn out over a bopping piano. If I ever want to convince of the band's greatness to my kids (22 and 19) - I play this slinky little number and they nod approvingly. Island USA tried "Rock 'n' Roll Stew" as a 45 (in two parts) on Island 1201 and were rewarded with a No. 93 placing in january 1972 for what is a rather plodding 'on the road again' riff (like a weedy Free). Things improve a bit with "Many A Mile To Freedom" but that guitar solo is weak. "Light Up Or Leave Me Alone" feels like Frankie Miller walked in off the street and took over at the microphone - a funky rock 'n' roll stroller (the audio is amazing on this one). The albums ends on the 8-minute "Rainmaker" - an excellent return to Traffic's sound of "John Barleycorn..." - another cool tune that's all flutes and lolly-gagging guitar strums as the voices harmonise beautifully. But while "The Low Spark Of High Heeled Boys" didn't deserve an inexplicable 'no placing' in the UK Top 50 LP charts - there is a sense already of a band winding down. I personally think it's worth another listen.

Finally we get to the short "Shoot Out At The Fantasy Factory" from 1973 with only five songs. It opens with the hooky guitar of the title track that at times bears an uncanny resemblance to that riff in Deep Purple's "Smoke On The Water". I've always liked its six-minutes of wah-wah guitars and funky feel. We then get a bit 'do do dah' with nearly twelve-minutes of "Roll Right Stones" - clearly trying to capture that "Low Spark" vibe. Winwood sings of 'spaces between my eyes' and 'standing stones in circles' that after centuries are all 'ancient torn and weather worn'. It's good but about six minutes in and the obvious endless solo makes it begin to feel like a Fairport Convention 'Liege & Leaf' experiment that should have ended twenty minutes ago. Side 2 opens with the Acoustic peacefulness of "Evening Blue" where our life-traveller hasn't slept for days - but the setting sun comes to save him. It's actually a rather lovely little cut (and the bass is gorgeous in the transfer). Musically "Tragic Magic" has always felt like an instrumental waiting to be lyric'd by its creator - personally I love that slow band-enjoying-itself-being-mellow vibe it exudes. The album ends on a song that at times sounds like its title "(Sometimes I Feel So) Uninspired)" - seven minutes of weary ache from Winwood where he talks of his room 'being wired' - but then turns it around with a pick-yourself-up chorus (great guitar work throughout too).

Despite the craziness, the line-up changes, the "Welcome To The Canteen" album not even bearing their name for legal reasons - TRAFFIC were magic throughout it all and made a sound that reaches out over the decades and casts a long shadow.

Capaldi, Mason and especially Steve Winwood would go on to long and eventful solo careers - but this rather brill little '5 Classic Albums' set reminds us why we loved them and their band so. Sure took us for one big ride indeed...

"The Harvest Years 1969-1973" by EDGAR BROUGHTON BAND (2011 Parlophone/Harvest 4CD Reissue Set with 2004 Peter Mew Remasters) - A Review by Mark Barry...

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"...Out Demons Out..."

Re-listening to Warwick's EDGAR BROUGHTON BAND in 2017 and their five-strong haul of albums between 1969 and 1973 is like hearing two different bands – the first lot are a bunch of imps let loose in the studio with too many Smarties and funny cigarettes - the second is a more reflective trio of grown-up men with beards who’ve woken up to real music and its message to the masses.

The barking-mad and lippy debut "Wasa Wasa" and it’s 1970 follow-up "Sing Brother Sing" remind you of Captain Beefheart's "Trout Mask Replica" - both challenging listens with moments of brilliance amidst the lunacy - while the later albums like "Edgar Broughton Band" and especially "In Side Out" show serious songwriting maturity and real depth on top of the wit and snarl of old.

I'd be lying if I didn't say that all their records are hard work in some ways – and portions of the first two albums swerve dangerously close to period-dross that's tough to take no matter how fondly you may remember them. But there's much to love and admire here too - there really is...

This Parlophone/Harvest 4CD Anthology with five full albums, rare non-LP singles and Previously Unreleased live stuff on Disc 4 is seriously great value for money – sounds the aural business (Peter Mew Remasters from Abbey Road done in 2004) and makes available in one easy package incredibly rare British LPs on that darling label of all things Alternative and Prog Rock – England’s Harvest Records. Here are the Homes Fit For Heroes...

UK released January 2011 - "The Harvest Years 1969-1973" by EDGAR BROUGHTON BAND on Parlophone/Harvest 949 4882 (Barcode 5099994948820) is a 4CD Anthology with 2004 Peter Mew Remasters (Six Previously Unreleased Tracks) and plays out as follows:

Disc 1 (74:23 minutes):

1. Death Of An Electric Citizen

2. American Boy Soldier

3. Why Can't Somebody Love Me?

4. Neptune

5. Evil

6. Crying

7. Love In The Rain

8. Dawn Crept Away

Tracks 1 to 8 are their debut album "Wasa Wasa" - released July 1969 in the UK on Harvest SHVL 757.

9. Out Demons Out - Non-Album UK 7" single released April 1970 on Harvest HAR 5015, A-side

10. Up Yours! - Non-Album UK 7" single released May 1970 on Harvest HAR 5021, A-side [B-side is the album track "Officer Dan"]

11. Freedom - Non-Album UK 7" single released November 1970 on Harvest HAR 5032, B-side to "Apache Dropout" - Track 6 on Disc 2

12. There's No Vibrations But Wait!

13. The Moth (a) The Moth (b) People (c) Peter

14. Momma's Reward (Keep Them Freak's A Rollin')

15. Refugee

16. Officer Dan

Tracks 12 to 16 are Side 1 of their 2nd studio album "Sing Brother Sing" - released June 1970 in the UK on Harvest SHVL 772

Disc 2 (74:53 minutes):

1. Old Gopher

2. Aphrodite

3. Granma

4. Psychopath: (A) The Psychopath (B) Is For The Butterflies

5. It's Falling Away

Tracks 1 to 5 are Side 2 of their 2nd studio album "Sing Brother Sing" - released June 1970 in the UK on Harvest SHVL 772

6. Apache Drop Out - Non-Album UK 7" single released November 1970 on Harvest HAR 5032, A-side [B-side "Freedom" is Track 11 on Disc 1]

7. Evening Over Rooftops

8. The Birth

9. Piece Of My Own

10. Poppy

11. Don't Even Know Which Day It Is

12. House Of Turnabout

13. Madhatter

14. Getting Hard/What Is A Woman For?

15. Thinking of You

16. For Dr. Spock (Parts 1 & 2)

17. Call Me A Liar

Tracks 7 to 18 are their 3rd studio album "Edgar Broughton Band" - released May 1971 in the UK on Harvest SHVL 791

Disc 3 (69:15 minutes):

1. Get Out Of Bed/There's Nobody There/Side By Side

2. Sister Angela

3. I Got Mad

4. They Took It Away

5. Homes Fit For Heroes

6. Gone Blue

7. Chilly Morning Mama

8. The Rake

9. Totin' This Guitar

10. Double Agent

11. It's Not You

12. Rock 'n' Roll

Tracks 1 to 12 are their 4th studio album "In Side Out" - released July 1972 in the UK on Harvest SHTC 252

13. Someone - Non-Album 1st B-side on the UK 7" single to "Gone Blue" released March 1972 on Harvest HAR 5049

14. Mr. Crosby - Non-Album 2nd B-side on the UK 7" single to "Gone Blue" released March 1972 on Harvest HAR 5049

15. Hurricane Man/Rock 'n' Roller

16. Roccococooler

17. Eviction

18. Oh You Crazy Boy!

19. Things On My Mind

Tracks 15 to 19 are Side 1 of their fifth studio album "Oora" - released May 1973 in the UK on Harvest SHVL 810.

Disc 4 (65:29 minutes):

1. Exhibits From A New Museum/Green Lights

2. Face From A Window/Pretty/Hi-Jack Boogie/Slow Down

3. Capers

Tracks 1 to 3 are Side 2 of their fifth studio album "Oora" - released May 1973 in the UK on Harvest SHVL 810.

Live At Hyde Park, London, 18 July 1970 (Previously Unreleased)

4. Love In The Rain

5. Silver Needle

6. Drop Out Boogie

7. Refugee

8. American Boy Soldier

9. Out Demons Out

Band: 

EDGAR BROUGHTON - Lead Guitar and Vocals

VICTOR UNITT - Guitars (on "Edgar Broughton Band", "In Side Out" and "Oora")

"In Side Out" and "Oora")

ARTHUR GRANT - Bass

STEVE BROUGHTON - Drums and Vocals

Guests:

Vocalists The Ladybirds are on the "Edgar Broughton Band" album  

Mike Oldfield (Mandolin) and David Bedford (Piano) on the "Edgar Broughton Album"

David Bedford Arranged Strings and Wind Instruments on the "Oora" album 

Vocalists Doris Troy, Lisa Strike and Madeline Bell are on the "Oora" album

The 8-page booklet feels miserly and the recording/discography on the leaves beneath the see-through CD trays at the front and rear of the double jewel case is more of a hassle to access than a joy to read (microscopic print). There are some photos of the boys and new interviews by HUGH GILMOUR with the brothers Edgar and Steve about the band's history as a power trio (later joined by Guitarist Victor Unitt) with anecdotes about Harvest Records - backing Blind Faith in front of a huge crowd in London's Hyde Park - praising Peter Mew's Abbey Road Remasters (the whole set sounds amazing). I can’t help thinking it could have been done much better...

Sounding not unlike Captain Beefheart with a rage at society - "Wasa Wasa" contains very dated material like "American Soldier Boy" where they stick in a few jabs at the mindless Vietnam War and the young minds being sent there but still end up sounding like their slagging of kids with no choice. The single "Out Demons Out" has become a signature for them. The very Psychedelic 2nd platter features the ad-nauseam repetition of the word 'negative' on "There's No Vibrations But Wait!" but the clever lyrics bludgeon rather than hammer home the point. "The Moth" though shows real growth - a brilliant acoustic beginning goes wild after a while only to return to the opening acoustic refrain. Beefheart and even The Stooges get channelled in the angry "Momma's Reward..." while "Refugee" is just crap to me. Edgar goes the full Trout Mask Beefheart on Side 2's "Psychopath" - weird sounds accompanying his strangulated 'my dream...you should have heard her scream...' lyrics against a discordant rhythm (oh dear).

But the 3rd self-titled album is an altogether different beast – a long way from 1968 to 1971. The "Edgar Broughton Band" album is accomplished ("Even Over Rooftops" which features The Ladybirds on Backing Vocals) – has hard-hitting social commentary in "The Birth" - acoustic Brinsley Schwarz whimsy in "Piece Of My Own" where they long for a house of wood in the hills as the American fiddles play and a big black eagle flies in the sky above. Both the acoustic "Poppy" and the Richard Thompson guitar chug of "Don't Even Know Which Day It Is" display world-weariness that feels real - lost in the 'new confusion' - fantastic guitars carrying the 'crying inside'. There's even prettiness in "Thinking Of You" (Mike Oldfield and David Bedford contribute Mandolin and Piano respectively) and clever guitar parts in the very Kevin Ayers "Getting Hard/What Is A Woman For?" that goes all Bluesy halfway through and grows to a huge string-ending (shame about that crappy title though). "Hotel Room" asks would you give me your assistance even though you don't know my name - the acoustic strums and toned back voice sounding not unlike David Gilmour and Pink Floyd circa "Obscured By Clouds" - ending on the T. Rex guitar-funk of "Call Me A Liar" - a great groover with a catchy chorus that would have made a potential chart single (in edited form) akin to say Blackfoot Sue or John Kongos.

"In Side Out" came in 1972 when few were listening - which is a shame – because it’s stab at Social Welfare Britain deserved ears. "Get Out Of Bed..." is a three-part song that finds our boys once again searching - down a tunnel without light - emerging into another morning hoping their guitars and harmonica will lift the mood. After an acoustic ditty about comrade "Sister Angela" – we get another angry Edgar vocal in "I Got Mad" – a no-more-war song to a backdrop of melodic guitars. There’s an almost Rock ‘n’ Roll sloppiness to the guitars of "They Took It Away" as everything from furniture to free speech gets taken away. "Homes Fit For Heroes" is the kind of fighting-for-their-rights acoustic ballad Ray Davies would have written for The Kinks – depressing in subject matter (shafted soldiers) – but poignant. Someone thought "Gone Blue" would make a single (Harvest HAR 5049 in March 1972) – but its ‘hole in the back of her head’ and needle references might have put the squids up the BBC. Far better is the lonely guitar and distant vocals of "Chilly Morning Mama" – the kind of song that stays with you even though it initially feels slight (brilliant little tune).

The elaborate plastic outer sleeve artwork to the final album "Oora" from 1973 is nowhere to be seen – but we audible progress in the group’s sound. David Bedford arranged the Strings and Woodwinds and the Soulful trio of lady backing singers add a lot of weight to the walls of acoustic guitars - Doris Troy, Lisa Strike and Madeline Bell. Highlights include "Hurricane Man/Rock ‘n’ Roller" and "Things On My Mind" where the music feels more Richard Thompson than the Beefheart of old. The near eleven-minute "Face From A Window..." suite that opens Side 2 is ambitious stuff – once again the ladies giving it a very Bowie feel as the guitars strum and funk.

Despite Prog and Alternative dominating these seminal years - the Edgar Broughton Band didn't chart anything in their own Blighty and it's easy to hear why. But it's also obvious too as to how they engendered such cult status – the EBB made a uniquely British Prog sound – angry like Terry Stamp and Jim Avery in 1971's Third World War over on Fly Records (see separate review) - adventurous like Kevin Ayers and socially-minded like Michael Chapman (other Harvest label artists).

"The Harvest Years 1969-1973" won't be for everyone – but those who loved England's EBB will relish the great new audio and those cool rarities all in one place. A job well done...

"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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"…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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