"Rebirth" by BLONDE ON BLONDE (2017 Esoteric Recordings 'Expanded Edition' CD Reissue - Ben Wiseman Remaster) - A Review by Mark Barry...

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"...A Chance To Be A Spirit..."

You wouldn't expect South Wales (Newport to be exact) to be a hotbed of Sixties and Seventies Prog - but BLONDE ON BLONDE and their four album catalogue would beg to differ. Their Pye Records debut LP "Contrasts" (NSPL 18288) hit the streets in 1969 - their career ending in acrimony, poor sales and an unreleased 1974 last album on Ember that even got to Test Pressing stages.

This superb 2017 CD reissue pair from England's Esoteric Recordings (part of Cherry Red) concentrates on their second and third platters - "Rebirth" from 1970 and it's follow-up "Reflections On A Life" in 1971 - both on Pye's budget label of the time - Ember Records. Each is an 'Expanded Edition' newly remastered from original Ember tapes. Here are the newborn details...

UK released 27 January 2017 (February 2017 in the USA) - "Rebirth" by BLONDE ON BLONDE on Esoteric Recordings ECLEC 2572 (Barcode 5013929467248) is an 'Expanded Edition' CD Reissue and Remaster with Three Bonus Tracks (Two Previously Unreleased) and plays out as follows (56:26 minutes):

1. Castles In The Sky

2. Broken Hours

3. Heart Without A Home

4. Time Is Passing

5. Circles

6. November [Side 2]

7. Colour Questions

8. You'll Never Know Me/Release

Tracks 1 to 8 are their 2nd studio album "Rebirth" (credited as "Re-birth" on the label) - released May 1970 in the UK on Ember Records NR 5049 (no US issue). Produced by the band - it failed to chart in the UK.

BONUS TRACKS:

9. Circles (Single Version) - Non-Album Track, B-side to "Castles In The Sky", a UK 7" single released 24 April 1970 on Ember EMB S 279

10. Castles In The Sky (Alternate Version - Previously Unreleased)

11. Time Is Passing (Alternate Version - Previously Unreleased)

BLONDE ON BLONDE was:

DAVID THOMAS - Vocals

GARETH JOHNSON - Guitars

RICHARD JOHN - Bass

LESLIE HICKS - Drums

The 20-page booklet is a pleasingly thorough affair with new liner notes from noted writer MALCOLM DOME. He interviews founder members David Thomas and Gareth Johnson for the release who give witty and honest appraisals of what was good (got to support huge bands of the day - The Who, Genesis, Deep Purple, Wishbone Ash and Graham Bond - even opening ahead of a decimated Fleetwood Mac) - and the bad (record company disinterest - a Melody Maker review that killed momentum - songs foisted on them they detested like "Castles In The Sky". You also get the lovely Esa Besalel gatefold artwork (Edward St. Maur took the photos) fully reproduced including the wildly-excited liner notes from British Rock DJ Tommy Vance (ex BBC) and the USA's equivalent John Mendelsohn (contributed to Rolling Stone and Coast Magazine) - both extolling the album's nose-down Psych-Rock approach and delivery (no pretentious 200-piece Orchestra here pal). There are photos of the "Castles In The Sky" UK 7" single in its rare Ember Records label bag (a Demo version) and the even harder-to-find picture sleeve of it that came with certain copies is repro'd on Page 14 along with other black and whites. There's even a Tour poster from 24 and 25 August 1969 that features BOB alongside such notables as Fairport Convention, The Incredible String Band, Blossom Toes, Family, Traffic and The Bonzo Dog Doodah Band (what a line-up).

BEN WISEMAN – an Audio Engineer who has done loads of superlative work with Esoteric, Universal and many other labels over the years – has taken the Ember tapes and made a damn good fist of the distinctly lo-fi recordings. The shimmering cymbals lead-in – guitars and then voices – “Broken Hours” sounds damn good and with that Psych guitar kicking in – you can so hear why collectors rate their three albums so much. A quality job done on what must have been a difficult transfer...

The "Castles In The Sky" pop single written by Eve King (John King's wife) and Paul Smith (who had penned songs for Simon Dupree And The Big Sound before they later became Gentle Giant) is given short shift by band guitarist Gareth Johnson in the liner notes where he describes it as a 'terrible song' foisted on them by BBC Producer John King and not in keeping with the band's vision. Far better is the rollicking almost Hawkwind drone of "Heart Without A Home" where Johnson gets to wig out on his axes. Vocalist David Thomas gets all 'son leaving home - wanting to be free' on the very Moody Blues "Time Is Passing" - quite possibly another single on an album that doesn't have many. Side 1 ends in a Psych collector's dream - the 'silent world keeps turning around' of "Circles" where huge drums crash and a crudely recorded fuzzed-up guitar tries to get heard (dig that wild solo). I have to say I prefer the album mix of the song to the 45 version - more punch.

There's a rather naive sound to Side 2's opener "November" - Thomas' vocals all echoed for effect - the guitar ever so slightly crude in that homemade way that makes these kind of albums a thrill for collectors who like it unpolished - all feel and passion. The 12-minute racially right-on "Colour Questions" is the album's centrepiece - a sophisticated guitar rumble and rant that feels like "Coming Your Way" from Fleetwood Mac's "Then Play On" album from the year previous. Guitarist Johnson really gets to let rip on various devices - and you can 'feel' his enjoyment. It chops and changes into acoustic/vocal passages and back into wild Prog electric - a monster that would do heavy Van Der Graaf Generator fans a solid. The near 8-minute ballad "You'll Never Know Me/Release" is probably the most sophisticated song on the album - an impressive array of chunky piano chords and clever combo vocals.

"Rebirth" is very much of its time and those expecting Hard Rock or Van Morrison type musings should probably dabble elsewhere. But if you like your Psych with a bit of homemade British Prog thrown in - then this muscular-sounding CD reissue is the baby out the bathwater for you...

"Vintage Violence" by JOHN CALE (2001 Columbia/Legacy 'Expanded Edition' CD Reissue - Darcy M. Proper Remaster) - A Review by Mark Barry...

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"...Don't Want To Be Like All The Rest..."

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Given that Welshman JOHN CALE had been with The Velvets for their monster March 1967 debut "The Velvet Underground And Nico" - following in November of that year with the even more challenging "White Light, White Noise" album and then having produced the definitive early Punk/Garage album - The Stooges self-titled debut "The Stooges" (a destroyer of all that comes in its path) - big things were expected of the Bass Player's debut. It would of course be the most mule-rockin', nadge-kickin' debut album ever released.

Instead we got the weedy pop-country mishmash of "Vintage Violence" - and I can remember as a kid when I first heard it thinking 'this is crap'. And he absolutely didn't have the cool in his voice that Lou Reed could so effortlessly conjure up. But time and hindsight have mellowed me - and every few years I try "Vintage" once again. And each time I think - ok - the pretty "Amsterdam" and the Beach Boys pop of "Adelaide" alongside that Country Byrds/melodious Tommy Flanders combo-sound Cale gets on the undeniably good "Ghost Story" - it's not nearly as bad as I had thought - in fact its possibly a misunderstood beast. Here are the post mortem details...

UK released 13 February 2001 (reissued 27 June 2003 and beyond) - "Vintage Violence" by JOHN CALE on Columbia/Legacy 499945 2 (Barcode 5099749994522) is an 'Expanded Edition' CD Remaster with Two Previously Unreleased Bonus Tracks that plays out as follows (44:54 minutes):

1. Hello, There

2. Gideon's Bible

3. Adelaide

4. Big White Cloud

5. Cleo

6. Please

7. Charlemange [Side 2]

8. Bring It On Up

9. Amsterdam

10. Ghost Story

11. Fairweather Friend

Tracks 1 to 11 are his debut solo LP "Vintage Violence" - released July 1970 in the USA on Columbia CS 1037 - delayed until February 1971 in the UK on CBS Records S 64256. Produced by JOHN CALE and LEWIS MERENSTEIN (recorded in 1969 the same week as "Church Of Anthrax" with Terry Riley - which wasn't issued until February 1971) - it failed to chart in either country. All songs written by John Cale - except "Fairweather Friend" which is by Garland Jeffreys.

BONUS TRACKS:

12. Fairweather Friend (Previously Unreleased Alternate Version)

13. Wall (Previously Unreleased)

The 8-page booklet has new liner notes from MARGARET MOSER - several black and white photos of the young Welshman and the usual re-issue credits (Bruce Dickenson Produced the Reissue with Project Director Paul Matheny) and there's new input from Cale himself. But in some ways it's a slight and frustrating read in what it 'doesn't' say. What was the album’s actual release date (they get the catalogue number wrong as CS 1007 when it was CS 1037) - who plays Harmonica on "Adelaide" - why CBS in England waiting until two months before the "Church Of Anthrax" release with Terry Riley in April 1971 before they released John Cale's "Vintage Violence"? Why the Phil Spector production melodrama on the overly echoed "Big White Cloud" - why even chose it as a single? And why not take this opportunity to reproduce the lyrics?

Still - what we do get for "Vintage Violence" is a gorgeous Remaster courtesy of DARCY M. PROPER - a Sony Audio Engineer who handled the Kansas CD Reissues for "Point Of Know Return" and Leftoverture". The incredible quiet and ethereal "Amsterdam" sounds beautiful and there’s oomph in the jaunty ‘come back again this year’ opener "Hello, There" – a song that feels like it would fit nicely on the Velvets "Loaded" album.

Wikipedia lists it release date as March 1970 – it was first pictured June 1970 in Billboard but didn’t appear on an actual release schedule until July – wasn’t reviewed until September 1970 and is listed as released December 1970 in Martin Strong’s “The Great Rock Discography”. I’ve put it at July 1970 - which is when Billboard gave it an official release date (the material was famously recorded in 1969 in the same week Cale reveals as he recorded "Church Of Anthrax" with Avant Garde artist Terry Riley who was signed to Columbia Masterworks).

Re-listening to the dreadfully coy "Cleo" and the pedal steel guitar "Please" - I hate the first and quite dig the second. He'd strung his band PENGUIN together for the sessions and their playing on "Please" and the Side 2 opener "Charlemagne" add a huge amount to the 'feel'. Having said that there’s part of me that feels much of "Vintage Violence" is firmly in the 'what was he thinking' bracket – but when you hear the undeniably brill melody of "Ghost Story" and the Jeffreys contribution "Fairweather Friend" – it’s impressive.

Worth another punt – I think so...

"Dragonfly by STRAWBS - February 1970 UK Second Studio LP on A&M Records featuring Dave Cousins, Tony Hooper, Rick Wakeman and Paul Brett (2008 UK A&M Records/UMC 'Expanded Edition' CD Reissue - Paschal Byrne and Ben Wiseman Remaster) - A Review by Mark Barry...

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"...Delicate, Tranquil and Tender..."

The first two STRAWBS albums - the self-titled "Strawbs" debut in June 1969 and its more accomplished follow up - February 1970's "Dragonfly" highlighted a band very much on the up - growing in stature with each rapid release - receiving critical acclaim and a fattening fan base - but still finding chart action elusive.

As a rarities buyer in Reckless (London) for nearly 20 years - I can count on one hand the number of times I saw Tan A&M label UK originals of either vinyl LP. Both are forgotten gems filled with music that's daring and reaching. So it's with some pleasure that I come to this superb 2008 CD Remaster - expanding the original 9-track LP with 4 Bonus Tracks. Here are the Visionary Ladies in the Lake...

UK released August 2008 - "Dragonfly" by STRAWBS on A&M Records/UMC 5302680 (Barcode 600753026809) is an 'Expanded Edition' CD Remaster with Four Bonus Tracks and plays out as follows (49:29 minutes):

1. The Weary Song

2. Dragonfly

3. I Turned My Face To The Wind

4. Josephine, For Better Or Worse

5. Another Day

6. Til The Sun Comes Shining Through [Side 2]

7. Young Again

8. The Vision Of The Lady In The Lake

9. Close Your Eyes

Tracks 1 to 9 are their 2nd studio album "Dragonfly" - released February 1970 in the UK on A&M Records AMLS 970 (no USA release). Produced by TONY VISCONTI - it failed to chart in the UK. All tracks written by Dave Cousins except "Young Again" by Tony Hooper.

BONUS TRACKS:

10. We'll Meet Again Sometime [Recorded at Trident Studios, London in June 1969]

11. Forever [Non-Album Track, A-side to a UK 7" single on A&M AMS 791 - released July 1970 with the LP cut "Another Day" as the B-side]

12. Another Day

13. We'll Meet Again Someday [Tracks 12 and 13 recorded for the BBC's John Peel 'Top Gear' Radio Show on 7 September 1969]

STRAWBS was:

DAVE COUSINS - Vocals, Guitars, Piano, Dulcimer, 'Chinese Piano' and Percussion

TONY HOOPER - Vocals, Acoustic and Electric Guitars, Tambourine and Percussion

RON CHESTERMAN - Double Bass

CLAIRE DENIZ - Cello

Guests:

TONY VISCONTI - Recorder on "Dragonfly" and "Young Again"

RICK WAKEMAN – Piano, PAUL BRETT - Lead Guitar and BJARNE ROSTVOLD - Drums - all on "The Vision Of The Lady In The Lake"

The 16-page booklet is a lovely thing to behold and pleasingly in-depth and a nice touch is the Tan Label for the CD aping the original English LP rarity. MARK POWELL of the quality reissue label Esoteric Recordings (part of Cherry Red UK) provides the superb new liner notes chronicling the band's history from 1968/1969 darlings of Progressive Folk with Sandy Denny before she jumped ship for Fairport Convention to the re-jiggered Strawbs on the cusp of 'a new musical rebirth' with 1971's "From The Witchwood". The rare lyric insert that came with original 1970 British LPs has its words reproduced on Pages 8 to 14 - there's a photo of the stand-alone British 45 for "Forever" (a session outtake released one week after the new line-up had recorded the 11 July 1970 Queen Elizabeth Hall gig that would become the live LP "Just Another Collection Of Antiques And Curios") as well as repro of a rare A&M Records trade advert trying to drum up interest in their 'new one'. The beautiful 'Dragonfly' painting/logo done by Roger Saunders that so elevated the artwork of the original LP crops up throughout the text - as do black and whites of Dave Cousins - all neatly wrapped up with the usual re-issue credits.

PASCHAL BYRNE and BEN WISEMAN (of Audio Archiving) did the Remaster and these hugely experienced Audio Engineers have pulled off a winner. Those slightly Psych-sounding keyboards of Rick Wakeman (before he joined the ranks of Yes and helped out David Bowie sessions in 1971) have amazing clarity on the epic 10-minute "The Vision Of The Lady In The Lake". And that loose English Folk Band 'live in the studio' feel to the Danish sessions (recorded in Copenhagen) is captured so well on tracks like "I Turn My Face To The Wall" and the gorgeous opener "The Weary Song" – Chesterman's Double Bass and Claire Deniz's Cello leaping out the speakers in all the right ways.

Musically I'm reminded of The Incredible String Band experimenting with and bending the barriers of Rock with string instruments and wondering why this superb album didn’t make The Strawbs huge. The musical lushness of "The Weary Song" and the Dulcimer beauty of "Dragonfly" that soon expands into an Acid-Folk dream are both utterly brilliant – the remaster beautifully accenting those heavily drawn string notes and percussive bell tinkles – our Dave lying awake at night waiting for those North winds to blow. The piano/string combo of "I Turned My Face To The Wind" has traces of The Moody Blues and Procol Harum in its melody and slightly sad 'mist rolled down the countryside' lyrics. And even though it's a mere 2:36 minutes long - "I Turned My Face To The Wind" manages to feel more epic than its playing time. Back to the sublime with one of Cousins' loveliest airs – the nuptials/betrothing ballad "Josephine, For Better Or Worse". The Remaster on this track is astounding – as clear as I've ever heard this song. Side A ends with "Another Day" where its jolly upbeat nature makes it the most poppy of tracks on a Folk-Rock LP - like they were aiming for a single.

Side 2 gives us the first trace of hiss with "'Til The Sun Comes Shining Through" - a split-vocal peach that floats like Nick Drake or John Martyn over on Island Records. It's hugely romantic 'my love a primrose fair' lyrics are complimented by sweet acoustic guitars and that soaring cello - Visconti making certain to accentuate the lot. "...Laughing as they run..." go the words to "Young Again" - a gorgeous Tony Hooper song that sounds like its sentiments - where simple pleasures make you and I "...young again...". The lyrics to the mammoth "The Vision Of The Lady In The Lake" take up two pages – but if I'm completely honest I've always found the noises in the background as the verses pass more intrusive than complimentary – and that drums/guitar break about six minutes in kills it for me. Others of course will view it as Prog Folk/Acid Folk at its expressive wild best (one man's poison etc). By way of melodic compensation for the indulgence that just went before – we get the 49-second "Close Your Eyes" ditty that ends Side 2 – leaving the listener panting for more (of the same).

All four of the Bonus Tracks have much to recommend – the Lindisfarne bop of the outtake "We'll Meet Again Sometime" would have been a very cool signal with its 'look upon your loveliness' vibe. An acoustic guitar opening quickly followed by Bowie Cello notes introduces the stand-alone British 45 "Forever" - a good song that is perhaps too overly busy for its own good – and stylistically too similar to The Moody Blues. But I must admit it's an amazing piece of well-produced melodrama and a huge fan rarity finally on CD. The two BBC Sessions are pleasingly well recorded – those duet vocals very clear as are the strings and acoustic guitars. But for me it's the version of "We’ll Meet Again Sometime" that feels special – stripped of that over-production – it makes you concentrate on The Hollies vocals and the 'my love reflected in your eyes' the-boy's-in-love lyrics. Very nice...

London's Psych-Folk-Rockers would have to wait until John Ford and Richard Hudson joined the line-up in June 1970 and recorded what would be November 1970's live album "Just A Collection Of Antiques And Curios" to chart in Blighty - a modest No. 27 - but a start nonetheless. July 1971 would give us "From The Witchwood" and February 1972 the breakthrough album "Grave New World" which finally saw them go Top 20 peaking at an impressive No. 11 (see separate review).

Overlooked – unfairly forgotten – a bit of a friggin' masterpiece frankly – The Strawbs' second album "Dragonfly" is all of these things. And how good is it to hear this amazing CD Remaster do that flirting moment of musical brilliance a proper solid. Big respect to all involved...

"Hey Jude" [aka "The Beatles' Again"] by THE BEATLES - February 1970 US STEREO Album (2014 Apple 'The U.S. Albums' CD Album Repro - Using 2009 Stereo Remasters) - A Review by Mark Barry...

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I've always held a torch for this forgotten American compilation - a stopgap between September 1969's "Abbey Road" and the wait for the 'new' and final Beatles album - "Let It Be" in May 1970. And while American fans have grown up with the 10-track "Hey Jude" retrospective as if it were the most natural thing in the world (essentially a chronological line-up of non-album singles) - British fans rarely saw 1970 UK originals because of their rarity.

The original vinyl album was US-released 26 February 1970 on Apple SW 385 – a common record in secondhand bargain bins across the USA for decades to come (some re-pressed copies titled it "The Beatles’ Again"). But in England it was initially 1970 released as an 'Export Only' LP with the super rare Parlophone CPSC 106 catalogue number (laminate sleeve as opposed to the American card issue). No one seems to know how many of these were pressed for 'Export Only' but it wasn't vast. Hence the biggest band in the world had a rarity that now clocks in at a whopping £600 in the 2018 issue of the Record Collector 'Rare Record Price Guide'. Its official UK issue to Joe Public didn't inexplicably come until the end of the decade on Apple PCS 7184 - released 21 May 1979 - nine years after the event. It was quickly deleted and that pressing has also been hard to find ever since too. Which brings us to the digital age...

"Hey Jude" and its history on CD has been the subject of countless bootlegs (some with bonus tracks) - until now. Using the 9 September 2009 Remasters - at last EMI/Capitol has reissued all of the American-configured albums in "The U.S. Albums" Box Set - released 21 January 2014. If you don't want the large and expensive Box - each has been given an individual issue too (except "The Beatles Story" which is exclusive to the Box Set). While most of the CDs in that Box Set contain the Mono and Stereo variants of their American LPs - only "Hey Jude" and "The Beatles' Story" are presented in STEREO. So what we have here is a Repro of the 10-track LP as originally released in the spring of 1970. Here are the 'Christ you know it ain't easy' details...

UK and US released 21 January 2014 - "Hey Jude" by THE BEATLES on Apple B0019710-02 (Barcode 602537643738) is a straightforward 10-track CD reissue of the 1970 American compilation LP (aka "The Beatles Again") in STEREO only and plays out as follows (33:24 minutes):

1. Can't Buy Me Love [Side 1]
2. I Should Have Known Better
3. Paperback Writer
4. Rain
5. Lady Madonna
6. Revolution
7. Hey Jude [Side 2]
8. Old Brown Shoe
9. Don't Let Me Down
10. The Ballad Of John And Yoko

As you can see from the photos provided below - the repro is an accurate depiction of Apple SW 385. There's an OBI strip with the 50th Anniversary logo (the Box set was issued to celebrate the British band's earth-shattering first visit to America in February 1964) and a plain white inner bag with the SW 385 catalogue number. But disappointingly there are no liner notes or booklet. But that all pales because what gets me is the 'listen'...

People raved about the 'Red' and "Blue' doubles when they were released in 1973 - the way the tracks were so brilliantly configured on each double-album - non-album single sides following choice album cuts. With "Hey Jude" you get the same feeling. The way "Paperback Writer" follows the Side 1 openers "Can't Buy Me Love" and "I Should Have Known Better" shows a line of creative growth that's staggering. The next three cleverly keep up this 'anything can happen next' momentum with the guitar-jangle of the lesser heard "Rain" - the non-album British B-side of "Paperback Writer" in June 1966. We then leap to March 1968 with the UK A-side "Lady Madonna" - Macca having fun with lyrics like 'creeping like a nun' while the boys bah-bah-bah behind some brass. The Apple side ends with the monster guitars of Lennon's stunning "Revolution" - a hundred million light years away from the mop tops that charmed everyone in 1963 and 1964 (you know it's gonna be alright).

Side 2 opens gives us the full 7:10-minute range of "Hey Jude" – a McCartney ballad that to this day astonishes with its sheer staying power (rocking John held the B-side with "Revolution"). George Harrison finally gets his moment to shine with the slightly throwaway "Old Brown Shoe" while I’ve always argued that "Don't Let Me Down" would have elevated the "Let It Be" album into immortality and is the greatest B-side ever penned. Lennon brings wit and reality to end proceedings on Side 2 with the deceptively brilliant "The Ballad Of John And Yoko" - Macca's counter vocal so damn good - and those lyrics "...newspapers say she's gone to his head...they look like two gurus in drag..."

They were so grown up and yet so far apart (that photo on the rear sleeve) when this compilation hit the streets in a country that took them into their very souls.

 

A stocking-filler in February 1970 - a stopgap appetizer between the main courses of "Abbey Road" and "Let It Be" - one of those knocked-out record company exploit-the-popularity-of-the-band releases?

 

Whatever way you look at it - America's "Hey Jude" album (aka "The Beatles Again") was one of those Capitol Records vinyl compilations that worked in spades and remains a joyous one-stop career listen to this day. And this CD Repro in its natty artwork with its stunning audio quality is a blast - and dare we say it - so cool. What's not to love me do. And wouldn't John and George have just loved that...