"At Fillmore East" by THE ALLMAN BROTHERS BAND (September 2003 Universal/Mercury/Chronicles 2CD Reissue - Suha Gur Remasters) - A Review by Mark Barry...

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"...Six In The Morning..." 

Jetlagged and bleary after a 10-hour transatlantic flight from Paris the day before (itself a spur of the moment thing after bad weather in Europe freaked him out) – Producer Tom Dowd phoned the offices of Atlantic Records in New York the following afternoon to see what was occurring. A panicked secretary reputedly advised him in no uncertain terms that he'd better wake up pronto (or partake of some Peruvian dancing dust) because he was urgently required for a recording gig in less than 24-hours. The Allman Brothers would be headlining at Bill Graham's Fillmore East – an old vaudevillian New York theatre house on 2nd Avenue where they'd played four times before but always as a support act to the likes of Blood, Sweat & Tears. Unfazed – the revered Producer who'd been shaping Atlantic's distinctive Soul and Rock sounds for over 20 years - witnessed the Southern Rockers take the stage on the opening Thursday night with a less than well rehearsed brass section. Dowd was duly appalled.

Legend has it that he bawled out the band backstage – calling it sloppy and unprofessional – roaring at them – demanding they drop the peripheral crap and get back to boogie basics – a set made up of new material and Blues standards from Elmore James, Willie Cobbs, T-Bone Walker and Blind Willie McTell. Now most hairy-assed slide-guitar Southern diplomats would have broken a bottle of Jack Daniels over his nancy New Yorker's head and used words not necessarily in the Webster Dictionary as they pointed his grizzled rump towards the stage door. But this was TOM DOWD and they knew of his incredible track record and professional 'ear'. The Allmans listened – respected – and acted. And across the remaining three shows over two nights (8:00 pm and 11:30 pm on 12 and 13 March) – Dowd caught lightning in a bottle – one of the most famous and revered live doubles ever put to tape. The fourth show had been interrupted by a bomb scare but they played into the early hours regardless – huge 30-minute jams – a tight rhythm section – Duane's inspired lead – a band ready to take on the world.

Dowd got 20 reels of tape – mostly favouring the fourth show where (perhaps because of the scares) he felt the band was most fluid - 'cooking' even. Seven tracks made the final July 1971 2LP set with "You Don't Love Me" and "Whipping Post" taking up residency as all of Side 2 and 4 respectively. "Trouble No More" and the humungous 33-minute "Mountain Jam" were set aside for use on the "Eat A Peach" double released February 1972 - as was "One Way Out" taped 27 June 1971 at further Fillmore East gigs. "Don't Keep Me Wonderin'" turned up on the appeared-too-fast "Duane Allman Anthology" twofer in November 1972 - released after his passing from a motorcycle accident October 1971 during the Peach Sessions aged only 24. Another straggler from the 27 June 1971 shows "Midnight Rider" eventually showed on "Duane Allman Anthology, Volume 2" in August 1974. Last but by no means least – with dawn's light already broken - "Drunken Hearted Boy" was an encore that saw Elvin Bishop join the band on stage at six a.m. on the 13th of March 1971 – itself finally appearing in the 4CD/6LP Retrospective Box Set "Dreams" in July 1989. It’s also safe to say that "At Fillmore East" put the Capricorn Records label and Southern Rock in general on the world map – paving the way for The Marshall Tucker Band, Elvin Bishop, The Outlaws, Z.Z. Top and of course Lynyrd Skynyrd.

Which brings us to this 23 September 2003 Deluxe Edition reissue that draws all of those disparate sources together in one ace remastered bundle – here are the six-in-the-morning details...

UK released 23 September 2003 (24 September 2004 in the USA) – "The Allman Brothers Band At Fillmore East: Deluxe Edition" by THE ALLMAN BROTHERS BAND on Universal/Mercury/Chronicles 0044007735329 (Barcode 044007735329) is a 2CD 'Deluxe Edition' Remaster that plays outs as follows (the USA issue is B0000401-02 - Barcode 044007735329):

Disc 1 (65:12 minutes):

1. Statesboro Blues [4:17 minutes]

2. Trouble No More [3:43 minutes]

3. Don't Keep Me Wonderin' [3:27 minutes]

4. Done Somebody Wrong [4:33 minutes]

5. Stormy Monday [8:48 minutes]

6. One Way Out [4:56 minutes]

7. In Memory Of Elizabeth Reed [13:04 minutes]

8. You Don't Love Me [19:16 minutes]

9. Midnight Rider [2:55 minutes]

Disc 2 (68:51 minutes):

1. Hot 'Lanta [5:20 minutes]

2. Whipping Post [22:53 minutes]

3. Mountain Jam [33:39 minutes]

4. Drunken Hearted Boy [6:57 minutes]

Tracks 1, 4, 5, 8 on Disc 1 and Tracks 1 and 2 on Disc 2 make up the original July 1971 2LP set as follows:

Side 1:

1. Statesboro Blues [Blind Willie McTell cover]

2. Done Somebody Wrong [Elmore James cover]

3. Stormy Monday [T-Bone Walker cover]

Side 2:

1. You Don't Love Me [Willie Cobbs cover]

Side 3:

1. Hot 'Lanta [Allman Brothers song]

2. In Memory Of Elizabeth Reed [Dickey Betts of The Allman Brothers song]

Side 4:

1. Whipping Post [Gregg Allman song]

"The Allman Brothers Band At Fillmore East" was released July 1971 in the USA on Capricorn Records SD-2 860 and Capricorn 2659 005 in the UK. Produced by TOM DOWD - it peaked at No. 13 in the US LP charts (didn't chart UK).

Tracks 2 and 6 on Disc 1 originally appeared February 1972 on the US 2LP set "Eat A Peach" on Capricorn Records 2CP-0102

Track 3 on Disc 1 originally appeared November 1972 on the US 2LP set "Duane Allman Anthology" on Capricorn Records 2CP-0108

Track 9 on Disc 1 originally appeared August 1974 on the US 2LP set "Duane Allman Anthology, Volume 2" on Capricorn Records CPN-2-0139

Track 4 on Disc 2 originally appeared July 1989 on the 4CD/6LP/4MC Box Set "Dreams" on Polydor 422 839 417-2

The Band:

DUANE ALLMAN – Lead and Slide Guitars

GREGG ALLMAN – Organ, Piano and Vocals

DICKEY BETTS – Lead Guitar

BERRY OAKLEY – Bass

JAIMOE – Drums, Congas and Timbales

BUTCH TRUCKS – Drums and Tympani

Guests:

Thom Doucette – Harmonica on "Don't Keep Me Wonderin'", "Done Somebody Wrong", "Stormy Monday" and "You Don't Love Me"

Elvin Bishop - Guitar and Vocals on "Drunken Hearted Boy"

Steve Miller - Piano on "Drunken Hearted Boy"

Bobby Caldwell - Percussion on "Drunken Hearted Boy"

The outer plastic 'Deluxe Edition' slipcase lends these reissues a real touch of substance - while the 28-page features classy black and white photos of the boys making history and individual plates of each band member. The original album's inner gatefold photos of the band live now take up either side of the opened digipak. A nice touch is an alternate outtake of the famous 'five roadies' photo on the back cover of the original double (still on the back of the digipak). The booklet's last page uses a moments-earlier outtake photo where there's suddenly six of them (the iconic shot was actually done at the Capricorn Studios in Macon, Georgia and not as people presumed against the walls of The Fillmore East in New York). DAVE THOMPSON stumps up an entertaining and enlightening set of liner notes - filling in the factual stuff while at the same time wearing his affection for the album firmly on his sleeve. He also quite rightly points out that the release practically kick-started the ‘Live Double-Album’ as a vinyl phenomenon that still exists to this day and dominated the whole of the Seventies.

But the big news is a new SUHA GUR Remaster. As you can see from the track line-up above – this 2CD DE lines up the tracks as they were played –giving you a feel for progression. When he says ‘we got an Elmore James number for you’ at the beginning of "Done Somebody Wrong" or the intro to "Whipping Post" where someone from the audience shouts for it – you can feel the intensity of the band live in your living room. There is also that discernable feeling that these are recordings unleashed – much like the band as they rip through solo and solo...

As that slide guitar comes screaming in on "Statesboro Blues" – they already sound like your favourite bar band – only writ larger. Introducing the new Elmore James cut "Done Somebody Wrong" (said with a Southern twang). The audience gets a real taste of the playing when they launch into a fabulous version of T-Bone Walker's "Stormy Monday" - those solos and that organ support - all of it so sweet. The put-your-hands-together Willie Cobbs winner "You Don't Love Me" lifts the crowd into boogie heaven. To this day when I hear a bar-band lay into its great chords to get a crowd neck-jerking - I think of what it must have been like for Allmans fans at that show – all 19-minutes of it.

"Hot 'Lanta" feels almost early Little Feat in places or even Santana - the band swinging and swaying - the whole thing just so beautifully together. The Dickie Betts instrumental "In Memory Of Elizabeth Reed" changes the tempo into a sexy almost Latin sway - while at the same time allowing the two lead guitars to indulge. You get well-rehearsed virtuoso playing - in fact this is one of my faves on the double precisely because it shows the Allmans could 'groove' with the best of them (I'd swear Carlos would approve).  The 5:22 minutes of "Whipping Post" from their November 1969 self-titled debut album gets cranked up to eleven on the 23-minute live version in 1971. And again there's that Santana thing going on as the band slow it down half way through - all that sweet Bass and crashing cymbals.

The 1955 Muddy Waters Chess classic "Trouble No More" gives the boys another chance to shine on the Boogie front and frankly you can't help think it should have been on the original double album - but what would you drop (sports fabulous remastered sound here and feel). Another Elmore James stomper "One Way Out" only adds to that foot-tapping bank balance. The 33 and a half-minute bruiser that is "Mountain Jam" takes its central theme from a 1967 Donovan single "There Is A Mountain" and is surely one of the prizes here. And there’s Steve Miller and Elvin Bishop helping out on the raucous finisher "Drunken Hearted Boy" – how cool.

When I think about the landslide of Southern Rock that followed after this landmark live set - I look at my battered vinyl copy (its spine split) and smile. I'm fairly certain this truly excellent 2CD DE version of "At Fillmore East" will elicit the same response once it's in your latest rig...

"Solo (Live)" by DON McLEAN - September 1976 First Live Set - Double-Album on United Artists (1994 and 2008 UK Beat Goes On Records (BGO) Reissue - 2LP set Remastered onto 2CDs) - A Review by Mark Barry...

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"…I Was Coming Back Anyway!"

After five studio albums covering the varying styles of Folk, Rock, Country, Dixieland and even Old Timey Music Hall - it was time for Don McLean to strip away all the studio gadgets - get back to basics and literally go 'Solo' on stage. Originally released in late 1976 as a vinyl double-album - "Solo" does what it says on the tin - it's just Don McLean and his guitar or his banjo or his voice ("Geordie Has Lost His Penker" is Acapella). With songs covering love, heartbreak, painters, hobos, poverty and lots of laughter and Americana inbetween - the crowd is swept along with his sincerity, his warmth and crafted performance skills.

So back in 1994 - Britain's Beat Goes On remastered much of his United Artists album catalogue from the Seventies - and this 2CD offering is one of those hidden nuggets. Here are the details...

Originally released November 1994 (reissued in December 2008) – "Solo (Live)" by DON McLEAN on Beat Goes On BGOCD 300 (Barcode 5017261203007) is a straightforward 2CD transfer of the vinyl double-album "Solo" originally released September 1976 in the USA on United Artists UA-LA652-H2 and in the UK on United Artists UAD 60139. It breaks down as follows...

Disc 1 (53:50 minutes):

1. Magdalene Lane

2. Masters Of War

3. Wonderful Baby

4. Where Were You Baby

5. Empty Chairs

6. Geordie's Lost His Penker

7. Babylon

8. And I Love You So [Side 2]

9. Mactavish Is Dead

10. Cripple Creek/Muleskinner Blues

11. Great Big man

12. Bronco Bill's Lament

13. Happy Trails

14. Circus Song

15. Birthday Song

16. On The Amazon

Disc 2 (50:48 minutes):

1. American Pie [Side 3]

2. Over The Waterfall/Arkansas Traveller

3. Homeless Brother

4. Castles In The Air/Three Flights Up

5. Lovesick Blues [Side 4]

6. Winter Has Me In Its Grip

7. The Legend Of Andrew McCrew

8. Dreidel

9. Vincent

10. Till Tomorrow

The 12-page booklet has typically excellent liner notes by JOHN TOBLER (dated 1994) with gatefold artwork on the inner pages. Tobler details much of McLean's career up to 1976 (Perry Como and Presley covering the gorgeous "And I Love You So" - the story of the black cripple and pauper Andrew McCrew finally getting a headstone because of McLean's song - and so on). The remaster was done at Sound Mastering (then in Cambridge) and is clean with only minor hiss issues on the very quietest of songs (doesn't say who did what). But it should be added that as this is a live set clearly from different audiences - the audio ping-pongs about a bit - but mostly it's a top-notch transfer and hugely evocative. Mostly you're too immersed in the storytelling to notice...

Amongst my favourites is "Winter Has Me In Its Grip" - originally on 1974's "Homeless Brother" - a typically simple song that slays you. The audience almost sings along to "And I Love You So" while the trio of "American Pie", "Vincent" and the lovely "Till Tomorrow" elicit just that - crowd sing-alongs ("Empty Chairs" is fabulous too). But the album belongs to "Babylon" where he splits the audience up into groups and has them singing various parts - each harmonising - it's frankly magical. McLean has always been a great songwriter - but this lovely BGO 2CD reissue shows what an amazing performer he is too into the bargain.

As he comes back out on stage to perform "Till Tomorrow" as an encore (ending Side 4) - he jokes - "I was coming back anyway!" I suspect that after you succumb to this reissue’s many charms - you'll find yourself doing exactly that...

"Homeless Brother" by DON McLEAN (1994 and 2008 Beat Goes On CD Remaster) - A Review by Mark Barry...

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PICK UP THE PIECES - 1974

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"…I'm Too Young To Feel This Old…" 

Don McLean albums are often hit and miss affairs ("Homeless Brother" is no different). But possessed of a way with melody that few artists have – when New York State Don hits that sweet spot - the results are gorgeous and often impossibly moving.

Back in 1994 Britain's Beat Goes On Records (aka BGO Records) remastered much of his United Artists album catalogue from the Seventies - and this 1974 offering is one of those hidden nuggets. Here are the details…

Originally released November 1994 (reissued in December 2008) – "Homeless Brother" by DON McLEAN on Beat Goes On BGOCD 247 (Barcode 5017261202475) is a straightforward transfer of his 5th album released November 1974 in the USA on United Artists UA-LA315-G and also November 1974 in the UK on United Artists UAG 29646 (38:26 minutes):

1. Winter Has Me In Its Grip [Side 1]

2. La La Love You

3. Homeless Brother

4. Sunshine Life For Me (Sail Away Raymond)

5. The Legend Of Andrew McCrew

6. Wonderful Baby [Side 2]

7. You Have Lived

8. Great Big Man

9. Tangled (Like A Spider In Her Hair)

10. Crying In The Chapel

11. Did You Know

The 12-page booklet has typically excellent liner notes by JOHN TOBLER (dated 1994) followed by song lyrics and musician credits. The remaster was done at Sound Mastering (then in Cambridge) and is beautifully clean with only minor hiss issues on the very quietest of songs (doesn't say who did what). It's a top-notch transfer.

McLean is a fantastic lyricist - painting images that are so vivid. In "Lonesome Brother" we get "...it was just a drunken hobo...dancin' circles in the night...pourin’ whisky on the headstones in the blue moonlight…" and in "You Have Lived" he admires a social outcast "...confined by fashion and peer…I love you for your courage in this frighten atmosphere…" Inspired by Fred Astaire and dedicated to him – McLean's "Wonderful Baby" would eventually be recorded by the master dancer himself in 1976 on Astaire's "Attitude Dancing" album (United Artists UK put McLean's song out as a 45 in January 1975 on UP 35764 with "Homeless Brother" on the flip). The upbeat and decidedly fruity "La La Love You" has Don pleading with his lady to "...just let me ride your box car…and I'll hobo with you…" - naughty boy.

One of the huge songs on the album even made the news in the USA and changed a forgotten soul's final fate. "The Legend Of Andrew McGrew" tells the story of a tramp's body sat prostate in a straw chair – his mummified remains peddled for decades as a travelling-show exhibit. Highlighting McGrew's horrible treatment - the song finally saw the lost man be given a decent burial. The lovely ballad "Tangled (Like A Spider In Her Hair)" sees Don sing and play acoustic guitar with only the faintest of percussion from Ralph McDonald. He then shares an Acapella rendition of The Orioles 1953 Vocal Group hit on Jubilee "Crying In The Chapel" with The Persuasions – the lack of instruments give it a Fifties feel and make it all the more striking (the song was also covered memorably by Elvis in 1965 on RCA).

One of my favourites is the gentle opener "Winter Has Me In Its Grip" – a typically simple Don McLean melody that slays and soothes simultaneously. Yusef Lateef provides Flute as McLean does a truly gorgeous backing vocal duet with Kenny Vance (lyrics from it title this review). The album ends on one of the album's prettier songs "Did You Know" – again just McLean and acoustic guitar with a Willis Jackson Tenor Saxophone towards the end.

The 1974 Don McLean album "Homeless Brother" isn't up there with "American Pie" (1971) or "Playing Favourites" (1973) - but typical of such much of his gorgeously understated music - those moments in-between are going to get you. 

A lovely reissue and if I'd enough mullah, I'd love to own his UA Back-catalogue catalogue on those natty Mini-LP SHM-CD reissues out of Japan…

"American Pie" by DON McLEAN (June 2003 Capitol 'Expanded Edition' CD Remaster in Gatefold Card Slv Repro Artwork with Two Bonus Tracks) - A Review by Mark Barry...

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"...Now I Understand What You Tried To Say To Me..." 

Some artists have a gift. Their songs are more than pretty or even beautiful - they somehow find their way into your very soul. New York's DON McLEAN is one of those singer-songwriters - and 1971's "American Pie" will forever be his acoustic-soulful rock-masterpiece.

Some backdrop first - his September 1970 debut album "Tapestry" was originally issued on Mediarts 41-4 in the USA and received hugely favourable reviews but precious little chart action. But akin to his monolithic second LP - his debut had tunes that were undeniably good. So when UA picked up the Mediarts back-catalogue they reissued "Tapestry" in August 1971 on United Artists UAS 5522. That version finally charted December 1972 in the USA on the back of the "American Pie" single and LP success peaking at No. 111. Over in Blighty however - "Tapestry" would not surface until May 1972 on United Artists UAS 29350 - 3 months after the also late British release of the "American Pie" LP in February 1972. “Tapestry" made no impact and UA Britain didn't even try a 45 from it. Which brings us to album No. 2...

Aged only 26 and dedicating his second outing to Buddy Holly (McLean was 13 when the plane that took his Rock 'n' Roll hero's life crashed in a snowy field in February 1959) - "American Pie" was released October 1971 on United Artists UAS 5535. Running to a whopping 8:32 minutes - the album's famous title track was split into two parts for a 45 in November 1971 by UA and given the luxury of a picture sleeve (the album artwork). United Artists 50856 made an immediate impact. So popular was the song that DJs even blanked the 'turn it over' hassle of the single and played the full LP version instead - unheard off for a tune of such length on American Radio. On the back of all this airwave plugging the "American Pie" album entered the US LP charts 13 November 1971 where it began an ascent all the way to Number 1 - staying on the LP charts a huge 48 weeks - almost an entire year.

The UK didn't see the "American Pie" 7" single until early December 1971 and then as a 4-minute edited A-side on United Artists UP 35323 with "Empty Chairs" on the B. It was reissued 21 January 1972 as a two-part single on United Artists UP 35325 – a month before the LP's release in February – and it was this reissued version that hit the charts immediately – eventually rising to No. 2. The albums only other UK 45 was of course "Vincent" with "Castles In The Air" on the flipside - released late March 1972 on United Artists UP 35359 in a picture sleeve. It famously became a UK No. 1 - a poignant ballad that is adored to this day and permanent feature on Oldies playlists.

Which brings by a circuitous route to this rather lovely CD reissue that unfortunately has audio issues on some important tracks. Here are the starry, starry details...

UK released 24 June 2003 - "American Pie" by DON McLEAN on Capitol 72435-84279-2-9 (Barcode 724358427929) is an 'Expanded Edition' CD Remaster with Two Bonus Tracks that plays out as follows (46:23 minutes):

1. American Pie [Side 1]

2. Till Tomorrow

3. Vincent

4. Crossroads

5. Winterwood [Side 2]

6. Empty Chairs

7. Everybody Loves Me, Baby

8. Sister Fatima

9. The Grave

10. Babylon

Tracks 1 to 10 are his 2nd studio album "American Pie" - released 15 October 1971 in the USA on United Artists UAS 5535 and February 1972 in the UK on United Artists UAS 29285. Recorded at The Record Plant Studios in New York in May and June 1971 and Produced by ED FREEMAN - it peaked at No. 1 in the USA and No.3 in the UK. All songs are Don McLean originals except the Traditional "Babylon".

BONUS TRACKS (Previously Unreleased):

11. Mother Nature

12. Aftermath

Original vinyl copies of the LP (artwork and photos by George Whiteman) came with an inner sleeve sporting a photo and dedication to the TV cowboy Hoppalong Cassidy astride his steed Hopper that is reproduced in the centre of the foldout card sleeve. The 12-page booklet in the left flap reproduces the lyrics for the first time and gives a track-by-track breakdown from new interviews with McLean in April 2003 by liner-notes writer PAUL GREIN. Amidst the telling is the recounting of Lori Lieberman's writing of "Killing Me Softly With His Song" - itself a No. 1 for Roberta Flack - a song Lieberman wrote after attending a Don McLean concert in the Troubadour in L.A. – moved to tears on hearing him play "Empty Chairs" from the American Pie LP. There's also a photo of DL on a bench with an old Blues Boy and his acoustic guitar (looks like The Village).

The CD Remaster by DOUG SCHWARTZ was done April 2003 at Mulholland Music in California with one of the Bonus Tracks "Aftermath" mixed by BILL SMITH at Capitol. The sound improvement is immediate when you play that famous opening cut – Paul Griffin's Piano – David Spinoza's guitar licks – much better for sure – clear and warm. But I'd add that there is some serious tape hiss on some of the quieter tracks and typically its on songs people adore like "Vincent" and "Empty Chairs". It’s a warm transfer overall for sure – full of life and air around the instruments - but I’d warn caution. This is a four-star audio listen for five-star material - something I suspect is inherent on the source tapes and couldn't be helped. On to the music and the words...

I’d forgotten about his lyrics – how good they are. "American Pie" – his tribute to the day the music died (3 February 1959) - hosts some great storytelling – the father, the son and the Holy Ghost who caught the last train to the coast – while good ole boys sit drinking whiskey and rye singing... But for me the real magic begins with the truly gorgeous "Till Tomorrow" – as beautiful and as simple a melody as you've ever heard. The album's other monster song is of course "Vincent" - a ballad to the doomed artist - but along with "Crossroads" - both are laden with hiss despite their sweet beauty.

Side 2 opens with a song I played to death back in the day - the uplifting jaunt of "Winterwood". Acoustic guitars and gentle vibes hold up lyrics like "...no one can take your place with me...there's no place I'd rather be...than it's your place for the night..." This is a song where birds sing hopeful songs on dismal days. I wonder how many men and women have shed a tear to the heartache inherent in "Empty Chairs" - McLean strumming your pain as the lady said ("...I never understood...that although you said you'd go...until you did...I never thought you would..."). Grein reckons that the bopper "Everybody Loves Me, Baby" would have made a great third 45 - I beg to differ - I've always thought it overbearing (although the Remaster is excellent). The trio of "Sister Fatima", the Acapella bareness of the lost marines song "The Grave" and the Traditional cover of "Babylon" take the LP to the finish line - beautiful stuff.

I hadn't expected much from the two bonus cuts - but I'm glad to say that both the upbeat "Mother Nature" (a band number) and the haunting "Aftermath" (an acoustic number that should have replaced "Everybody Loves Me, Baby") act as a perfect end game. "Aftermath" also has gorgeous audio – better than many of the more famous album cuts on Side 1.

"...My sorrow will take wings in the morning..." – Don McLean sings on the Soul touching "Till Tomorrow". Discover why they call this great album an American classic on this lovely and cheap-as-chips CD...

PS: I've also reviewed "Homeless Brother" and the double-live set "Solo"...

"One Year" by COLIN BLUNSTONE (August 1998 Epic/Rewind CD Remaster - Reissued March 2010) - A Review by Mark Barry...

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"...Say You Don't Mind...You'll Let Me Off This Time..." 

Colin Blunstone's debut solo album "One Year" has always been a huge fan fave - its 1971 stippled effect LP sleeve and distinctive Epic Records yellow label enough to make men of a certain age go mushy. Not only did it contain the hugely popular and melodic hit single "Say You Don't Mind" (peaked at No. 15 in early 1972) - it featured more of the same - other breathy lushly orchestrated beauties that stand up to scrutiny in 2017 - 46 years after the event.

Which brings us to this 'Rewind' CD - a basic Remaster from Sony's Epic accompanied by a hugely inadequate gatefold slip of paper as a supposed inlay. Still - it sounds good enough - and at least it's still available relatively cheaply. Here are the details... 

UK released August 1998 (reissued March 2010) - "One Year" by COLIN BLUNSTONE on Epic/Rewind 491694 2 (Barcode 5099749169425) is a straightforward 10-track Remaster of the 1971 LP and plays out as follows (43:23 minutes):

1. She Loves The Way They Love Her - Side 1
2. Misty Roses
3. Smokey Day
4. Caroline Goodbye
5. Though You Are Far Away
6. Mary Won't You Warm My Bed - Side 2
7. Her Song
8. I Can't Live Without You
9. Let Me Come Closer To You
10. Say You Don't Mind
Tracks 1 to 10 are his debut solo LP (after The Zombies) called "One Year" - released December 1971 in the UK on Epic Records S EPC 64557 and January 1972 in the USA on Epic Records E 30974. Produced by ROD ARGENT and CHRIS WHITE (both of Argent) - it failed to chart in either country.

"Caroline Goodbye", "Though You Are far Away", "I Can’t Live Without You" and "Let Me Come Closer To You" are Colin Blunstone originals - "She Loves The Way They Love Her", "Smokey Day" and "Her Song" are Rod Argent/Chris White songs (both from ARGENT) - "Mary Won’t You Warm My Bed" is a Mike d’Abo cover version - "Misty Roses" is a Tim Hardin cover version and "Say You Don’t Mind" is a Denny Laine song (he would later play and be a part of Paul and Linda McCartney’s Wings).

Four members of the British band ARGENT (Rod Argent, Russ Ballard, Robert Henrit and Jim Rodford) play on three songs - "She Loves The Way They Love Her", "Caroline Goodbye" and "Mary Won't You Warm My Bed". Rod Argent, Chris White, Jim Rodford and Colin Blunstone had also been founder members of THE ZOMBIES - Drummer Robert 'Bob' Henrit also played with The John Verity Band in 1974, Phoenix in 1976 and Russ Ballard's Barnet's Dogs in 1980. Alan Crosthwaite also plays guitar on "Misty Roses".

The gatefold slip of paper that is the inlay reproduces the original album musician and recording credits (T. Rex and Bowie's Tony Visconti arranged some of the tracks) and Blunstone's own short appraisal from the rear sleeve (he'd written the record between July 1970 and July 1971 hence its title) – but absolutely naught else. It doesn't even advise who remastered what or where or from which source – although to my ears the sound is GORGEOUS. Most of these songs feature Blunstone up against a set of cello strings or lone viola – and the clarity is beautiful. Most of the 'Rewind' Series of CD reissues were like this - short on details - but with excellent Remastered Audio. Let's get to the music...

As early as March 1971 – Epic UK tried the Mike d'Abo song "Mary, Won't You Warm My Bed" as his British debut 7" single using the non-album Blunstone original "I Hope I Didn't Say Too Much Last Night" as its flipside. But there were few takers for Epic EPC 7095 and it tanked. Speaking of catalogue disasters - it doesn't of course take particular genius to work out that if the Sony Rewind compilers had any brains or real interest in this reissue – they could easily have included that non-album song as a Bonus Track (but alas). Epic UK then tried 45 No. 2 in early October 1971 just before the album was about to hit the shops. Pairing two of his own - "Caroline Goodbye" with the equally beautiful "Though You Are Far Away" – Epic EPC 7520 suffered the same fate as its March 1971 predecessor - no takers. Which is a damn shame because both songs make for a truly classy outing – melodies that deserved a better fate. Epic in the USA paired "Caroline Goodbye" with "Misty Roses" in January 1972 (the month the album was released) on Epic 5-10826 but it didn't chart.

It wasn't until late January 1972 when the album's last cut - Denny Laine's fabulous "Say You Don't Mind" - got put on UK 7" single No. 3 - and suddenly Blunstone was on the map. Epic S EPC 7765 entered the British pop charts 12 February 1972 (only two weeks after its 28 January 1972 release date) and eventually rose to a respectable and deserving No. 15 - staying a total of 9 weeks in the Top 40. The brass band sounding and organ based "Let Me Come Closer To You" was its perfect B-side in Blighty - in fact I thought it should have been released as the follow-up 45.

The album's opening track is the overly busy and loud "She Loves The Way They Love Her" - the earliest recording for the album where Blunstone clearly hadn't yet decided that his debut would be a largely quiet affair with melody, acoustic guitars and various string instruments. It sticks out as a rather odd and bombastic beginning. Things however settle into Nick Drake beauty with Colin's seriously smart and superbly arranged cover version of Tim Hardin's "Misty Roses" - a highlight on his "Tim Hardin 1" debut LP on Verve Forecast in 1966. Chris Gunning arranged the sweetly played string section that makes up Part 2 of the "Misty Roses" cover - and I wish we finally knew the names of the classy players (but no). Other highlights include "Smokey Day" which comes so close to "Bryter Layter" in its ethereal gorgeousness - again wonderful string arrangements from Chris Gunning. The hurting "Her Song" is probably the ballad I return to the most – amazingly poignant - almost too sad. It’s yet another moving song - even from a distance of nearly five decades – on an LP that deserves to be rediscovered. 

Never as retro-cool as Nick Drake or commercially hip as Cat Stevens - nonetheless Colin Blunstone produced a hugely underrated album in "One Year" - something of a masterpiece in my mind (excepting that opening clunker). I just wish the CD showed that same love and affection. What we essentially have here is a 5-star singer-songwriter album from back in the day being given a 3-star CD reissue in the 90s. 

Blunstone would then follow "One Year" with "Ennismore" in November 1972 and "Journey" in March 1974 - both available on a Floating World/Voiceprint CD reissue in 2014 (see separate review). 

"...I love you ...you are love to me..." - Colin Blunstone pines in the aching "Her Song". I feel the same. Check out this forgotten classic...

"The Complete Atlantic Recordings" by BARBARA LYNN (October 2014 Real Gone Music/Rhino CD Remasters) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

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SOUL, FUNK and JAZZ FUSION - Exception CD Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"…Sure Is Worth It…" 

Now here's a very cool CD compilation from a relatively new reissue label on the block - the US-based REAL GONE MUSIC. This is my first purchase of their stuff and I have to say I'm more than impressed.

Soul fans will know that apart from Barbara Lynn's 12-track LP "Here Is..." on a Japanese import CD - her wonderful Soul stay with Atlantic Records has been hard to find to say the least. Real Gone Music (allayed with Soul Music Records and Rhino Custom Products) appear to have access to those elusive Atlantic Records tapes music lovers have been craving for decades. So - at last - fans get the real deal - all Barbara Lynn's work at Atlantic Records - and in fabulous Audio quality too.

The tracks are presented in recording date order on this CD - so it can be confusing working out what's what. In order to break it down in manageable chunks - I'm provided a track list and a Discography beneath that. Here are the Soulful details...

Released October 2014 - "The Complete Atlantic Recordings" by BARBARA LYNN on Real Gone Music/Rhino Custom Products/Soul Music Records RGM-0297 OPCD-8873 (Barcode 848064002970) is a CD compilation and pans out as follows (73:23 minutes):

1. This Is The Thanks I Get

2. Ring Telephone Ring

3. You'll Lose A Good Thing

4. Take Your Love And Run

5. Maybe We Can Slip Away

6. Sure Is Worth It

7. Only You Know How To Love Me

8. Until Then, I'll Suffer

9. You're Losing Me

10. Sufferin' City

11. Multiplying Pain

12. Why Can't You Love Me

13. Mix It Up Baby

14. He Ain't Gonna Do Right

15. Love Ain't Never Hurt Nobody

16. People Like Me

17. Unloved, Unwanted Me

18. You're Gonna See A Lot More (Of My Leaving)

19. Soul Deep

20. You Better Quit It

21. Nice And Easy

22. I'm A One Man Woman

23. (Daddy Hot Stuff) You're Too Hot To Hold

24. You Make Me So Hot

25. It Ain't Good To Be Too Good

ALBUM:

Fans can sequence her lone album for the label "Here Is Barbara Lynn" released July 1968 on Atlantic 8171 by using the following tracks:

Side 1: 3, 4, 5, 6, 7 and 8

Side 2: 9, 10, 11, 12, 13 and 1

SINGLES:

Her eight Atlantic 45s were issued as follows - [9] = Track Number etc

1. This Is The Thanks I Get [1] b/w Ring Telephone Ring [2]

1968, Atlantic 45-2450

2. Why Can't You Love Me [12] b/w You're Losing Me [9]

1968, Atlantic 45-2513

3. Love Ain't Never Hurt Nobody [15] b/w You're Gonna See A Lot More [18]

1968, Atlantic 45-2553

4. People Like Me [16] b/w He Ain't Gonna Do Right [14]

1969, Atlantic 45-2585

5. Until Then, I'll Suffer [8] b/w Take Your Love And Run [4]

1971, Atlantic 45-2812

6. Nice And Easy [21] b/w I'm A One Woman Man [22]

1972, Atlantic 45-2853

7. (Daddy Hot Stuff) You're Too Hot To Hold [23] b/w You Better Quit It [20]

1972, Atlantic 45-2880

8. You Make Me So Hot [24] b/w It Ain't No Good To Be Too Good [25]

1973, Atlantic 45-2931

Track 17 "Unloved, Unwanted Me" was first issued on the UK CD compilation "The Girls Got Soul" on Ace/Kent Soul CDKEND 186 in 2000 while Track 19 "Soul Deep" is PREVIOUSLY UNRELEASED

The 8-page booklet is good rather than great - it pictures lots of those Atlantic 45s, has detailed liner notes from noted writer and Soul lover DAVID NATHAN and not much else. It's a bit of a let down considering what Ace Records and Edsel regularly put out on UK reissues (RGM should up their game on this). But there's no disappointment on the Audio front - remastered by MIKE MILCHNER at SoundVision - the clarity and punch on offer here is fantastic.

Northern Soul monsters "Take Your Love And Run" and "Sure Is Worth It" (both very Motown) sound superb - guaranteed to see the talcum powder hitting the kitchen floor. The slow and Bluesy "(Until Then) I'll Suffer" and the brass/girly vocals pleader "He Ain't Gonna Do Right" both have small amounts of hiss on them but the atmosphere is HUGE so the lovely transfer has allowed them to breathe.

I had "You're Losing Me" on the "After Hours 3" CD compilation (another Northern Soul pleaser) and the mid-tempo "Nice And Easy" was on the first "You Better Believe It" CD compilation back in 2004. Things get guitar funky with "I'm A One Man Woman" while her cover of The Box Tops "Soul Deep" is a worthy Previously Unreleased find. There's a fabulous Sax throughout the R&B smoocher "You'll Lose A Good Thing" and a Staples Singers keyboard boogie feel to "Love Ain't Hurt Nobody".

A properly excellent reissue and one that's gonna have me reaching for more of the same. Speaking of which...

Similar 'Real Gone Music' titles to date are:

1. LINDA JONES - The Complete Atco-Loma-Warner Brothers Recordings

2. PATTI LaBELLE and THE BLUEBELLES - The Complete Atlantic Sides (2CDs)

3. BARBARA LEWIS - The Complete Atlantic Singles (2CDs)

4. BARBARA LYNN - The Complete Atlantic Recordings

5. JACKIE MOORE - The Complete Atlantic Recordings (Jan 2015)

6. BETTYE SWANN - The Complete Atlantic Recordings

7. THE SWEET INSPIRATIONS - The Complete Atlantic Singles (2CDs)

8. IRMA THOMAS - Full Time Woman: The Lost Cotillion Album

9. DEE DEE WARWICK – The Complete Atlantic Recordings (2CDs)

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"Betty Davis" by BETTY DAVIS (May 2007 Light In The Attic Records 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

SOUL, FUNK and JAZZ FUSION - Exception CD Remasters  

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(No Cut and Paste Crap)

"…Game Is My Middle Name…"

Back in the day - singing icon (and one-time wife of jazz trumpeter Miles) Betty Davis had more hard-on gumption in her painted toenails than any of today’s saccharine X-Factor wannabies could ever dream of - and her notorious take-no-prisoners 1973 self-titled debut album only hammers that home with a musical mallet. Real honesty is often shocking and our Betty knew how to shock - “I sat wiggling my fanny…” she fearlessly sang in the opening song. But were not talking about cheap theatrics here or sexual antics for the sake of it. Betty did her thing with conviction and a wickedly acidic sense of humour that didn’t annihilate either men or women but understood the body versus mind weaknesses of both. Any woman who pens a song as provocative and downright brutal as “Anti Love Song” demands our attention. Here are the fireball and ladylike details…

USA released May 2007 – "Betty Davis" by BETTY DAVIS is on Light In The Attic Records LITA 026 (Barcode 826853002622) is an 'Expanded CD Remaster' and plays out as follows (43:48 minutes):

1. If I’m In Luck I Might Get Picked Up

2. Walkin’ Up The Road

3. Anti Love Song

4. Your Man My Man

5. Ooh Yea [Side 2]

6. Steppin In Her I. Miller Shoes

7. Game Is My Middle Name

8. In The Meantime

Tracks 1 to 8 are the album "Betty Davis" – released September 1973 in the USA on Just Sunshine Records JSS-5

BONUS TRACKS:

9. Come Take Me

10. You Won’t See Me In The Morning

11. I Will Take That Ride

Previously Unreleased Tracks recorded 1974

The audio and the packaging (as it with all LITA reissues) are both fabulous. The mightily impressive booklet is 30-pages plus thick with brilliant OLIVER WANG liner notes featuring interviews with the elusive lady (she sanctioned the release of this and the follow up album “They Say I’m Different”). There are great publicity pictures, adverts, personal memorabilia and best of all - remasters from original tapes that literally challenge your stereo to a duel. This thing Rocks – it’s not loud for the sake of it – there is hiss occasionally – but the overall feeling you get is the presence of the real tapes in the hands of people who took care with the transfers. The audio here is wonderful and makes such a massive difference to the sheer visceral impact of her Punk-Funk music…

The second the vicious guitar-funk of “If In Luck I Might Just Get Picked Up” hits your speakers it sounds like Ike Turner has found the most unabashed hussy to front his band – and even as serial womanizers – the band themselves are terrified of her appetites. This is hard-edged, sexy funk and as Betty moans “take me home” towards the end of the song – you know she isn’t suggesting you join her in a crochet class. The nasty guitar-groove continues with “Walkin’ Up The Road” while “Anti Love Song” features the stunning lyrics like “because you know I could possess your body too…you know I could make you crawl…and just hard as I’d fall for you boy…you’d fall for me harder…and that’s why I ain’t gonna Love you…”

At this point we should mention the band and especially the guitarists who add so much to the downright dirty grooves – “If I’m In Luck I Might Get Picked” “Anti Love Song”, “Your Man My Man” and “In The Meantime feature DOUG RODRIGUES on the axe - while NEAL SCHON (later with JOURNEY) bolsters up “Walkin’ Up The Road”, “Anti Love Song”, “Ooh Yea” and “Steppin In Her I. Miller Shoes”. Coupled with LARRY GRAHAM (of Graham Central Station) and DOUG RAUCH (Santana) on Bass and GREG ERRICO (Sly and The Family Stone) on Drums – these guys had Funk and Fusion in their veins. When you get to the stop-start manic funk of “Ooh Yea” the band are literally on fire – like The Meters amped up to 13 on a dial of 12. 

SYLVESTER and THE POINTER SISTERS lend their backing vocals to the bad “Stepping In Her I. Miller Shoes” with Schon letting the guitar Rock roar when Betty stops tearing strips of some fancy-dresser. It ends on the surprisingly mellow “In The Meantime” where she pleads “tonight how I wish I had someone beside me…” while the big organ sound makes Sly’s backing band sound not unlike the Faces circa “Ooh La La”.

The unreleased stuff is more of the same – “don’t hurt me!” she growls at the opening of “Come Take Me” – when its us mere mortal men that would be afraid of her and not the other way around. Guitar-Funk returns with "You Won't See Me In The Morning" where pint-sized Betty warns "You better heed my warning..." as a wicked clavinet backing unpins the whole affair. And again the remaster is truly fantastic...

Her next album in 1974 was called “They Say I’m Different” and the 1975 LP after that called “Nasty Girl”. Betty Davis folks – accept no substitute...

PS: LITA reissued a VINYL LP version of the album in April 2008 too…

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