"The Works 1969-1971: Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS MAGIC THEATRE (April 2017 Cherry Red Records 3CD Mini Box Set) - A Review by Mark Barry...

This Review Along With Hundreds of Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK and POP - Exceptional 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)

"...Amused The Magic Throng..."

You have to love John Peel. Named after a batty relative of the percussionist Lyn Edwards (Lyn is pictured furthest to the right on the back cover of the "Soundtrack" LP) - Principle Edwards Magic Theatre were the first act signed in early 1969 to the witty DJ's new record label - Dandelion Records. And you have to wonder was Peely (and all 14 of the ensemble for that matter) on mushrooms not necessarily destined for tins of Heinz Soup. Re-listening to this music in April 2017 and it's bleeding obvious that this group stood no chance of chart success. Or maybe that was the point…

Part theatre, part Prog, part Folk Rock – PEMT incorporated all that was counter-culture in those halcyon years - hippy-lore, eastern mysticism, tie-dye shirts and dollops of ancient literature. Their sound was a hybrid of The Incredible String Band and Curved Air – a sort of Prog variant of Folk-Rock with a woman out front singing ponderous lyrics about rhododendrons in your midst while rainbow bridges lead to giants and interlunar caves (don't you just hate that). Musically it's like Traffic, The Amazing Blondel and Quintessence engaged in a summer solstice threesome at the foot of Stonehenge and nine months later (on a full moon of course) – a lovechild is brought forth that none of them know what to do with (yikes).

For sure PEMT will not be for everyone (critics of the time called them naïve at best and pretentious at worst) - but those who do love their mishmash sound married to theatrical visuals will have to get their grubby mitts on this wicked new release from those champions of all things eclectic and awkward - Cherry Red Records. They've done this most British of bands a proper solid and of course for Pink Floyd fans - there's the tie-in of Nick Mason on album No. 2. Here are the enigmatic insomniac machines (and that's just Side 1 of the first album)...

UK released Friday, 14 April 2017 (21 April 2017 in the USA) - "The Works 1969-1971: Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS MAGIC THEATRE on Cherry Red Records CDTRED 704 (Barcode 5013929170438) is a Remastered 3CD set housed in a card slipcase (three card sleeves and a booklet) that plays out as follows:

Disc 1 - "Soundtrack" - 53:32 minutes:

1. Enigmatic Insomniac Machine [Side 1]

2. Sacrifice

3. The Death Of Don Quixote

4. Third Sonnet To Sundry Notes Of Music [Side 2]

5. To A Broken Guitar

6. Pinky: A Mystery Cycle

Tracks 1 to 6 are their debut album "Soundtrack" - released August 1969 in the UK on Dandelion Records S 63752 and Elektra Records D9-103 in the USA. The US album featured a 'face' as its artwork - that shot is used as Page 1 of the booklet.

BONUS TRACKS:

7. Ballad (Of The Big Girl Now And The Mere Boy)

8. Lament For The Earth

Tracks 7 and 8 are both non-album tracks - their debut UK 7" single on Dandelion Records 4406 released July 1969

Disc 2 - "The Asmoto Running Band" - 40:24 minutes:

Side Three/The Asmoto Side

1. McAlpine's Dream [Side 1]

2. McAlpine Versus The Asmoto

3. The Asmoto Running Band (Hou'Amih)

4. Asmoto Celebration

5. Further Asmoto Celebration (After The Ball)

Side Four/The Gambini Side

6. Total Glycerol Esther [Side 2]

7. Freef ('R) All

8. Autumn Lady Dancing Song

9. The Kettering Song

10. Weirdsong Of Breaking Through At Last

Tracks 1 to 10 are their 2nd studio album "The Asmoto Running Band" - released January 1971 in the UK on Dandelion Records DAN 8002 (no USA issue). The album was produced by NICK MASON of PINK FLOYD.

Disc 3 - "Hidden Treasure: Sessions, Live and Demos" - 74:06 minutes:

1. The Ballad (Of The Big Girl Now And The Mere Boy) - Top Gear, 1969

2. Third Sonnet To Sundry Notes Of Music - Top Gear, 1969

3. Pinky: A Mystery Cycle - Top Gear, 1969

Tracks 1 to 3 recorded 24 February 1969 at the BBC for the John Peel 'Top Gear' Show - broadcast 3 March 1969. Taken from an off-air recording made by Eddy Duffy

4. King Of The - Top Gear, 1970

5. The Fortieth Day Of Winter - Top Gear, 1970

Tracks 4 and 5 recorded at the BBC 13 January 1970 for John Peel's 'Top Gear' Show - broadcast 17 Jan 1970 - taken from Original Master Tapes

6. Vollabast

7. Two Women

8. Weasel (In The Wardrobe)

9. Scarlett HalfMan

10. The Egg And The Antrobus

Tracks 6 to 10 recorded live at Hampstead Theatre in the UK, September 1971 - tapes transferred and mixed by Richard Jones

11. Rainy Day Anne

12. Dear John & Mary (A State Of Affairs)

13. Ministry Of Madness

Tracks 11 to 13 are demos recorded at Morgan Studios in London, October 1971 - supervised by Nick Mason of Pink Floyd.

Tracks 4 to 13 are all PREVIOUSLY UNRELEASED

PRINCIPAL EDWARDS MAGIC THEATRE was:

VIVIENNE McAULIFFE and MARTIN STELLMAN – Lead Vocals and Recorders

ROOT CARTWRIGHT – Guitars, Recorders and Bass Guitar

BELINDA 'BINDY' BOURQUIN – Violin, Recorder, Piano and Organ

JEREMY ENSOR – Bass

DAVID JONES – Percussion (and Lyrics)

LYN EDWARDS - Percussion

ROGER SWALLOW – Drums on "The Asmoto Running Band" only

Associated:

Dan Leatherbarrow - Lyrics (Tracks 3 and 5 on Disc 2)

Monica Nettles – Dancer and Speaking Voice

John McMahon Hill – Dancer

Eva Darlow – Dancer

Gillian Hadlev – Choreography and Writer

Leslie Adley – Lights

Harry Housman – Stage, Road Manager and Designer

Christopher Runciman – Lights

Chrissie Morris – Lightshows and Effects

Terry Budd – Drums on Track 7, Disc 3

Beth Wood – Vocals and Recorder on Track 6, Disc 3 – Violin on Track 9

Joe Read – Bass Guitar and Recorder on Track 7, Disc 3

You get three single card sleeves slotted inside a card slipcase with a 20-page booklet sat alongside them. The first two card sleeves show the front and rear artwork for "Soundtrack" from 1969 and their second studio platter from early 1971 - "The Asmoto Running Band" – both on Dandelion Records. Fans will know they were originally gatefold sleeves on vinyl and carried lyric inserts so Cherry Red have reproduced the lyrics and the booklet's first page carries the different 'face' artwork of the USA issue for "Soundtrack" on Elektra Records – nice touches and attention to detail. The third CD uses a period black and white photo of their stage show as its artwork – while MIKE BARNES provides the in-depth liner notes that include interviews with keeper of the flame – Root Cartwright. And all three CDs are picture discs. It's all very tastefully done.

The audio is down to ALAN WILSON – and it's very pretty indeed. While some passages feature whig-out guitars – a lot of it is Trippy Acoustic veering into Folk-Rock so benefits from a good transfer and that's what you get. Some of the tracks on Disc 3 are ropey for sure but are here for obvious reasons - rarity value (previously unreleased). Let's get to the music...

Their debut album "Soundtrack" had only six tracks - three to either side - each half of the record dominated by one long track. "Enigmatic Insomniac Machine" starts proceedings with a flute, acoustic guitars and light marching percussion - like Tyrannosaurus Rex about to take a tab of acid and want to rock. You immediately notice Vivienne McAuliffe's voice that is akin to Bridget St. John (another Dandelion folky worth checking out – see separate review) or Sonja Christina of Curved Air. She starts rattling off lyrics about a mascara man who doesn't understand that she can't sleep for worry about the world. Things turn decidedly Heavy Prog Rock with the guitar riffage opening of "Sacrifice" - but it soon settles down into a more Folk-Rock amble with the droning voice of the band's other singer - Martin Stellman - soon joined by McAuliffe. Unfortunately its obvious why Vivienne is given the bulk of the singing chores - Stellman's voice is the kind of deadpan hippy drone that might induce a stoning from a less than sympathetic audience. The song is good though and has interesting stoner parts towards the end. The staggeringly wordy "The Death Of Don Quixote" is a near fourteen-minute Folk-Rock tour de force - violin, voice, acoustic guitar and words - pages of them. You could leave – paint the front room – and when you return – Vivienne will still be singing about a pleased witch in a mill in a tone that you suspect says she approves (Peel even gets a line himself).

Shakespeare provides the lyrics for "Third Sonnet To Sundry Notes Of Music” where its duet vocals and generally hippy nature is saving by a wicked rocking guitar break half way through the monk-like chants and ye olde wordage. "To A Broken Guitar" is a short acoustic ode from Cartwright and Leatherbarrow to their instrument of choice. The guitar work in the 10-minute "Pinky: A Mystery Cycle" is superb and will raise a chill amongst collectors – but it's partially negated by a spoken ending from Vivienne that unintentionally verges on the laugh-out-loud. The two non-album single sides are very hippy Folk of the period (pretty and ponderous) and collectors will appreciate their presence here. To sum up - the debut LP is a typically eclectic start – part loveable, part cack.

The second album "The Asmoto Running Band" brought on board two heavyweights in different departments – Hipgnosis did the cover art while Nick Mason of Pink Floyd fame did the Production. The Drummer Roger Swallow - who did stints with Harsh Reality, Matthews Southern Comfort and would later be with The Albion Country Band – also joined the ranks for album number two - even bringing the excellent "Freef ('R) All" track with him as collateral. The moment you play "McAlpine’s Dream" you hear the upgraded sound – Vivienne and Martin voices clear while the recorders get all fairy-lore on our ears. The largely instrumental "McAlpine Versus The Asmoto" shows amazing maturity in their compositions and playing – part Captain Beefheart, part Flock – all crooked pianos and violins one moment – then beauty the next (and the Audio is fantastic too). Other Prog-leaning winners include "Asmoto Celebration" and the undeniably pretty "The Kettering Man" which is heading towards Mellow Candle in its complex beauty. The second album is an unsung hero in their catalogue and its cool to hear it sound so good here.

The three Top Gear tracks from 1969 are acoustic and live - the audio good rather than being great - a few clicks and pops here and there. "Ballad..." is introduced as the new single and they sound like Sandy Denny doing a Demo. The Shakespeare poem 'Third Sonnet' is given an acoustic going over too with both vocalists. Far better sonically is "King Of The" and "The Fortieth Day Of Winter" from 1970 - taken from real tapes - Martin Stellman (unfortunately) taking lead vocals on both where PEMT sound like a lighter version of "This Was" Jethro Tull. "Vollabast" turns out to be six minutes of Funky keyboards against a very Prog backdrop. But the big prize here is the 13-minute "Weasel (In The Wardrobe)" - Duncan Browne sounding Spanish acoustic guitar carrying Vivienne McAuliffe and more pages of words. Best amongst the demos is "Rainy Day Anne" which shows a more Steeleye Span direction.

Principal Edwards Magic Theatre will not be for everyone by any stretch of the imagination and some of those early hippy incantations might bring some rockers out in a rash that not even real ale will cure. But amidst all of that loopy ensemble Folk Rock and somewhere in those Prog theatrical flourishes lies beauty and daring. And reissue hero Cherry Red is to be praised for putting all that Kettering quackery back out there and in such style too...

"Bandstand" by FAMILY (February 2006 Repertoire 'Limited Edition' CD Remaster of 4000 in Mini LP Repro Artwork) - A Review by Mark Barry...

This Review Along With Hundreds of Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK and POP - Exceptional 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)

"...My Friend The Sun...Looks Good On The Run..."

England's FAMILY and its productive 1968 to 1974 Reprise Records back catalogue has had its fair share of reissue go-rounds (See For Miles, Essential, Charly's Madfish and more). But for me - these dinky Repertoire repro sleeves from 2006 - sporting quality CD remasters and relevant bonus tracks - are just what I need.

The German reissue label Repertoire re-released just three of these titles in February and March 2006 - each a limited edition of 4000 non-numbered copies - 1970's "Anyway" on Repertoire REPUK 1082 (Barcode 4009910108222) - 1971's "Fearless" on Repertoire REPUK 1083 (Barcode 4009910108321) and 1972's "Bandstand" on Repertoire REPUK 1081 (Barcode 4009910108123). The barcodes were in fact only on the shrink-wrapped stickers that accompanied each reissue - so many got lost once that was ripped open.

As each original FAMILY album (Reprise Records in the UK, United Artists in the USA) came in unique and beautiful packaging - each of these seminal Rock-Prog albums have been ripe for Repro Artwork fiends. Which brings us to one of their most underrated records - 1972's "Bandstand" – here in all its old TV sleeve splendour ("My Friend The Sun" indeed). Here are the semi-naked Burlesque details...

UK and Europe released February 2006 (April 2006 in the USA) - "Bandstand" by FAMILY on Repertoire REPUK 1081 (Barcode 4009910108123) is a Limited Edition CD Reissue of 4000 Copies with Full Mini LP Repro Artwork (shaped vintage TV sleeve with die-cut plastic screen and shaped inner) and Four Bonus Tracks (53:57 minutes):

1. Burlesque [Side 1]

2. Bolero Babe

3. Coronation

4. Dark Eyes

5. Broken Nose

6. My Friend The Sun [Side 2]

7. Glove

8. Ready To Go

9. Top Of The Hill

Tracks 1 to 9 are their 7th album "Bandstand" - released September 1972 in the UK on Reprise Records K 54006 and October 1972 in the USA on United Artists UAS-5644. Produced by FAMILY and GEORGE CHKIANTZ - it peaked at No. 15 in the UK LP charts and No. 183 in the USA. Tracks 1, 2, 5, 6, 7, 8 and 9 written by Chapman/Whitney - Track 3 written by Chapman/Whitney/Wetton with Track 4 written by Chapman/Palmer.

BONUS TRACKS:

10. The Rockin' R's

Track 10 is the non-album B-side of a UK 7" single "Burlesque" released September 1972 on Reprise K 14196 (peaked at No. 13)

11. No Mules Fool (Live)

12. Good News – Bad News (Live)

13. The Weaver's Answer (Live)

Tracks 11 to 13 first appeared on the February 2004 CD Reissue of "Bandstand” on Mystic MYS CD 173 (Barcode 604388621828)

FAMILY was:

ROGER CHAPMAN - Lead Vocals, Guitars and Percussion

CHARLIE WHITNEY - Guitars, Mandolin and Percussion

JOHN 'POLI' PALMER - Keyboards, Vibes, Flute and Percussion

JOHN WETTON - Guitars, Vocals, Contracts and Keyboards

ROB TOWNSEND - Drums, Paiste Cymbals and Percussion

Both the UK and American original vinyl LPs came in a beautifully visual 'shaped vintage TV set' sleeve with a plastic die-cut centre for the screen and a shaped Inner Bag cut to the contours of the cathode TV packaging. For this reissue Repertoire have faithfully repro'd that shaped artwork making it a gatefold too so you can see the inner shaped flap (inside the TV) that houses the foldout inlay and CD. They've put the lyrics on one side while the flip is filled with superlative liner notes from an old hand at these things – JOHN TRACY (John did many of the booklets on the early Decca and Deram CD reissues in the late 80s and early 90s – Savoy Brown, Thin Lizzy, Them, Keef Hartley, Moody Blues, Cat Stevens etc). The rear cover of REPUK 1081 also states a 'Limited Edition' of 4000 (the barcode is only on the outer shrink-wrap and not on the repro). It’s one of the loveliest repro’s I’ve ever seen.

It doesn't say which Remaster has been used for "Bandstand" or who did it – but I've never found any Repertoire CD Reissue to be anything other than banging – and their 2006 version of "Bandstand" is no different (see my separate reviews for David Clayton-Thomas, Merry Clayton, CCS and All Kooper/Shuggie Otis on Repertoire). This thing sounds great. Let's get to the music...

Prepping the public for the album in September - 18 August 1972 saw the fabulous "Burlesque" issued as a 45 in Blighty on Reprise K 14196 with the non-album "The Rockin' R's" on the B-side (Track 10 in the four Bonus cuts). With such a hooky riff and those rollin' 'n' tumblin' Roger Chapman vocals (a fine lady in a Leicester nightclub was the inspiration) - it's hardly surprising that the raunchy rock-classic "Burlesque" was an immediate adrenaline-rush. The UK 7" single enjoyed a twelve-week run peaking at No. 13 and is beloved to this day. Bad timing and musical differences saw the band take a hit with Bassist John Wetton leaving for King Crimson - Jim Cregan from Blossom Toes and Spud brought in as a speedy replacement. No sooner had the album hit the shops and all hands needed for a tour – Family also lost Poli Palmer who was replaced with Tony Ashton of The Remo Four and "The Resurrection Shuffle" trio of Ashton, Gardner & Dyke. "Bolero Babe" sounds like its title - a rumbling lead in of keyboard sounds is accompanied by marching drums and trippy vocals rounded off as it ends by clever string arrangements that give the relentless groove an epic feel (I've always loved this track).

"Coronation" is the first of set of 'mellow' Family songs - Chapman controlling the vocal hysterics as he sings of "...Jenny laughing on the phone..." and "...A Coronation mug of mine...heirlooms from a bygone age...in an open drawer..." It's a fabulous groove with great use of the electric piano where the music has Family feel like The Faces meets Genesis at times. The short but powerful "Dark Eyes" is essentially a Piano and Acoustic Guitar duet with doubled-vocals – another winner that’s over too quick for me. "Broken Nose" goes back to the "Burlesque" sound and vibe - but ups it a notch - Chapman letting rip with barely disguised venom about a society lady whose tips would pay his rent. The wild rhythm section is supplemented by a Moog solo that would make Rick Wakeman itch.

But then we're hit with my all-time fave-rave - the stunning "My Friend The Sun" - the kind of tune a smart bloke Robert Elms would play on his daytime radio show as he reminisces about Seventies clobber and its importance to hip 'n' happening London kids. "My Friend The Sun" is the kind of tune that makes me weep and still sends those chills up my arms - gorgeous acoustic guitars flit in and out around a harmonium as the words sing about the 'chances you've had' and a sun that 'looks well on the run'. It still amazes me that the January 1973 single of "My Friend The Sun" with "Gloves" on the flipside (Reprise K 14218) didn't chart at all - how did British DJs miss this? Speaking of good songs - if any other LP cut was to be chosen to show the band's growing maturity in the songwriting stakes – it's the accomplished "Glove". Rock, Melody and Strings combine in one lethal assault - a song that may be about a prostitute or even a cross-dresser smiling at the 'young man' kindness of a stranger. "Ready To Go" is the funky number on the album - a chap wanting to break free from the crap and the labels and the scowling men in pulpits. The LP ends on the epic "Top Of The Hill".

The BONUS TRACKS are a very mixed bag of the good and the awful. "The Rockin' R's" is a great B-side - Family does Rock 'n' Roll in a Prog-Rock way (if that makes sense). It's a dash-off about their love for blue suede shoes and slippin' and slidin' on a Saturday night in Leicester's finest emporiums. But the three 'live' cuts are dismissible - "No Mules Fool" feels like a BBC Session or rehearsal outtake and is OK - "Good News - Bad News" is probably the heaviest of the three (more Hard Rock than Prog) but the production values are crap. "The Weaver's Answer" is the same only burdened with even higher layers of tape hiss. It’s bootleg standard at best and feels more like a burden than a bonus track. After the class of the 9-track album - the three live cuts tagged on at the end feel like obvious filler - and bad ones at that. In some respects I wish Repertoire had stuck with the non-album B-side alone – keeping the overall impact sweet as...

This most British of bands would go on to form their own Raft Records and put out the final Family album "It's Only A Movie" in 1974 - before Chapman and Whitney called it a day and formed Streetwalkers - moving over to Vertigo. But I'd remember them this way - Family in their Reprise Records heyday.

"...There'll come a time when you remember it well..." - Roger Chapman sings on the beautiful "My Friend The Sun".

"Bandstand" is a criminally neglected Family album featuring the classic line-up of the band - Rock Music with elements of Prog, Harmony and Balladry that deserves rediscovery and is worth shelling out on. 

And despite those audio dogs at the end of this particularly visual TV set - Repertoire's CD reissue is a very cool way to remember it and them...

"Chicago" from 1970 aka "Chicago II" by CHICAGO (January 2017 'Steven Wilson Remix' and Remaster CD Reissue on Rhino) - A Review by Mark Barry...

This Review Along With Hundreds of Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK and POP - Exceptional 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)

"...Colour My World..."

It doesn't take a Mensa certificate to work out that old fart 'remaster' fans like me (and a few million others) have come to worship at the feet of Steve Wilson – the go-to Musician and Audio Engineer for CD transfers – especially those albums with a Proggy leaning.

But what needs to be pointed out about this 2017 SW reissue of Chicago's second platter "Chicago" (January 1970 on Columbia Records in the USA and March 1970 on CBS Records in the UK) is that it's a 'different' "Chicago" than the straight-up 1CD remaster Rhino put out in July 2002. Housed in a fetching and accurate Mini Gatefold LP Repro Card Sleeve complete with fold-out poster inside – the small print on the back of this new reissue wants to hammer home this 'different' point by stating clearly what you're buying - 'Original Mix released 1970. This remix copyright to Rhino for 2017...'

So what's so different that they need to put a Steve Wilson Remix box in the upper left corner of the sleeve beneath the Rhino catalogue number? Porcupine Tree's SW has taken the 16-track original tapes and reconstructed a 'new' Stereo Remix - and with modern-day technology - that's allowed him to get down and dirty with the musicianship at a nuclear level. Working with isolated High Resolution 96kHz/24-Bit digitally transferred files - guitars, piano, brass jabs, strings, layered vocals and even stereo positioning - all came up for grabs and improvement on what was a notoriously audio-compromised vinyl release in the first place.

Painstakingly rebuilt from the rhythm section upwards - the results are amazing - 'different' to the straightforward Rhino transfer for sure - but stunning nonetheless – especially on those string-heavy sections on Side 3 and the Brass and Flute Movements of Side 4. And as Wilson quite rightly points out in his page-long October 2016 explanation - those who are used to the original 1970 double-album 'sound' and would only want that variant on CD - can buy the Rhino reissue of 2002 in its card slipcase easily (and cheaply too). And if you want more of that variant Rhino also released a DVD-Audio in 2003 with 5.1 Surround Mixes. Now let's get to the details of this 2017 variant – Chicago Transit Authority's second 'poem for the people'...

UK and USA released 27 January 2017 - "Chicago: Steven Wilson Remix" by CHICAGO offers the full original 2LP set from 1970 Remixed and Remastered onto 1CD housed in card repro artwork with a fold-out inlay. The US issue is on Rhino R2  559549 (Barcode 081227941499) – the UK one on Rhino 081227941499 (Barcode 081227941499). Both play out as follows (67:17 minutes):

1. Movin' On [Side 1]

2. The Road

3. Poem For The People

4. In The Country

5. Wake Up Sunshine

Ballet For A Girl In Buchannon [Side 2]

6. Make Me A Smile

7. So Much To Say, So Much To Give

8. Anxiety's Moment

9. West Virginia Fantasies

10. Colour My World

11. To Be Free

12. Now More Than Ever

13. Fancy Colours [Side 3]

14. 25 or 6 to 4

15. Prelude

16. A.M. Mourning

17. P.M. Mourning

18. Memories Of Love

It Better End Soon [Side 4]

19. 1st Movement

20. 2nd Movement

21. 3rd Movement

22. 4th Movement

23. Where Do We Go From Here

Tracks 1 to 23 make up their 2nd studio set - the double-album "Chicago" (sometimes referred to as "Chicago II") – released January 1970 in the USA on Columbia KGP-24 and March 1970 in the UK on CBS Records 66233. Produced by JAMES WILSON GUERCIO - it peaked at No.4 in the USA and No. 6 in the UK.

CHICAGO was:

ROBERT LAMM - Vocals and Keyboards

TERRY KATH - Vocals and Guitar

PETER CETERA - Vocals and Bass

LEE LOUGHNANE - Trumpet and Vocals

JAMES PANKOW - Trombone

WALTER PARAZAIDER - Woodwinds (including Flute) and Vocals

DANIEL SERAPHINE – Drums

The inner gatefold of the original double-album is reproduced complete with the lyrics to the socially charged "It Better End Here" over on the right side while credits fill the left. The foldout insert gives us the poster of the seven-piece group individually photographed in sepia – all barefoot and leaning on chairs – looking suitably in touch with a zeitgeist that eludes us mere mortals. The flipside of the foldout poster gives us album/reissue credits alongside Steve Wilson's in-depth explanations of what had to be done and how it was technically pulled of. To the music...

In all honesty (and having lived with this sucker for 47 years) I don't know if I share the sentiments of the 'Chicago 50/1967 to 2017' sticker on the front cover of this reissue that screams "Chicago" is the preeminent masterpiece. I much prefer Sides 3 and 4 to the first LP - but there's no doubting the wallop of the Trumpet and Trombone on "Movin' On" as they hit your speakers - the first of eight James Pankow compositions on the double-album (tracks 6 to 12 are the others). Terry Kath forks up "The Road" where those crashing cymbals feel more alive while the piano intro to Robert Lamm's "Poem For The People" is just plain beautiful. Other faves include "Make Me Smile" - the brass dancer that opens the 'Buchannon Girl' suite on Side 2 where children play in the park. There's amazing sound from the tambourine and various keyboards doing battle with the brass on the short "West Virginia Fantasies" segueing tastefully into the pretty "Colour My World" where Chicago sound like Terry Callier over on Cadet Records.

While the obvious hit single "25 or 6 to 4" is here in its full 4:52 minute album glory (the 7" single was an edit) - my poison has always been the four-part "Memories Of Love" suite that follows - "Prelude", "A.M. Mourning", "P.M. Mourning" and the title track. The Flute and String arrangements are startling - unnervingly lovely - cool even. The same applies to the funkier parts of the "2nd Movement" as that slinky Terry Kath guitar plinkers alongside Walter Parazadier's breathy Flute. I love this. And the build-up in "3rd Movement" and wild guitars in the 4th is like C.C.S. or the better bits of the Blood, Sweat and Tears catalogue from 1969 and 1970. Hell there's even Ian Anderson's Jethro Tull in there too.

Wilson is (yet again) to be praised for his work on an album that has fallen by the appreciation wayside. "Where Do We Go From Here" - Peter Cetera asks in the final song of "Chicago". You buy this and get all Funky Prog Classical on your living room's ass...

-->

"Made In Japan: Deluxe Edition" by DEEP PURPLE (May 2014 Universal/Purple 2CD Reissue – Kevin Shirley and Martin Pullan Remasters) - A Review by Mark Barry...

This Review And Over 300 More Like It Are Available 

In my e-Book on AMAZON 

TUMBLING DICE - 1972

Your All-Genres Guide To Exceptional 

CD Reissues and Remasters 

Classic Albums, Compilations, 45s...

All Detailed Reviews Taken From The Discs Themselves 

(No Cut and Paste Crap) 

<iframe style="width:120px;height:240px;" marginwidth="0" marginheight="0" scrolling="no" frameborder="0" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=GB&source=ss&ref=as_ss_li_til&ad_type=product_link&tracking_id=mabasreofcdbl-21&language=en_GB&marketplace=amazon&region=GB&placement=B07RVD6R4N&asins=B07RVD6R4N&linkId=afd41f9623c42d3131c498d0f94f62cd&show_border=true&link_opens_in_new_window=true"></iframe>

"…This One's Called..."

There's a word that jumps to mind as you are assaulted by the first minute of "Highway Star" on Disc 1 - and that word is 'awesome'. It's a corny statement I know when it comes to hairy-assed reprobate Rock bands at the best of times. But like Little Feat, Thin Lizzy and The Allman Brothers - Deep Purple were always a muted thing in the studio. But come the live event - the Purps Mark II were a truly astounding thing to behold - a beast unleashed. And this fabulous 2014 Deluxe Edition 2CD sonic upgrade of one the great live albums of all time is only going to make matters worse for our aged and acing head-banging necks. I swear - this thing comes at you like a High Sea's Pirate who hasn't had rum or a woman for a month and has just landed at Portsmouth with a day pass from Black Beard - it's ready to rock and you'd better step aside pal...

UK released May 2014 - this new version of "Made In Japan" by DEEP PURPLE comes in a VINYL variant, a 2CD issue and a DELUXE 4-disc Box Set. This review is for the 2CD issue on Universal/Purple 3769640 (Barcode 0602537696406) and it breaks down as follows:

Disc 1 (Purple 3769641) - 76:08 minutes:

1. Highway Star

2. Child In Time

3. Smoke On The Water [Side 2]

4. The Mule

5. Strange Kind Of Woman [Side 3]

6. Lazy

7. Space Truckin' [Side 4]

Tracks 1 to 7 are the double-live album "Made In Japan" - released December 1972 in the UK on Purple Records TPSP 351 and April 1973 in the USA on Warner Brothers 2WS 2701. Tracks 1, 2, 5 and 7 were recorded in Osaka on 16 August 1972, 3 was on 15 August 1972 with 4 and 6 done on 17 August 1972.

Disc 2 (Purple 3769642) - 46:50 minutes:

ENCORES:

1. Black Night

2. Speed King (both 15 August 1972)

3. Black Night

4. Lucille (both 16 August 1972)

5. Black Night

6. Speed King (both 17 August 1972)

I can remember buying my copy at Christmas in December 1972 enticed by that great sleeve and the `specially priced at £3.10 for a double' sticker (single albums were this price at the time). They even claimed in trade press adverts that it was `the best live recording ever made' - and when I got it home and plopped into on trusty Garrard SP25 - they weren't joking. So what's different?

The 1998 EMI 2CD reissue featured a PETER MEW remaster from original tapes (done at Abbey Road) with CD2 giving us only 3 of the "Encore" tracks (4, 5 and 6 on Disc 2 above). It had different artwork and a pretty good 16-page booklet with excellent liner notes from SIMON ROBINSON. MALCOM DOME takes over the reign for the liner notes on this new version, the original gold artwork of the LP is reinstated on the fold-out card digipak and the inner gatefold of the digipak apes the original vinyl issue from all those years ago (all much to the delight of fans). There's even 3 new tracks added onto CD2 completing the Encores and the new 16-page booklet has contributions from Slash of Guns `N Roses, photos from the shows and even tape boxes pictured. But the big news is a double-whammy of new remasters- KEVIN SHIRLEY has handled the album on CD1 while MARTIN PULLAN has done the Encores on CD 2 - and the wallop off these is unbelievable.

What gets you straight away is the separation of the instruments - especially JON LORD on Organ and the Rhythm Section of ROGER GLOVER and IAN PAICE on Bass and Drums respectively. The incendiary guitar pyrotechnics of RITCHIE BLACKMORE and the sheer Classic Rock vocal power of IAN GILLIAN remain intact - but it's the others you now hear when for years they were at the back of the mix. The opener "Highway Star" (from "Machine Head") is a stunner. Before you only heard Blackmore's riffage and slides - now the bass, drums and organ are `there' suddenly too - and man was this band tight - and that organ solo is still a thing of wonder. The lengthy "Child In Time" is hissy in places but it still packs a punch that shows the band at the height of their powers. What can you say about the opening riffs of "Smoke On The Water" - probably the most famous power chords ever played. As the crowd claps and Ian Paice's high-hats and bass drum starts to kick in - now you can really `hear' it.

Always an underappreciate "Fireball" gem - "The Mule" allows both Lord and the boys in the back full reign once the guitars die down - great stuff. Classic Rock doesn't get more butt swaggering than the brilliant "Strange Kind Of Woman" (a single only release in the UK) - and even at nearly ten-minutes it doesn't overstay its welcome. I love the amps buzzing at the beginning of "Lazy" and that ear-splitting Organ solo where you think he's going to beat that instrument into submission no matter what ("Louie Louie") - followed by his brilliant clap-along intro to the song (it sounds so good too). You have to say something at this stage about Blackmore's guitar playing - utterly brilliant - and like Beck - he seemed able to take on any style. At nearly twenty minutes the Side 4 finisher can be a bit much to take but audio-wise - it's much more powerful - the drums and vocals especially (Gillan whipping the crowd into a "come on!" frenzy).

Brilliant - definitive - rocking like Gibraltar - "Made In Japan" has always had a special place in my heart and it's back to stay...

PS: this review is dedicated with affection to MICK KEATING - a Dublin friend of mine who adored this record. He passed away in the Eighties and is buried in the same graveyard as another hero of ours - Phil Lynott...

"Fireball: 25th Anniversary Edition" by DEEP PURPLE from 1971 (October 1996 EMI 'Expanded Edition' CD Reissue – Peter Mew/Roger Glover Remaster/Remix) - A Review by Mark Barry...

This Review Along With Hundreds of Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

CLASSIC 1970s ROCK and POP - Exceptional 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)

"…Everything's Good…Everything's Fine…"

There can’t be many men of a certain age who look at the cover of this album with our five hairy reprobates fireballing it upwards into some kind of galactic Hard Rock nirvana beyond – and feel a warm glow of riffage coming over their pacemakers. Deep Purple’s “Fireball” – even the name makes me tingle. And this rather cool and cheap little CD reissue featuring the classic Mark II line-up of the band will only make that itch to annoy the neighbours even more tempting. Let’s detail the stubborn mule, the judge’s daughter and the demon’s eye…

UK released October 1996 - "Fireball: 25th Anniversary Edition" by DEEP PURPLE on EMI CDDEEPP 2 (Barcode 724385371127) is an 'Expanded Edition' CD Reissue and Remaster that plays out as follows (78:46 minutes): 

1. Fireball [Side 1]

2. No No No

3. Demon's Eye

4. Anyone's Daughter

5. The Mule [Side 2]

6. Fools

7. No One Came

Tracks 1 to 7 make up the studio album "Fireball" - originally released September 1971 in the UK on Harvest SHVL 793 and August 1971 in the USA on Warner Brothers BS 2564 with a different track list on Side 1. Replacing "Demon's Eye" as track 3 is "Strange Kind Of Woman" – a song that was issued only as a 7" single in the UK on Harvest HAR 5033 in February 1971 (see also 9 for its non-album B-side).

BONUS TRACKS: 

8. Strange Kind Of Woman - A-Side Remix 96

9. I'm Alone – the non-album B-side of "Strange Kind Of Woman" released as a 7" single in the UK 12 February 1971 on Harvest HAR 5033

10. Freedom – an Album outtake

11. Slow Train – an Album outtake

12. Demon's Eye (Remix 96)

13. "The Noise Abatement Society Tapes – Midnight In Moscow, Robin Hood, William Tell"

14. Fireball Take 1 (Instrumental)

15. Backwards Piano

16. No One Came (Remix 96)

With a total playing time of 78:46 minutes – you certainly get value for money and the outer stippled-effect card slipcase mimics the feel of the original gatefold album cover (a nice touch). The 28-page booklet is jam-packed with insider info and track-by-track reminiscences from vocalist Ian Gillan, Jon Lord, Roger Glover and guitarist Ritchie Blackmore. There are superb foreign picture sleeves, in the studio photos and even Glover’s hand-drawn original artwork ideas. All of it is held together with enthusiastic liners notes from SIMON ROBINSON with involvement from the DPAS (Deep Purple Appreciation Society). Rather oddly though for such a thorough release – UK and American copies of the original vinyl LP came with a gatefold lyric insert which isn’t reproduced here…

But that niggle aside - the big news here is a fantastic new remaster done by tape supremo PETER MEW (with care) at Abbey Road that thrashes the horrible Eighties CD fans have had to live with for years now. This disc rocks with real muscle and clarity. And the extras are actually worthy of the moniker ‘bonus’.

With only seven tracks and some of them soft in the centre (“Fools”) – the press reaction wasn’t all favourable despite the album’s rapid assent to Number 1 on the UK charts in September 1971 and a healthy Number 30 placing in the USA. No matter what the critics thought – fans of Mark II Deep Purple have always loved it – sandwiched between the barnstorming “In Rock” from 1970 and the accomplished “Machine Head” in 1972.

It opens with a total barnstormer – the title track “Fireball” – hitting you with the rampant Hard Rock impact of “Immigrant Song” on Side 1 of 1970’s “Led Zeppelin III”. Not surprising then that their seventh UK single saw ”Fireball” released 25 October 1971 on Harvest HAR 5045 with the album’s “Demon’s Eye” on its B-side. I love “Demon’s Eye” – a great Purple song with that funky Rock swagger they had. “No No No” has that same sexy feel while the naughty lyrics to “Anyone’s Daughter” has always brought a smile to my face (“hairy bums”).

Side 2 opens with the trademark slashing of Blackmore on “The Mule” before it settles down into a keyboard/guitar duo groove. And although it divided people on release – I like the way “Fools” slows down into an almost operatic centrepiece before returning to the opening riff. The album ends with “No One Came” – a thudding Purple tune with Gillian letting it rip vocally. The two album outtakes “Freedom” and “Slow Train” are shockingly good and why they weren’t used as a B-side to say “Fireball” is anyone’s guess. The “Noise Abatement Tapes” is an instrumental amble with witty inclusions of Robin Hood and William Tell. The ’96 remixes of “Strange Kind Of Woman” and “No One Came” don’t do too much altering damage – just giving extra muscle to the overall sonic impact. Nice…

The Purps – don’t you just love 'em. 

"...Man you're music is really hot!" - Ian Gillan jokes on "No One Came". 

Yet it was – and now it's even better… 

"Deep Purple In Rock: Anniversary Edition" by DEEP PURPLE - June 1970 UK 4th LP on Harvest Records (June 1995 UK EMI 'Anniversary Edition' CD Reissue with Bonus Tracks – Peter Mew/Roger Glover Remaster/Remix) - A Review by Mark Barry...

This Review and 358 More Like It 

Are Available in my e-Book...

 

ALL THINGS MUST PASS
1970

Your All-Genres Guide To

Exceptional CD Reissues and Remasters 

Classic Albums, 45-Singles, Compilations 

ALL GENRES

Over 2,880 E-Pages of Reviews from the discs themselves

(No Cut and Paste Crap)

<iframe style="width:120px;height:240px;" marginwidth="0" marginheight="0" scrolling="no" frameborder="0" src="//ws-eu.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=GB&source=ss&ref=as_ss_li_til&ad_type=product_link&tracking_id=mabasreofcdbl-21&language=en_GB&marketplace=amazon&region=GB&placement=B01MZYC9BR&asins=B01MZYC9BR&linkId=5c474c0c30ed5b9ad0db0d280d9cb30f&show_border=true&link_opens_in_new_window=true"></iframe>

"...Speed King..."

Even now in 2026 – with a distance of 56 head-banging years between me and my grey receding hairline – the opening sonic assault of guitar mayhem that greets an aging body as you play "Speed King" on Side 1 of the British original of "Deep Purple In Rock" - is an absolute sonic kick in the proverbials.

Released all the way back in the hairy-assed reprobate days of June 1970 - relistening to "In Rock" again on this amazing Peter Mew Expanded CD Remaster and you're walloped with the sheer hard-rocking, balls-to-the-wall, take-no-prisoners passion of this bloodsucker – Ritchie Blackmore flaying that guitar neck until both it and his fingers go crimson red – destroying all poncey piddly Popsters in their path by beginning the new decade with Hard Rock harder than The Rock’s hard biceps (and that’s a lot of 'hard' for a Tuesday morning frankly).

It had taken England's DEEP PURPLE three decent but admittedly patchy LPs to arrive at this sound – their trademark Mark II line-up. And they'd kind of ignored the public-catching attention singles gave a band too. But all of that changed with "In Rock" and the stand-alone 7” single "Black Night" when they were launched globally in June 1970. The Purps started a wildfire run of albums - following in 1971 with "Fireball" and slamming 1972 with "Machine Head" and the stunning double "Made In Japan" - a live set that practically defined Classic Hard Rock in the Seventies. Hell – what used to trade for four or five quid in a second hand record bin for nearly two decades after its release – now passes hands for hundreds of pounds in vinyl collector’s pursuit of that elusive genuine first British pressing (laminated gatefold outer sleeve, matt black and white photos on the inner gatefold, no EMI logo on the label). Here are the details carved in stone...

UK and US released June 1995 – "Deep Purple In Rock: Anniversary Edition" by DEEP PURPLE on EMI 7243 8 34019 2 5 (Barcode 724383401925) is a 25th Anniversary Expanded CD Remaster with Bonus Tracks and plays out as follows (78:27 minutes):

1. Speed King (Full Version) [Side 1]

2. Bloodsucker

3. Child In Time

4. Flight Of The Rat [Side 2]

5. Into The Fire

6. Living Wreck

7. Hard Lovin' Man

Tracks 1 to 7 make up the UK mix of the vinyl album "Deep Purple In Rock" – released June 1970 on Harvest SHVL 777. It peaked on the UK album charts at No. 4. Also released June 1970 - the US variant on Warner Brothers WS 1877 is the same except that the opening intro to "Speed King" is edited off and begins with the song riff and Ian Gillan's vocals (peaked at 147).

BONUS TRACKS:

8. Black Night (Original Single Version)

Non-album track issued 5 June 1970 as a stand-alone UK 7" single on Harvest HAR 5020 with the album's opener "Speed King" as its B-side. It rose to No. 2 in the UK charts in August 1970.

9. Studio Chat

10. Speed King (Piano Version)

11. Studio Chat

12. Cry Free (Roger Glover Remix)

13. Studio Chat

14. Jam Stew (Unreleased Instrumental)

15. Studio Chat

16. Flight Of The Rat (Roger Glover Remix)

17. Studio Chat

18. Speed King (Roger Glover Remix)

19. Studio Chat

20. Black Night (Unedited Roger Glover Remix)

With a total playing time of 78:27 minutes – you certainly get value for money and the outer jewel case with its embossed SIGNATURES by the band and ANNIVERSARY EDITION Block print is certainly striking if not impossible to keep clean and minty. And baring in mind just how horrible the 80's "In Rock" CD was - the 24-page booklet makes a real effort this time and is therefore jam-packed with insider info and track-by-track reminiscences from Lead Vocalist Ian Gillan, Drummer Ian Paice, Keyboardist Jon Lord, Bassist Roger Glover and Lead Guitarist Ritchie Blackmore. There are black and white photos of the band, pictures of a January 1970 reel-to-reel box and repros of contemporary press reviews from the time. All of it is held together with enthusiastic liners notes from SIMON ROBINSON with involvement from the DPAS (Deep Purple Appreciation Society). Rather oddly though for such a thorough release – UK and American copies of the original vinyl LP artwork aren’t reproduced and there’s no colour photos which gives the booklet a rather dullard feel…

But those niggles get trampled on pretty quickly by the big news for fans - a fantastic new remaster done by tape supremo PETER MEW (with care) at Abbey Road that thrashes the horrible Eighties CD fans have had to live with for years now. This disc rocks with real muscle and clarity. And the plentiful Roger Glover-approved extras are actually worthy of the moniker 'bonus'.

"Concerto For Group And Orchestra" on Harvest SHVL 767 rose to the dizzy heights of No. 26 on the UK LP charts in late January 1970 and stayed for only 4 weeks. Hardly the greatest start to the new decade. But from October 1969 right up until April 1970 – Deep Purple found what they were looking for and embraced the riffage. As I’ve already pointed out – "In Rock" opens with a true statement of intent - the wild "Speed King". Pow - and you're hit with guitar strings being thoroughly abused by Ritchie Blackmore – ripping up and down the frets like Eddie Van Halen without the structure - screeches and howls of notes - until it eventually settles down into a lone organ solo from Jon Lord who sounds like he’s been practising on one-too-many Church Sessions about Hell and if you're lucky Purgatory (all doomy and menacing). And then suddenly a huge and fast riff and Gillan’s archetypical screech Rock vocals. The effect is mind-blowing. Hard Rock has arrived. It kind of did with Zeppelin’s first albums anyway – but these guys made the decade wake up. "Bloodsucker" has always been a fave of mine – a properly great Rock track that has that Deep Purple funky swagger in it. I've never liked "Child In Time" in truth – it’s stagy stop-start slow drawl – but it became a live staple and came to full manic extended fruition on the live double "Made In Japan".

Side 2 opens with the truly fantastic "Flight of The Rat" – a guaranteed crowd-pleasing rocker where everything sounds fabulous – that churning riff – the thrashing drums – the huge organ sound complimenting the guitar pyrotechnics - even Gillan’s deliberately backgrounded vocals don’t sound too far back in the mix. Major grunge riffage comes at you with the impossibly good "Into The Fire" – a very Deep Purple Rock song with Gillan straining that larynx for the whole duration (the pushed into the left speaker guitar solo sounds so much clearer now). There's huge presence to the drum opening of "Living Wreck" – Ritchmore's treated guitar chugging along while Lord's organ playing finally gets given pride of place. It ends of another seven minutes of wild guitar carnage – the fast and racy "Hard Lovin' Man" – a small wonder when played live – ripping along at a pace that’s so DP at its best (that Organ solo is awesome – followed quickly by doubled-Ritchie on guitar - brilliant).

Even now the stand-alone 7" single "Black Night" thrills – a genius 45 with a B-side ("Speed King") that undoubtedly made the curious and excited run out and buy the album throughout the later half of 1970.

The six Studio Chats serve as a clever way into the BONUS TRACKS – 30-second goofs in the studio – breakdowns of takes – giggling – snippets of organ cover versions – it makes the whole Extras thing a little less formal and a whole lot more fun. The 'Piano Version' of "Speed King" loses the slashing guitars intro and goes straight into the riff (like the American LP version) but is anchored by a piano background instead of that huge organ (slightly different vocals too). It’s easy to hear why the weedy piano was ditched for the power of the organ but at 4:16 minutes - it’s a fantastic addition anyway. The real meat for fans begins with "Cry Free" – a fab outtake rocker that could easily have fitted on Side 1 of the LP. Although it’s only 2:32 minutes long – the Previously Unreleased Instrumental "Jam Stew" is just great – fast-paced guitar-chugging like "Hard Lovin' Man" complete with a wicked Jon Lord solo. The last three are essentially Roger Glover remixes – audio reconstructions of "Flight Of The Rat", "Speed King" and an Unedited "Black Night" that overruns the single mix from 3:25 minutes to a more chunky and better stereo-imaged 4:48 minutes. All three especially the longer and chunkier "Black Night" are brilliant and in some ways feel like what the album takes could have been with more bottom end and audio muscle. Bit of a barnstormer frankly.

They would follow in 1971 with "Fireball" – a UK No. 1 – and then with the accomplished "Machine Head" in 1972 – end that year with the magnificent specially-priced double live album "Made In Japan" – a virtual milestone in Rock and up there with Humble Pie's "In Performance" and Thin Lizzy's "Live And Dangerous". But "Deep Purple In Rock" is where that journey properly began.

It’s trite I suppose to refer to Deep Purple's "In Rock" as iconic, legendary, seminal and all that – but actually it was and still is. Much like Led Zeppelin and Black Sabbath changed the face of music so much in those halcyon years – Deep Purple were right up there with them – breaking down barriers, trashing hotel rooms (as any good Rock band worth their salt must) and creating a sound we know and love to this day.

"...Sweet Child In Time..." indeed. And what a time it was...