"Don't Look Back" by BOSTON (July 2006 Epic/Legacy CD Reissue - Tom Scholz, Bill Ryan and Toby Mountain Remaster) - A Review by Mark Barry...

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"...Take A Chance On Rock 'n' Roll..."

17 million Americans and gazillions more worldwide devoured the August 1976 debut of the "More Than A Feeling" LP. "Boston" by BOSTON on Epic JE 34188 was a monster that had Rock legs stretching over a year and more (it was released December 1976 in the UK on Epic S EPC 81611 and proved just as popular there). The pressure to deliver spaceship-guitar juggernaut No. 2 was immense and Boston took two years before they popped out "Don't Look Back" in August 1978. Despite mixed reviews and some very vocal fan disappointment - initially it garnished humungous sales eventually amassing over seven million units sold – the kind of chart statistics most other groups would nobble dear old Granny Mae for.

But its transition to CD has been strange and piecemeal. With a staggering four million-plus album sales in the first month alone – Boston’s second platter was always going to be a contender for ‘first release’ on the new fangled format. But the early 80s issues were released haphazard, withdrawn, never properly annotated etc and an overly expensive Mastersound Gold CD has been deleted years - leaving a decades-long big fat remastering audio hole in a very big catalogue title.

Well here comes the inevitable definitive CD Remaster - done in 2006 by Band founder member and Lead guitarist Tom Scholz. And like its illustrious self-titled predecessor (also released 2006) – "Don’t Look Back" lacks any musical extras but is not surprisingly a sonic doozy of amazing density. Here are the feelin’ satisfied details...

UK released 10 July 2006 – "Don’t Look Back" by BOSTON on Epic/Legacy 82876822412 (Barcode 828768224120) comes in card digipak packaging with a newly updated 12-page booklet. It's peddled as a 'Collector's Limited Edition' but it's widely available for sale and at a pittance of a price too (37:44 minutes). 

It was then reissued March 2008 on Epic/Legacy 88697184012 (Barcode 886971840124) in a standard jewel case with the same 2006 Remaster, new booklet and photo of the spaceship beneath the see-through CD tray.

The updated liner notes by uber-fan DAVID WILD feature new interviews with band leader and producer TOM SCHOLZ that elaborate on the anxious wait by the public and record label for the album – the hours in his homemade studio basement – the pile-em-high guitar layers – the press’ muted response – perfectionist Scholz’s own ambivalence to the record (he felt it was rushed and too short) and so on. There are various colour period photos of the boys on stage – in the studio – Scholz at a huge church organ and the usual reissue credits. Scholz has returned to the tapes with BILL RYAN and TOBY MOUNTAIN and done an exhaustive and painstaking remaster - the results are HUGE with a capitol 'H'. It's a fantastic listen...

1. Don’t Look Back [Side 1]

2. The Journey

3. It’s Easy

4. A Man I’ll Never Be

5. Feelin’ Satisfied [Side 2]

6. Party

7. Used To Bad News

8. Don’t Be Afraid

Tracks 1 to 8 are their second studio album "Don’t Look Back" – released August 1978 in the USA on Epic FE 35050 and August 1978 in the UK on Epic S EPC 86057. Produced by TOM SCHOLZ – it peaked at No. 1 in the USA and No. 9 in the UK.

BOSTON was:

BRAD DELPH – Lead and Harmony Vocals on all songs

TOM SCHOLZ – Lead and Rhythm Guitars and Organ (on all songs)

BARRY GOUDREAU – Lead and Rhythm Guitars

FRAN SHEEHAN - Bass

SIB HASHIAN - Drums on all (except "The Journey" where all instruments are Tom Scholz)

Rumour has it that "Arrival" was to be the album's name but on hearing ABBA had an album of the same name - the opening track "Don't Look Back" was chosen as the moniker. That signature guitar sound of theirs kicks in with a wallop. To give you an idea of the complexity we're dealing with here - Brad Goudreau handled the 'virtuoso intro, ending leads and slide' while Tom Scholz did the Chorus and Middle Leads. The interlude instrumental "The Journey" features TS on all instruments and was an obvious ape of the very popular "Foreplay" instrumental that leads into the rocking "Long Time" on the debut LP. Here it segues into another chipper rocker "it's Easy" - again with the huge guitars. I'm never a man for big hairy-rocker ballads - but this time around the near seven-minutes of "A Man I'll Never Be" is far more impressive than I remember it.

But its Side 2 that offers more of what I want. The opening one-two sucker punch of "Feelin' Satisfied" and especially the fantastic little boogie number "Party" are up there with the best of the first album - let's get together honey - it's alright indeed. Brad Delph contributed the musically upbeat "Used To Bad News" that Scholz turns into a Boston song with clever organ melody lines. It ends on the huge rocker "Don't Be Afraid" where layers of guitars and vocals assault your ears in a song that's actually just a little too busy.

Always seen as a poor man's cousin to the spectacular "Boston" debut of 1976 - re-listening to "Don’t Look Back" in 2017 – it's easy to hear why this kind of Rock caught the attention and hearts of millions even if it was perceived at the time as being a bit of a let down. But I'd argue that "Don't Look Back" is way better than that and this superb remaster finally does that second-time around feeling more than proud. As the singer says - take a chance on Rock 'n' Roll...

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"'74 Jailbreak" by AC/DC (2003 Epic/Albert Productions 'ConnecteD Technology' Digipak CD - George Marino Remaster) - A Review by Mark Barry...

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"...A Bullet In His Back..."

In truth the 5-track mini LP "'74 Jailbreak" released October 1984 in the USA on Atlantic Records should more accurately be called "Australian AC/DC 1975 and 1976" because that’s what you’re actually getting.

This Bon Scott era compilation was sandwiched between 1983’s "Flick Of The Switch" and 1984’s "Fly On The Wall" to satiate the hunger by fans for more of the biggest (and loudest) Rock band in the world - AC/DC – fronted of course at that time by Brian Johnson who'd come on board for 1981's groundbreaking "Back In Black" album.

But don't be under any illusion just because it has only five 'old' songs – one of which is a Big Joe Williams R&B cover – don't think that this is isn't primo stuff. With Scott's crushing loss still in living memory - to me at the time "'74 Jailbreak" was kind of a magical little number – a timely reminder as to why I fell in love with the Australian Hard Rock band in the first place. Let's get to the CD details first before we go into the song origins..

UK released May 2003 - "'74 Jailbreak" by AC/DC on Epic/Albert Productions 510758 2 (Barcode 5099751075820) is a 5-Track CD reissue and new remaster of the 1984 US compilation LP and plays out as follows (24:23 minutes):

1. Jailbreak

2. You Ain't Got A Hold On Me

3. Show Business

4. Soul Stripper

5. Baby, Please Don't Go

Tracks 1 to 5 are the album "'74 Jailbreak" – released 19 October 1984 in the USA on Atlantic A1-80178. It was first issued in the UK and Europe on CD in 1990.

Some explanation about the song make-up of this compilation... When the first two AC/DC albums were released on Albert Productions in Australia - "High Voltage" in February 1975 (Albert Productions APLP.009) and "T.N.T." in December 1975 (Albert Productions APLPA.016) – they had radically different track lists to their UK, USA and International issues (and different artwork too). Four of the five tracks from "'74 Jailbreak" come from the Ozzy incarnation of the "High Voltage" album - "You Ain't Got A Hold On Me", "Baby, Please Don't Go", "Soul Stripper" and "Show Business". The fifth track "Jailbreak" and its B-side "Fling Thing" were recorded in Australia in January 1976 and released as a stand-alone 7" single in 1976 in various territories.

If you want to sequence the first two Australian LPs and both sides of the stand-alone "Jailbreak" single - you’ll actually need three of these 2003 CD reissues - "'74 Jailbreak", "High Voltage" and "Dirty Deeds Done Dirt Cheap" and two Box Sets - "Bonfire" from 2003 and "Backtracks" from 2009...

Their 8-track Oz original of "High Voltage" looked like this...

Side 1:

1. Baby Please Don't Go (on "'74 Jailbreak" 2003 CD)

2. She's Got Balls (on "High Voltage" 2003 CD)

3. Little Lover (on "High Voltage" 2003 CD)

4. Stick Around (on "Backtracks" 2009 Box Set)

Side 2:

1. Soul Stripper (on "'74 Jailbreak" 2003 CD)

2. You Ain't Got A Hold On Me (on "'74 Jailbreak" 2003 CD)

3. Love Song (on "Backtracks" 2009 Box Set)

4. Show Business (on "'74 Jailbreak" 2003 CD)

While the 9-track original of "T.N.T." looked like this...

Side 1:

1. It's A Long Way To The Top (If You Wanna Rock 'n' Roll) (on "Backtracks" 2009 Box Set)

2. The Rock 'n' Roll Singer (on "High Voltage" 2003 CD)

3. The Jack (on "High Voltage" 2003 CD)

4. Live Wire (on "High Voltage" 2003 CD)

Side 2:

1. T.N.T. (on "High Voltage" 2003 CD)

2. Rocker (on "Dirty Deeds Done Dirt Cheap" 2003 CD)

3. Can I Sit Next To You Girl (on "High Voltage" 2003 CD)

4. High Voltage (on "High Voltage" 2003 CD)

5. School Days (on "Backtracks" 2009 Box Set)

"Jailbreak" b/w "Fling Thing"

June 1976 Australian 7" Single on Albert Productions AP-11135 in label bag

August 1976 UK 7" single on Atlantic K 10805 in label bag

March 1980 UK reissued 7" single on Atlantic K 10805 in picture sleeve

A-side on "'74 Jailbreak" 2003 CD – B-side on "Backtracks" 2009 Box Set

AC/DC was:

BON SCOTT – Vocals

ANGUS YOUNG – Lead Guitar

MALCOLM YOUNG – Rhythm Guitar

MARK EVANS - Bass

PHIL RUDD – Drums

So what do you get here? This Epic CD 5-track reissue has what they call 'ConnecteD Technology' which allows you to access online content via your computer but I'm buggered if I've ever bothered. The card digipak is the same for all of these reissues - very tasty and tactile. There’s a picture CD to the right (the cover art of Angus) and a 12-page booklet housed on the left in a pocket pouch. The booklet It's crammed full of period colour photos - a stunner of the boys up beside a derelict house wall and a gatefold spread of Angus in full schoolboy glory holding a pint of milk! They miss a trick by repeating the US picture sleeve of "Jailbreak" with "Soul Stripper" on its B-side twice when they could have used the UK sleeve -

 or even the rare UK original label. There are other great unpublished live shots too of Bon and Angus. MURRAY ENGLEHEART provides the informative and and enthusiastic liner notes. There is another photo of the band in full denims and teeshirt mode (Angus with his velvet suit and 'A' hat) on the inner gatefold and a solo shot of Bon looking suitable leery beneath the see-through CD tray (great fun the lot of it). The GEORGE MARINO Remaster (done in the USA) is from 'original master tapes' and sounds HUGE - fuller than the 1990 remaster I've had for years. Despite their age - tracks like "Soul Stripper" and "Jailbreak" have lost none of their Rock 'n' Roll power.

I’m always amazed that the truly barnstorming "Jailbreak" (a Young, Young and Scott composition) never did the business as a single in the UK – a country that adores it hooky Rock Classics. Admittedly I can't actually remember seeing the first 1976 pressing of Atlantic K 10805 in its distinctive orange and yellow label – I bought the 1980 picture sleeve reissue with Angus dashing across some stage somewhere semi-naked and sweating like a politician at a tax audit. You could argue that they should have stuck the B-side "Fling Thing” on this compilation – but it’s a Scottish Traditional air instrumental of two minutes that is probably the most throwaway track in their entire cannon – so no real loss there (you take the low road and I'll be in Scotland before you have to hear this). The remaster brings out that fantastic riffage though of "Jailbreak" – the rakish Bon singing the praises of a non-PC mate of his whose doing 16-years in Hell for murder - breaking rocks on the chain gang. He makes it out all right - but with a treacherous bullet in his back (an ideal dinner guest I'm thinking). 

After the sheer pulse-increasing blinder of "Jailbreak" - the ever-so slightly weedy "You Ain't Got A Hold On You" comes as a minor disappointment. But that's immediately wiped away by the Thin Lizzy-sounding rocker "Show Business" - a raucous tirade at robbers in their chosen profession. It's typically leery, fun and Rock 'n' Rolls like a goodun. "Soul Stripper" has a very "High Voltage" vibe in its similar riff - great back beat as Bon regales his tale of a lady tingling his spine who then produces a knife and makes him say things he didn't want to say (oh yeah Bon). They miscredited the Big Joe Williams classic "Baby, Please Don't Go" to Big Bill Broonzy on first pressings of their Australian debut album "High Voltage" - but that doesn't stop this being another rocking fave of mine - the band sounding like Budgie who also covered this slide tune on their 1973 album "Never Turn Your Back On A Friend" (Metallica would return the cover favour years later too). I love that Bon/Angus guitar/voice battle that romps the R&B dancer home.   

"'74 Jailbreak" is short I know and not all undiluted AC/DC riffing genius - but for me it was so sweet to hear Bon again - letting rip with that sense of humour of his and the best rock band on the planet backing him up.

It was a long to the top if you wanted to Rock 'n' Roll - but man their climb was filled with magnificence. Break some rocks with the original chain gang folks and bring this saucy little bust-out into your home...

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"Joan Armatrading" by JOAN ARMATRADING - August 1976 Third Studio Album on A&M Records (September 1997 UK A&M 'ReMasterPieces' CD Reissue with Roger Wake Remaster) - A Review by Mark Barry...

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MORE THAN A FEELING 

1976

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"...I'm Open To Persuasion..." 

I can recall vividly the first time I heard "Love And Affection" in the Autumn of 1976 – sophisticated, hurting, layered – it was truly jaw-dropping stuff. And this most famous of her songs has pretty much remained a Radio stalwart ever since. 

Her third album – the self-titled "Joan Armatrading" is coming up on a 50th anniversary in 2026 so deserves to have its considerable praises sung "...once more with feeling..."

UK released September 1997 – "Joan Armatrading" by JOAN ARMATRADING on A&M CDMID 104 (Barcode 082839322829) is a straightforward mid-price CD transfer of the album on the label's 'A&M ReMasterPieces' Series and plays out as follows (42:05 minutes):

1. Down To Zero [Side 1]

2. Help Yourself

3. Water With The Wine

4. Love And Affection

5. Save Me

6. Join The Boys [Side 2]

7. People

8. Somebody Who Loves You

9. Like Fire

10. Tall In The Saddle

Tracks 1 to 10 are her third LP "Joan Armatrading" – released August 1976 in the UK on A&M Records AMLH 64588 and September 1976 in the USA on A&M SP-4588. The album peaked at No. 12 on the UK album charts (No. 67 in the USA) in September 1976. The CD Remaster was carried out by ROGER WAKE at Bourberry & Wake and is very clean – beautiful in places. Unfortunately the inlay is a gatefold slip of paper with musician credits and bugger all else which is a damn shame (early days of CD reissues).

THE BAND:

JOAN ARMATRADING – 6 and 12-string Acoustic Guitars & Lead Vocals

JERRY DONAHUE – Lead Electric Guitar (all tracks except "Somebody Who Loves You" and "Like Fire")

BRYN HAWORTH – Mandolin on "Somebody Who Loves You" and Slide Guitar on "Like Fire"

PETER WOOD – Piano and Organ (all tracks except "Somebody Who Loves You" and "Like Fire")

DAVE MARKEE – Bass on All Tracks

DAVE MATTACKS – Drums on All Tracks except "Down To Zero" and "Help Yourself"

KENNEY JONES – Drums on "Down To Zero" and "Help Yourself"

Duel drums with Dave Mattacks on "Water With The Wine", "Join The Boys" and "People"

B.J. COLE – Steel Guitar on "Down To Zero"

GRAHAM LYLE (of Gallagher & Lyle) – 12-String Guitar on "Down To Zero"

JIMMY JEWEL – Saxophone on "Love And Affection"

LEROY CHAMPAIGN and CLARKE PETERS – Backing Vocals on "Love And Affection"

Following on from her debut LP "Whatever's For Us" on Cube Records HIFLY 12 in November 1972 and her 2nd effort "Back To The Night" on A&M Records AMLH 68305 in April 1975 – "Joan Armatrading" didn't so much launch her but explode the West Indies lady (by way of Birmingham in the UK) onto a world stage. The self-titled LP was everywhere by Christmas and being praised as one of 'the albums of the year' by admirers in the music press on both sides of the pond and everywhere else for that matter.

Side 1 opens with the magnificent "Down To Zero" – a regular on "Best Of" and "Anthology" compilations and easy to hear why. A gorgeous production by Glyn Johns sees those acoustic guitars up front until Jerry Donahue from Fairport Convention kicks in with that great lead guitar. Kenney Jones (of Small Faces, Faces and The Who) and Dave Markee (of Centipede) both play blinders on the Drums and Bass too. But its those "...first class scene-stealer...brand new dandy..." lyrics that cut into you – announcing with bravado that this is no sappy love song nor is the writer a teenage sucker. The sweet sounds continue with the deceptive "Help Yourself" – and just as you're getting comfortable with it acoustic sway – the song goes funky and angry - genius.

"...Met him on a Monday and he said he loved me so..." she sings warily on "Water With The Wine" and by the time you get halfway though the song you get the uneasy feeling that things aren't going to work out for this Joe Schmo. It's funny now to think of that deep bass vocal on "Love And Affection" as being Detective Lester Freamon in HBO's 'The Wire' TV Series who used to bawl out Dominic West's character McNulty every week. But the other unsung hero on this classic is surely Jimmy Jewell of Jake & The Family Jewels - whose Saxophone work elevates the song into the majestic. Everything about this ode to love is aching like an open wound – longing for a taste of the real thing - and even after 40 years "Love And Affection" still has the emotional mojo to move a soul.

Side 2 opens with the funky Rock of "Join The Boys" where Joan declares her musical motley crew is "...second to none even on a bad night..." – great piano and organ fills from Peter Wood throughout with both Kenney Jones and Dave Mattacks whacking those skins. I've always had a soft spot for anything Bryn Haworth plays on – a fantastic guitar player who used to be with Freakbeat darlings Fleur Des Lys in the 60ts. Haworth had just put out two solo albums on Island "Let The Days Go By" in 1974 and "Sunny Side Of The Street" in 1975 (see my review for this pairing on Gott Discs). Haworth's mandolin playing is sweetly complimentary to "Somebody Who Loves You" bringing out the warmth of the song - while his menacing chunky Slide on "Like Fire" perfectly underscores Joan's fantastic funky Acoustic Guitar playing. The record ends on the quietly hopeful "Tall In The Saddle" which features a wildly effective guitar solo from Jerry Donohue.

If you want more of her great material – the "Gold" 2CD set from Universal has beautiful 2005 remasters from Erick Labson – but at present this is the only way to get the whole album with 'that' song on it.

I'd love to hear outtakes from these sessions or demos and I can't help thinking that a 2CD 50th Anniversary Deluxe Edition of "Joan Armatrading" is due in 2026? Here's hoping...

"Show Some Emotion" by JOAN ARMATRADING (1997 A&M 'ReMasterPieces' CD – Roger Wake Remaster) - A Review by Mark Barry...

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"...Shelter In A Storm..." 

After the artistic and commercial high of her 3rd studio platter "Joan Armatrading" in the autumn of 1976 – an album resplendent with the magnificent showstopper single "Love And Affection" amidst its classy ranks – the 1977 follow-up "Show Some Emotion" was generally considered to be somewhat of a disappointment.

I'd argue "Show Some Emotion" is an overlooked wee beauty. And in 2017 – Joan Armatrading's fourth studio album is coming up fast on a 40th anniversary – so as the good lady would say "...once more with feeling..." Here are the CD Remaster details

UK released September 1997 – "Show Some Emotion" by JOAN ARMATRADING on A&M CDMID 105 (Barcode 082839466325) is a straightforward mid-price CD transfer of the 10-track 1977 album on the label's 'A&M ReMasterPieces' Series and plays out as follows (37:35 minutes):

1. Woncha Come On Home [Side 1]

2. Show Some Emotion

3. Warm Love

4. Never Is Too Late

5. Peace In Mind

6. Opportunity [Side 2]

7. Mama Mercy

8. Get In The Sun

9. Willow

10. KIssin' And A Huggin'

Tracks 1 to 10 are her fourth studio album "Show Some Emotion" – released September 1977 in the UK on A&M Records AMLH 68433 and October 1977 in the USA on A&M SP-4663. Produced by GLYN JOHNS - the album peaked at No. 12 on the UK album charts and No. 52 in the USA.

THE BAND:

JOAN ARMATRADING – 6 and 12-string Acoustic Guitars, Thumb Piano and Lead Vocals

JERRY DONAHUE – Lead Electric or Acoustic Guitar on all tracks except "Woncha Come On Home" where all instruments are by JA

GEORGIE FAME – Fender Rhodes Electric Piano on Tracks 2, 3, 4, 5, 7 and 9

JOHN 'RABBIT' BUNDRICK – Organ on Tracks 2, 4, 7 and 8

TIM HINKLEY – Organ on Track 5 and Piano on Track 10

MEL COLLINS – Saxophone on Tracks 7 and 10

BRYAN GAROFALO – Bass on Tracks 2, 4, 5, 7, 8, 9 and 10

DAVE MARKEE – Bass on Tracks 3 and 6

DAVID KEMPER - Drums on Tracks 2, 4, 5, 7, 8 and 9

KENNEY JONES – Drums on Track 6

HENRY SPINETTI – Drums on Tracks 3 and 10

PETE CLARKE and JOE SCOTT – Backing Vocals on Tracks 6 and 8

BRIAN ROGERS – Strings Arranged and Conducted on “Willow”

The CD Remaster was carried out by ROGER WAKE at Bourberry & Wake and is very clean – even beautiful in places. Unfortunately the inlay is a gatefold slip of paper with musician credits only and bugger all else - a damn shame really.

Following on from her debut LP "Whatever's For Us" on Cube Records HIFLY 12 in November 1972 and her 2nd effort "Back To The Night" on A&M Records AMLH 68305 in April 1975 – "Joan Armatrading" didn't so much launch JA but explode the West Indies lady (by way of Birmingham in the UK) onto a world stage. The self-titled LP was everywhere by Christmas 1976 and being praised as one of 'the albums of the year' by admirers in the music press on both sides of the pond and everywhere else for that matter. The pressure was on to produce an equal. And in 1977 tracks like "Show Some Emotion", "Willow", "Kissin' And A Huggin'" and "Warm Love" absolutely delivered on the emotional and musical sucker-punches – but despite its No. 6 chart position in the UK (six notches better than her more famous predecessor) many felt the rest of the record somehow lacked. I'd disagree.

Another gorgeous production from Glyn Johns sees those acoustic guitars up front while high calibre guests like Jerry Donahue of Fairport Convention, Rhodes Piano R&B star Georgie Fame, John ‘Rabbit’ Bundrick who’d done a stint with Free, Kenney Jones of The Small Faces, The Faces and The Who, Saxophonist Mel Collins of King Crimson, Tim Hinkley of The Bo Street Runners, Jody Grind and Snafu and Dave Markee of Centipede – all contribute immensely to the overall classy feel.

The opener "Woncha Come on Home" is gorgeous – just Joan on Acoustic Guitar and a plinking Thumb Piano singing almost Acapella on a song where she’s scared at night and pining for her beau. "Show Some Emotion" is the first tune to show the full playing range of her band – all Jazz-Funky but in a Rock way. The Bassist Bryan Garofalo who gives the track such a great groove later sessioned on Joe Walsh's "So What" and did stints for John Stewart, Kim Carnes and Glenn Frey. But the first true moment of greatness on the album arrives with the beautiful "Warm Love" which A&M lifted as a 45 in March 1978 (AMS 7346) with "Get In The Sun" from Side 2 as its flipside. It seems amazing even now that such a genuinely pretty love song with obvious heart in its very DNA did no business on either side of the pond.

Thinks Funk-Up with "Never Is Too Late" – Jerry Donahue on Electric Guitar with Ja on Acoustic – both chugging away at the neck-jerking rhythm. She switches to Acoustic Piano for the mellow "Peace In Mind" – a song about plans people pursue that don’t work out. JA then takes an impressive Lead Acoustic on "Opportunity" – bending those strings as Jerry sneaks around in the background on a Slide Electric – sinister and cool - while Pete Clarke speaks in a deep dark voice about worldwide adventures and opportunities to make money out of other people's misery. Over on Side 2 things get Jazz-Funky as the band swing and sway on "Get In The Sun" – Joan working some clever vocals phrases in the upper register. The final two - the stunning mellow declaration of love in "Willow" and the sexy took-my-baby-walking of "Kissin' And A Huggin'" - are amongst the best tracks on the album and regularly appear on 'Best Of' and 'Anthology' CD compilations.

If you want more of her great material – the "Gold" 2CD set from Universal has beautiful 2005 remasters from Erick Labson – an Audio Engineer who has over 1000 mastering credits to his name including huge swathes of the Universal catalogue. In the meantime invest in this 'whole' album that's gotten lost over the years.

"...Come running to me when things get out of hand...running to me when it's more than you can stand...I'm strong...straight...willing...to be a shelter in a storm...your willow..."

Ain't that just beautiful...

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"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...

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"...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...