"All Things Change: The Transatlantic Anthology 1967-1970" by RALPH McTELL (April 2017 Cherry Tree 2CD Remasters) - A Review by Mark Barry...

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"...When The Sunshine Came..."

"...When The Sunshine Came..."

I can't help thinking that fans of Farnborough Folky Ralph May have been waiting the guts of their hero's 50-year career for this wonderful reissue.

Taking his stage surname from a Blind Willie McTell song - Ralph McTell signed to Nat Joseph's Folk-Progressive Transatlantic Records in the late 60ts and promptly popped out three albums of largely original studio recordings - "Eight Frames A Second" (February 1968), "Spiral Staircase" (January 1969) and "My Side Of Your Window" (December 1969). A fourth eleven-track record called "Ralph McTell Revisited" turned up in November 1970 which featured remixed and re-recorded tracks from his second and third LPs (six from "Spiral Staircase" and five from "My Side Of Your Window"). It was supposed to become a US-market lead-in compilation that ultimately never got released there. Throw in a rare non-album 7" single A-side on Big T Records (one of Transatlantic's subsidiary labels) and two session outtakes recorded October 1967 for the first LP (the second of which is a superb Previously Unreleased stripped down version of "Eight Frames A Second") - and that's where this wee 2CD peach comes bounding in.

Fans of Folk Rock and Acid Folk will also love the eclectic range of guest-players on albums number two and three especially – Clive Palmer and Michael Bennett who were ex Incredible String Band and would form the ultra-collectable COB (Clive’s Original Band), Pedal Steel guitar player Gordon Huntley from Matthews Southern Comfort, Bruce Barthol, Gary Peterson and Phil Greenberg of Formerly Fat Harry (Barthol was ex Country Joe & The Fish), Double-Bass player Brian Brocklehurst of The Yetties, Pete Berryman of The Famous Jug Band, Fusion Drummer John Marshall of Centipede and the obscure but utterly brilliant harmonising of English Tapestry (McTell claims they were amongst the best backing singers in the whole of UK Folk). 

As you can imagine with four LPs progressing as they go while Producers Tony Visconti and Gus Dudgeon oversee things and Mike Vickers arranges complimentary string sections - you’re on a voyage of discovery that takes in straight-up lonesome Acoustic Folk that soon touches on Folk-Rock, Acid Folk, Jug Band Blues and shades of Americana similar to The Band circa 1968, 1969 and 1970. 

There is a ton of info to get through so here are the Folktastic details...

UK released Friday, 21 April 2017 (28 April 2017 in the USA) - "All Things Change: The Transatlantic Anthology 1967-1970" by RALPH McTELL on Cherry Tree CDTREE019D (Barcode 5013929691926) offers four studio albums, one single and two outakes on 2 Remastered CDs and plays out as follows:

Disc 1 (79:16 minutes):

1. Nanna's Song [Side 1]

2. The Mermaid And The Seagull

3. Hesitation Blues

4. Are You Receiving Me?

5. Morning Dew

6. Sleepytime Blues

7. Eight Frames A Second [Side 2]

8. Willoughby's Farm

9. Louise

10. Blind Blake's Rag

11. I'm Sorry-I Must Love

12. Too Tight Drag

13. Granny Takes A Trip

Tracks 1 to 13 are his debut album "Eight Frames A Second" - released February 1968 in the UK on Transatlantic TRA 165 and June 1969 in the USA on Capitol ST-240. Produced by TONY VISCONTI - it didn't chart in either country. All songs are Ralph McTell originals except "Hesitation Blues" (Traditional Jug Band Blues from the 1920's), "Morning Dew" by Tim Rose, "Too Tight Drag" by Blind Blake (Traditional Blues from the 1920's) and "Granny Takes A Trip" by Christopher Beard and Geoff Bowyer of The Purple Gang.

14. Streets Of London [Side 1]

15. Mrs. Adlam's Angels

16. Wino And The Mouse

17. England 1914

18. Last Train And Ride

19. The Fairground

20. Spiral Staircase [Side 2]

21. Kind Hearted Woman Blues

22. Bright And Beautiful Things

23. Daddy's Here

24. Rizraklaru (Anag.)

25. (My) Baby Keeps Staying out All Night Long

26. Terminus

Tracks 14 to 26 are his second studio album "Spiral Staircase" - released January 1969 in the UK on Transatlantic TRA 177 (No US release). Produced by GUS DUDGEON - it didn't chart. All songs are Ralph McTell originals except "Kind Hearted Woman Blues" by Robert Johnson and "(My) Baby Keeps Staying Out All Night Long" by Buddy Moss.

27. Summer Came Along - non-album A-side to an 11 July 1969 UK 7" single on Big T Records BIG 125

("Girl On A Bicycle" from the then unreleased "My Side Of Your Mirror" LP in December 1969 was its B-side, Track 3 on Disc 2)

Disc 2 (79:51 minutes):

1. Michael In The Garden [Side 1]

2. Clown

3. Girl On A Bicycle

4. Father Forgive Them

5. All Things Change

6. I've Thought About You [Side 2]

7. Factory Girl

8. Blues In More Than 12 Bars

9. Kew Gardens

10. Wait Until Snow

11. Silver Birch And Weeping Willow

Tracks 1 to 11 are his third studio album "My Side Of Your Window" - released December 1969 in the UK on Transatlantic Records TRA 209 (No US release). Produced by GUS DUDGEON - It didn't chart in the UK. All songs are Ralph McTell originals (see paragraphs below for the many guest appearances on the album).

12. Streets Of London [Side 1]

13. Michael In The Garden

14. Last Train And Ride

15. Kew Gardens

16. Fairground

17. Spiral Staircase [Side 2]

18. Factory Girl

19. Bright And Beautiful Things

20. Father Forgive Them

21. Clown

22. Terminus

Tracks 12 to 22 are his fourth studio album "Ralph McTell Revisited" - released November 1970 in the UK on Transatlantic Records TRA 227 (No US release). The album contains remixes and re-recordings - six from "Spiral Staircase" and five from "My Side Of Your Window".

23. Suzanne

24. Eight Frames A Second

Tracks 23 and 24 are session outtakes from the "Eight Frames A Second" album recorded October 1967 - "Suzanne" is a Leonard Cohen cover version first released 2007 in the UK on CD - while "Eight Frames A Second" is Previously Unreleased and is a 'Non Orchestrated Version'.

The 12-page booklet has superbly annotated and seriously detailed liner notes by noted writer and music archivist DAVID WELLS which take a lot from McTell's own website and recollections (just as well really because like many Transatlantic LPs of the period - they looked great - but were skimpy on actual recording details - Brian Brocklehurst of The Yetties simply credited as 'Special Thanks to Brock' on the "Spiral Staircase" LP for instance). There are label repros of the rare Big T 45s "Summer Came Along" and "Kew Gardens", snaps of McTell in Acoustic Troubadour mode, a snap of Producer Gus Dudgeon (more closely associated with Elton John's DJM albums) and a collage of the four LP sleeves in colour. Oddly for a Cherry Tree release (part of the Cherry Red labels) - there is no Audio or Mastering credits. But the sound is fabulous - acoustic recordings that then slowly move into Folk Rock and beyond. The "My Side Of Your Window" album (which is my fave) is particularly good. A nice job done...

The first album "Eight Frames A Second" is mostly McTell and an Acoustic Guitar with some tracks featuring other players brought in for accompaniment. Typical of so many debut LPs searching for a style - the decidedly weird covers of Tim Rose's "Morning Dew" and the minor Jug Band hit "Granny Takes A Trip" by The Purple Gang (1967 UK 7" single on Big T Records BIG 101) are indicative of interfering forces and did the overall impact no good at all. But McTell more than holds his own on the lovely "The Mermaid And The Seagull" (complete with lapping waves and bird cries), the Bluesy traditional "Hesitation Blues" and the mellow instrumental "Willoughby's Farm". Jug Bands and flicked Washboards fill "Sleepytime Blues" while McTell gives a nod to those old ragtimes with his own instrumental tribute to Blind Blake on "Blind Blake's Rag" (he covers the Milwaukee man's "Too Tight Drag" also).

While the debut is a reasonable start - "Spiral Staircase" feels like a huge leap forward - opening as it does with a song that would come to define him - "Streets Of London". Written in 1966 while resident in Paris - McTell had abandoned the tune – but then gave it to Derek Brimstone who performed it live in his sets only to elicit wild reactions from the audience. Convincing McTell that he should re-visit the song – Ralph added an extra verse and a busking legend was born. Visconti smartly insisted that “Streets Of London” be put on the second LP (McTell resisted) and so it opens "Spiral Staircase" with a genuinely emotional wallop. That one-man-and-his-guitar vibe continues with "Mrs. Adlam's Apple" – a delicate and beautiful acoustic ditty – the kind of song that dominates much of this hugely underrated Folk LP. In fact it's as if McTell suddenly found his true Folk-Soul voice on LP No. 2. Collectors will note that both "Last Train And Ride" and "Spiral Staircase" feature The Famous Jug Band - Clive Palmer and Pete Berryman on Guitars, Harry Bartlett on Jugs and Mick Bennett (of COB) on Washboard. "England 1914" has particularly lovely string arrangements in an English pastoral fashion - while McTell convincingly reaches for his inner Robert Johnson on the fingerpicking cover of "Kind Hearted Woman Blues". Trivia - the nonsense word title of the impossibly pretty instrumental "Rizraklaru" turns out to be an anagram of Rural Karzi - a song he thought up on the way back from said outside loo (cue country poop produces worldwide masterpiece joke).

For me the real prize here is the third album "My Side Of Your Window" where McTell features a huge array of guesting musicians on genuinely great songs. Ex Country Joe & The Fish Bassist Bruce Barthol turns up on "Michael In The Garden" - while Gary Peterson - his fellow band mate in Formerly Fat Harry – also joins him on the gorgeous "Girl On A Bicycle" contributing Piano and Acoustic Guitar. Beatles obsessives will have to own "All Things Change" and not because it's Ralph's debut on Piano - but because McTell confirms from his recollections that the song contains one or all three of the Cello players who added so much to "Eleanor Rigby" - Derek Simpson, Stephen Lansberry and Peter Halling.

Another pleasant surprise is a hidden one - the obscure Folk group English Tapestry adding hugely to the beautiful "Kew Gardens". Apparently a harmonising trio consisting of sister and brother Ruth and Brian Britain alongside one Andrew Taylor - I can find only two other physical entrances in their recorded history. Two songs called "Valentine Chant" and "Whitsuntide Carol" are on a 1974 Various Artists benefit album called "The First Folk Review Record" on Folksound FS 100 - and they also did backing vocals on the Side 2 opener "Edward Sayers' Brass Band" for Richard Digance's April 1975 album "How The West Was Won" on Transatlantic Records TRA 289. Lead Vocalist Ruth Britain has the kind of pure English Folk voice that engenders hero worship (like Shirley and Dolly Collins for instance) and combining this with a song as lovely as "Kew Gardens" produces noticeable magic here (I'd love to hear more of their stuff).

Other genuine highlights include the sobriety tale of Billy the eventual statesman in "Blues In More Than 12 Bars" and the plaintive and lovely "Factory Girl" from his memories of ladies trying to find joy in the humdrum and repetition. But best of all is the very John Martyn "Wait Until The Snow" - a gorgeously mellow Folk-Rock song with no less than three members of Formerly Fat Harry contributing - Bruce Barthol on Bass, Phil Greenberg on Lead Guitar and Gary Peterson on Organ. I love this whole album and I find myself returning to "My Side Of Your Window" over and over - a forgotten gem that deserves more exposure.   

The 7" single "Summer Came Along" and seven of the 'remixed and re-recorded' versions on the "Ralph McTell Revisited" LP have turned up as Bonus Tracks on the 2007 CD reissues of "Spiral Staircase" and "My Side Of Your Window" before - but here in 2017 is the first time that the whole eleven-track LP has been issued as one. "Michael In The Garden", "Spiral Staircase" and "Father Forgive Them" were largely Acoustic-only affairs on original issue - here they're given the full 'band' treatment that muscles up the arrangements. The "Kew Gardens" track with English Tapestry guesting remains the same - a slight remix perhaps. The impossibly pretty "Streets Of London" song that would come to define him is also only a Remix to my ears with minimal change to the "Spiral Staircase" acoustic version. But best of all is the beautiful ballad "Factory Girl" which is given stunning Pedal Steel guitar accompaniment from Gordon Huntley of Matthews Southern Comfort thereby transforming the song into something altogether better than the original. 

Reprise Records would issue his new recording of "Streets Of London" in November 1974 where it would eventually smash the top ten to settle at No.2 - an amazing placing for Reprise K 14380. The album simply called "Streets" appeared in February 1975 and would give him an equally rare LP placing - No. 13. The song and album would change Ralph McTell's world forever (I always think his gorgeous and far superior song "From Clare To Here" deserves as much praise if not more).

But this is where that long Folk-Rock Singer-Songwriter journey began. Well done to Cherry Tree for reminding us of what we've been missing. "...The music started to flow..." – Ralph McTell sings in "Fairground". Indeed it did mate...

"Sheer Heart Attack: 2011 Digital Remaster 2CD Deluxe Edition" by QUEEN (March 2011 Island Records 2-Disc Reissue) - A Review by Mark Barry...

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"…Dynamite With A Laser Beam…"

The first 1986 CD reissue, the 1991 Hollywood version from the USA, the 1993 UK variant – and now this '2011 Digital Remaster' – yet another definitive version tapping Queen's lucrative back catalogue - this time on Island Records.

Their breakthrough 3rd album on EMI Records has had (like most huge titles from the period) its fair share of recomboozalated whirls on the old digital merry-go-round. But this latest wallet-tempter for Queen fans has to be the best – at least sonically – although I find that the visuals are once again naught to write home about...

First of all - the '2011 Digital Remaster' comes in two variants – the single European CD version on Island Records 276 440 9 (Barcode 602527644097) with just the 13-track album. The one I want to concentrate on is its big brother – the 2CD 'Deluxe Edition' with a Bonus EP of 5-tracks as Disc 2. Here are the tenement funsters...

UK and Europe released March 2011 - "Sheer Heart Attack: 2011 Digital Remaster 2CD Deluxe Edition" by QUEEN on Island Records 276 441 1 (Barcode 602527644110) is a CD + BONUS EP Reissue/Remaster and breaks down as follows:

Disc 1 (39:08 minutes):

1. Brighton Rock [Side 1]

2. Killer Queen

3. Tenement Funster

4. Flick Of The Wrist

5. Lily Of The Valley

6. Now I'm Here

7. In The Lap Of The Gods [Side 2]

8. Stone Cold Crazy

9. Dear Friends

10. Misfire

11. Bring Back That Leroy Brown

12. She Makes Me (stormtrooper in stilettos)

13. In The Lap Of The Gods...revisited

Tracks 1 to 13 are their 3rd studio album "Sheer Heart Attack" - released November 1974 in the UK on EMI Records EMC 3061 and in the USA on Elektra 7E-1026. Produced by QUEEN and ROY THOMAS BAKER – it peaked at No. 2 in the UK and No. 12 in the USA

Disc 2 BONUS EP (15:48 minutes):

1. Now I’m Here (Live At The Hammersmith Odeon, December 1975)

2. Flick Of The Wrist (BBC Session, October 1974)

3. Tenement Funster (BBC Session, October 1974)

4. Bring Back That Leroy Brown (A Cappella Mix 2011)

5. In The Lap Of The Gods... revisited (Live At Wembley Stadium, July 1986)

The round-cornered 'super jewel case' certainly looks the part but in truth I find them bloody awkward to use. At least the 16-page booklet is a better affair than previous - new period photos of the band - the lyrics to the songs that were on the inner bag are here too as are track-by-track explanations of the BONUS EP by GREG BROOKS and GARY TAYLOR. But there's no history of the album - no rare foreign picture sleeves for this most collectable of bands - no reminiscences or input from surviving members of the band... It's good but hardly great and visually feels about as special as used Pizza Hut box.

At least the audio lives up to the highlighted sentence inside - "This 2011 version has been meticulously re-created using the finest modern analogue and digital technology from the original first-generation masters mixes" - because you can 'hear' this sucker the second you play that fairground opening to "Brighton Rock" - the manic Brian May guitars slowing creeping in as Mercury gives it some falsetto 'Jimmy went away' and 'Rock of Ages' lyrics. The team that did wonders with the 2005 versions of 1975's "A Night At The Opera" and 1976's "A Day At The Races" are back - KRIS FREDRIKSSON and JUSTIN SHIRLEY-SMITH with Audio maestro BOB LUDWIG doing the mastering. The Bonus EP has different sources  - all mastered by ADAM AYAN at Gateway Mastering. The results are amazing...

While the sheer sonic attack of the guitars in the brilliant and wild "Brighton Rock" is enough to impress (written by Brian May) - the impact of clarity on Freddie Mercury’s insanely catchy "Killer Queen" is another thing altogether. I've never heard May's layered guitars so clear - Mercury's lead vocal so in your face - the backing vocals and flanged effects – all of it is a wow. Brian Taylor's Rock 'n' Roll 45s has been enraging the stuffy neighbours on the lower floor in his "Tenement Funster". But what I hadn't bargained for is that piano-intro that segues into the sinister "Flick Of The Wrist" - it's so damn clean now - a long way from my battered UK EMI LP where the sleeve always seemed to split at the slightest pressure. The 'intoxicate your brain' vocals are full of power too. The short but pretty "Lily Of The Valley" is impressive - Mercury at the piano holding court as he continues the 'Seven Seas Of Rhye' story begun on "Queen II" in 1973. But my rave has always been the barnstorming single "Now I'm Here" - the opening vocals and drum whacks panning from speaker to speaker. When it kicks in with the 'I'm just a new man...' riff - you're won over - and you're down in the dungeon with peaches 'n' me.

Side 2's "In The Lap Of The Gods" has always been a Prog moment for me - oohs and aahs and crashing cymbals - wonderfully clear audio as parts of the song feel very similar in structure to 'that' single which would dominate Christmas 1975 (the last "Leave it in the Lap Of The Gods" chorus is so good). Back to mania with the huge "Stone Cold Crazy" and I'm thinking Heart was listening to this when they recorded "Barracuda". And again you marvel at the sheer virtuosity of May's playing - little flicks - huge riffs - memorable solos - he uses them all. Although it sounds like a Freddie tune - the short but sweet "Dear Friends" is actually a Brian May composition and feels like a hymn sung to a child. John Deacon puts up the acoustic bop of "Misfire" where love's a game and don't misfire your loaded gun (ok boys). I've always disliked the cod seaside banjo of "Bring Back That Leroy Brown" - better is May's "She Makes Me" where Queen feel melodious and huge at one and the same time. It ends on another vocal tour-de-force - the revisited "In The Lap Of The Gods" - the manic stripped away - Queen wallowing in their own sound...

"Now I'm Here" on the Bonus EP actually dates from the British November/December 1975 tour for "A Night At The Opera" where both the album and the single "Bohemian Rhapsody" nestled at No. 1 in the charts. It was recorded at The Hammersmith Odeon in London and apparently this kick-ass version opened the show. Hero of the hour for the two BBC Sessions turns out to be a man I bought records off while I worked at Reckless - BBC Sound Recording man Jeff Griffin (engineered by Chris Lycett). Apparently it was practice for the Beeb to wipe tapes back in those less-enlightened days - but Jeff held onto to them for 40 years – hence their new inclusion here. Both versions of "Flick Of The Wrist" and "Tenement Funster" are close to the finished articles - but it's fun to hear May letting rip on those guitar passages - cutting it live just as much as he did in the studio. The supposed 'A Cappella Mix' of "Bring Back That Leroy Brown" is best described as ‘fun’ - while the immersed rapture of the audience at Wembley Arena in July 1986 is genuinely audible on the finisher "In The Lap Of The Gods". From here the band would go on to do the Scaramouche and the Fandango with thunderbolts and lightning indeed when they owned the world in 1975...

In some ways I can't help thinking someone somewhere at Island Records could have come up with a tastier and more fan-pleasing presentation for "Sheer Heart Attack" after all these decades. And that money-gremlins over at Island know that serious fan-worship will drive Queen lovers into the arms of those Japanese SHM-CDs using the new remasters but with beautifully accurate Repro Mini LP Sleeves. Hell there’ll probably be yet another anniversary box set issue in the next few years with newly found/remixed tiny morsels to tempt us.

But in the meantime – this 2011 Digital Remaster does at least do the Stone Cold Crazy with Audio style. Suffice to say - for now you should park your Marie Antoinette's on this semi-naked Killer Queen...

"Machine Head: Anniversary 2CD Edition" by DEEP PURPLE - April 1972 Studio LP (September 1997 EMI 2CD Reissue - Remixes and Remasters) - A Review by Mark Barry...

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TUMBLING DICE - 1972

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"...All right...hold tight...I'm a highway star..." - Ian Gillan sings on the explosive opener. OK boys - I'm holding tight and I'm liking what I'm hearing – even if it is digitally sozzled and recomboozalated.

The Purp's classic "Machine Head" hit the streets of both Blighty and Big City USA in April 1972 and we've been in love with its non-nonsense Rawk ever since (a No. 1 in the UK and No. 7 over there). Followed later in the year with the stunning double-live set "Made In Japan" - and with "Fireball" from 1971 and "Deep Purple In Rock" from 1970 already under their hard-rocking belt - it seemed like a slam-dunk.

And like Jethro Tull's catalogue with its endless but hugely pleasing book sets - EMI seem to have a CD thing for this most British of hairy-men bands - always giving their reissues more than a half-decent outing and not just what they can get away with. So it is with head-banging pleasure that I come to the September 1997 'Anniversary 2CD Edition' of the wunderbar "Machine Head" and announce with glee that it’s no different. Bit of a barnstormer in fact. Let's get to the space truckin' and the smoke on the water...

UK released 8 September 1997 - "Machine Head: Anniversary 2CD Edition' by DEEP PURPLE on EMI CDDEEPP 3 (Barcode 724385950629) is an 'Expanded Edition' 2CD Reissue with 1997 Remixes on Disc 1 while Disc 2 comprises of the album Remastered and Three Bonus Tracks. It plays out as follows...

Disc 1 - 1997 Remixes - 43:42 minutes:

1. Highway Star

2. Maybe I'm A Leo

3. Pictures Of Home

4. Never Before

5. Smoke On The Water

6. Lazy

7. Space Truckin'

8. When A Blind Man Cries

Disc 2 - Remastered - 53:12 minutes:

1. Highway Star [Side 1]

2. Maybe I'm A Leo

3. Pictures Of Home

4. Never Before  

5. Smoke On The Water [Side 2]

6. Lazy

7. Space Truckin'

Tracks 1 to 7 are their sixth studio album "Machine Head" - released April 1972 in the UK on Purple Records TPSA 7504 and in the USA on Warner Brothers BS 2607. Produced by DEEP PURPLE (Engineered by Martin Birch) - it peaked at No. 1 in the UK and No. 7 in the USA.

BONUS TRACKS:

8. When A Blind Man Cries - non-album B-side to "Never Before" - written by the whole band it was released March 1972 in the UK on Purple Records PUR 102 and the same month in the USA on Warner Brothers WB 7572 (charted at No. 35 in the UK but didn’t chart USA).

9. Maybe I'm A Leo (Quadrophonic Mix)

10. Lazy (Quadrophonic Mix)

Tracks 9 and 10 first issued May 1972 in the UK on the 'Quadrophonic' LP issue of "Machine Head" on Purple Records Q4TPSA 7504. Note: many guides list this as issued in 1974 but I've EMI catalogues dated from June 1972 onwards through to late 1974 that list it as 06/72.

DEEP PURPLE was:

IAN GILLAN – Lead Vocals

RITCHIE BLACKMORE – Guitars

JON LORD – Keyboards

ROGER GLOVER – Bass

IAN PAICE – Drums

A card slipcase contains a slim-line double-CD jewel case – The 1997 Remixes CD has a picture of the blurred faces artwork while the Remastered album and bonuses on Disc 2 sports the Purple label. Nice as all that is – the 28-page booklet is a proper feast both with band involvement and superb visuals. Page 2 has an intro from ROGER GLOVER, a row of four rare foreign picture sleeves for the “Never Before” single from around the world and on Page 3 – a black and white photo of a cloud of smoke billowing from the Casino Studio building in Montreaux – the scene that of course inspired the classic “Smoke On The Water” song. There's even a snap of The Rolling Stones mobile parked outside the hotel and further shots of the boys inside during sessions. A major essay on the making of the album by SIMON ROBINSON fills pages 4 to 17 only to be taken over by Roger Glover's own notes called "Machine Head remembered..." from Pages 17 to 25. There's alternate artwork, trade adverts for singles and the LP and one page even has the handwritten lyrics for their most famous riff – "Smoke On The Water". It's impressive stuff...

But all that is nobbled by the fabulous new audio supplied. The vastly experienced Audio Engineer PETER MEW has remastered the Album at Abbey Road from real tapes and its way better than what I had before. But I must admit I’m drooling over the new remix versions – handled by a team of four - PETER DENENBERG, ROGER GLOVER, and JOE DiGIORGI with mastering by the supreme GREG CALBI (Paul McCartney's “Band On The Run”, Supertramp's “Crime Of The Century” and Paul Simon's “Graceland” to name but a few). Even Glover in his liner notes seemed amazed by the 1997 Remixes which he clearly felt gave the album the extra oomph it seemed to lack on original vinyl – especially given the truly explosive live versions of the songs that would come later that year on the monster double-album "Made In Japan". At last that live power is evident everywhere on these studio recordings - "Highway Star" and the hooky "Maybe I’m A Leo" alone enough to make even the most ardent unbeliever double take.

It’s hard now to play the studio version of the opener "Highway Star" without thinking of its live nemesis on "Made In Japan" - quite possibly the single most exciting opening to a live double 'ever'. But man had I forgotten how good this little sucker is. Following hot on the heels is the hugely hooky "Maybe I'm A Leo" has always been a poison for me while the drum opening of "Pictures Of Home" is now huge. The obvious 7" single "Never Again" arrived in UK shops 21 March 1972 on Purple Records PUR 502 with the non-album "When A Blind Man Cries" on the B-side - a ballad that was good enough in my books to be on the album although "Machine Head" the album was never about mellow or 'my world is pale' sorrow. I love the audio on both. Both "Lazy" and "Space Truckin'" sound big and ballsy - especially the keyboards and drums on "Space Truckin'" – and when Gillian lets rip on those chorus screams towards the end - dancing with Alice and the stars indeed.

It's now nearly twenty years since this 1997 2CD Reissue of Deep Purple’s "Machine Head" and a 45th Anniversary of the original vinyl LP looms this month (April 2017) - so no doubt another variant will wing its way into our living rooms right soon. In the meantime - come on - let's go space truckin' – burn down your speaker stacks with rockin' beast...

"Mott" by MOTT THE HOOPLE [feat Ian Hunter and Mick Ralphs] (April 2006 Columbia/Legacy 'Expanded Edition' CD – Vic Anesini Remaster) - A Review by Mark Barry...

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"…Hit The Sky…"

After three albums on Island between 1970 and 1971 that saw constant touring, critical acclaim but little chart action ("Mad Shadows", "Wildlife" and "Brain Capers") – Mott The Hoople were about to throw in the towel when they finally hit paydirt with the David Bowie assisted "All The Young Dudes" single and LP in the heady days of 1972 (the height of Glam Rock in the UK). With the mercurial Bowie a fan and his star exploding everywhere – the timing and the song was perfect. All they needed to do was to consolidate that fresh beginning – and 1973’s "Mott" followed through in real style. In fact it’s when most fans agree that the band was at its most coherent – with their identity and heir own sound – a vital high water that was achieved without needing the help of any Glam Superstar. Here are the Honaloochie Boogies...

UK released April 2006 – "Mott" by MOTT THE HOOPLE on Columbia/Legacy 82796938102 (Barcode 827969381021) is an 'Expanded Edition' CD Remaster and plays out as follows (58:42 minutes):

1. All The Way From Memphis

2. Whizz Kid

3. Hymn For The Dudes

4. Honaloochie Boogie

5. Violence

6. Drivin’ Sister

7. Ballad Of Mott The Hoople (march 26, 1972 – Zurich)

8. I’m A Cadillac / El Camino Dolo Roso

9. I Wish I Was Your Mother

Tracks 1 to 9 are 5^th studio album “Mott” – released July 1973 in the UK on CBS Records S 69038 and August 1973 in the USA on Columbia KC 32425

BONUS TRACKS:

10. Rose

11. Honaloochie Boogie (Demo version)

12. Nightmare (Demo)

13. Drivin’ Star (Live, Hammersmith Odeon)

The album was originally produced by the band (with Andy McKay of Roxy Music guesting on Sax) and this CD reappraisal offers fans 4 additions – "Rose" the non-album flip of "Honaloochie Boogie", 2 previously unreleased demos of "Honaloochie Boogie" and "Nightmare" and one incendiary live version of "Drivin' Sister" recorded at the Hammersmith Odeon in 1973. Oddly the single edit of "All The Way From Memphis" is AWOL when there was plenty of room to include it.

It won’t take British fans very long to notice that the gorgeous gatefold die-cut artwork of the original 1973 UK LP with it’s centred plastic face and inner lyric bag is completely absent - sloppily replaced with reissue artwork. At least the 12-page booklet is better than the scrappy 8-page affair that afflicts the 2006 Legacy CD of 1972’s "All The Young Dudes". 

We get more liner notes by KEITH SMITH (Editor of the MTH Fanzine “Two Miles From Heaven”), detailed recording info, lyrics and even the D.H. Lawrence piece "A Sane Revolution" that appeared on the rear cover artwork. But the colour-photo montage that’s on inner gatefold is missing and the booklet’s impact is negligible when the original LP was a thing of beauty.

Offsetting the disappointing presentation however is the real deal - a fantastic new remaster by tape wizard VIC ANESINI whose credits include Simon & Garfunkel, Stevie Ray Vaughan, The Jayhawks, Elvis Presley, Carole King, Hall & Oates and Santana to name but a few. His work is fantastic and I actively seek out his Remasters. And “Mott” had the tunes. Ian Hunter’s songwriting talents came to the fore on “Mott” - most are his songs except “Violence” and “Drivin’ Sister” which are co-writes with Guitarist Mick Ralphs (who was already in Bad Company). The other co-write is “Hymn For The Dudes” which is with Verden Allen.

The LP opens with the full album version of the rollicking "All The Way From Memphis" which to this day makes me smile (lyrics above). The grungy boogie of "Whizz Kid" could so easily have been a rocker on Bowie's "Ziggy Stardust" and the melodrama ballad "Hymn For The Dudes" is properly great Mott The Hoople - the "Thunderthighs" girly backing vocalists adding real power to a great song. The trio that follow "Honaloochie Boogie", "Violence" and "Drivin' Sister" show the differing song approaches of two huge talents – Ian Hunter and Mick Ralphs – both giving Mott The Hoople Rock, fun and that fabulous British Rock 'n' Roll swagger. But again it's the ballads that get you – the 1972 Live In Zurich "Ballad Of..." and the lovely acoustic strum of "I Wish I Was Your Mother" see the album finish on a real high.

The four bonus tracks are a typically mixed bag of the good and the average. Favourite is the beautiful ballad "Rose" – the non-album flip of "Honaloochie Boogie" (a long-prized Mott item). Musically as good is Verden Allen's "Nightmare" – that is until he opens his mouth and starts singing – he’s a terrible voice. The reissue finishes with the huge guitar punch of a live show opener "Drivin’ Sister” – but it’s already appeared on the 30th Anniversary issue of "Mott The Hoople Live".

So there you have it – a great album and a properly fab trip down Rock’s Memory Lane. It's a real shame that the booklet doesn’t celebrate "Mott" a bit more (an Indie label would have splashed out 20-pages or more) and a few more bonus tracks would have sweetened the deal - but at least what’s on offer is sonically brilliant (a fantastic remaster by Anesini).

Verden Allen would leave as would Mick Ralphs - but with principal song-writer and singer Ian Hunter still at the helm – the band would go on to even better things with their underrated 6th LP "The Hoople" in 1974 with the gorgeous "Trudi's Song" on it (see reviews for that and "Dudes" from 1972).

Now in 2017 - this remastered "Mott" CD is cheaper than a bag of chips after the pub. 

Get your greasy fingers on this 70ts Classic Rock right away...

"Nantucket Sleighride" by MOUNTAIN (2003 Columbia/Legacy 'Expanded Edition' CD Remaster) - A Review by Mark Barry...

"...A Whale Of A Time..."

Mountain's March 1970 LP "Climbing!" had busted the doors down – a gold album and a No. 17 placing on the US charts – not bad for a second platter. The New Yorkers (with Mississippi in their veins) liked it loud, proud and ear-splitten-louden-boomer. Riding a wave surfed by Grand Funk Railroad, The James Gang and bands like Zephyr – Mountain's heads-down no-nonsense hard boogie had captured a zeitgeist – let's ROCK and to hell with the Man and his Government plans. And in the larger than life Leslie 'The Great Fatsby' West – they had an axeman worth getting soppy about.

Taking its name from a Massachusetts whaler's experience (you harpooned the mighty creature – he'd dive – resurface full throttle and take the men and their boat on a Nantucket Sleighride) – the LP's title track also had a dedication to the suitably surnamed Owen Coffin in its subtitle. When a full-grown sperm whale surfaced mid Pacific in November 1820 and wrecked their ship the 'Essex' – the starved, drifting and diminishing crew of a surviving long boat ran out of food and then ran out of dead bodies to eat. So in further desperation they decided to shoot a mariner amongst their remaining ranks and eat him to survive. The unfortunate but brave 19-year old Owen Coffin literally drew the short straw – and refusing his Captain's offer to swap places – gave himself whole up to save the others. Naturally Mountain the band - who had holidayed in Nantucket between tours - thought this was a great idea for a song! Which brings us to this blubbery CD reissue - here are the cannibalistic details...

UK released April 2003 – "Nantucket Sleighride" by MOUNTAIN on Columbia/Legacy 510718 2 (Barcode 5099751071822) is an 'Expanded Edition' CD Remaster with One Bonus Track and plays out as follows (42:24 minutes):

1. Don't Look Around [Side 1]

2. Taunta (Sammy's Tune)

3. Nantucket Sleighride (To Owen Coffin)

4. You Can't Get Away

5. Tired Angels (To J.M.H.)

6. The Animal Trainer And The Toad [Side 2]

7. My Lady

8. Travellin' In The Dark (To E.M.P.)

9. The Great Train Robbery

Tracks 1 to 9 are their third studio album "Nantucket Sleighride" – released January 1971 in the USA on Windfall 5500 and May 1971 in the UK on Island Records ILPS 9148. Produced by Bassist and Studio Wizard FELIX PAPPALARDI – the album rose to No. 16 in the US LP charts and No. 43 in the UK (their first charting in Britain).

BONUS TRACK

10. Travellin' In The Dark (To E.M.P.) (Live) – no recording date provided

MOUNTAIN was:

LESLIE WEST – Guitars and Vocals

FELIX PAPPALARDI – Bass and Vocals

STEVE KNIGHT – Keyboards

CORKY LAING – Drums and Percussion

The 12-page booklet has new liner notes from LESLIE WEST and CORKY LAING (dated November 2002) - and as well as band photos supplied by the group. Their thoughts are witty and informative - the making of their 'loud' 3rd album and how the whole Nantucket area/mythology fitted in with the album’s creation. Laing laughs affectionately at Pappalardi the Producer when his wild drum solo in the title song went against the written page (instead of firing the drummer – Pappalardi thought it rocked). The Roy Bailey pencil drawing of the whale and the Nantucket Sleighride that adorned the inner gatefold is reproduced on Pages 2 and 3 in full while the insert cartoon drawing of the four-piece looking like they’re playing some Tuba adorns Page 9. It’s strange though that Sony didn’t use the Windfall label logo here as they did with the "Climbing!" reissue. But outside of that it looks cool...

But the big news is the new BOB IRWIN/VIC ANESINI Remaster from original tapes done at Sony Music Studios in New York. As the script-written line on the inner cover ‘credits box’ famously announced 'Play This Record At High Volume For Maximum Sonority...Loud!' - you quickly find out that none of the band's players are joking. This mother rocks – vibrato, fuzzy, grunge guitar noises emanate from Leslie West's speaker stacks and threaten to cause a public disturbance with your docile Laura Ashley stereo. The album was never an Audiophile event – but the space of sound on their tribute to the recently fallen Jimi Hendrix "Tired Angels (To J.M.H.)" is suddenly way better than what I've heard before. Having said that – this is a good remaster – rather than a great one and perhaps one day a better format will bring out what seems to be buried deep in the mixes...

Heavy Metal guitars and distant wailing Mellotron-sounding keyboards bring in the Side 1 opener "Don’t Look Around"  – a huge lumbering Rock song that admittedly does sound a tad old fart now after 46 years – West wailing ominously about tanning hides and being me. But you’re then hit with a brill one-two - the short but beautiful Pappalardi instrumental "Taunta (Sammy's Tune)" that then leads into the album's epic six-minute title track "Nantucket Sleighride". Pappalardi co-wrote the song with lyricist and artist Gail Collins and I've always loved West's guitar playing at the opening of "Nantucket Sleighride" and throughout - pulling out those turns on the fretboard that literally engender guitar-hero worship. It's also the most Prog Rock song on the album with its internal sea-shanty moments. I can remember hearing it on the credits of "Weekend World" on British tele - apparently a source of Royalty revenue for the band. Always compromised by being the last song on Side 1 of my battered and used Island ILPS 9148 vinyl LP – its way cool to hear their tribute to Hendrix "Tired Angels (To J.M.H.)" sound so mellow and yet full.

Windfall obviously thought the very Allman Brothers good ole Rock 'n' Roll Boogie of "The Animal And The Toad" might rattle the American airwaves - and they were right. In March 1971 they issued the Side 2 opener with the equally good "Tired Angels (To J.M.H.)" as its B-side and were rewarded with a modest placing at No. 76 for Windfall 533. They followed through with single number two in July 1971 - "Travellin' In The Past (To E.M.P.)" b/w "Silver Paper" (from the "Climbing!" album) - but Windfall 535 failed to chart. I always thought though that the far better "My Lady" would have been a better single choice - maybe gone Top 20 - it's hooky melody catchier that the rather clumsy 'can't see a thing' over-melodrama of "Travellin' In The Dark". Album number three ends on a piece of fabulous slide-guitar - West asking us do we remember "The Great Train Robbery" back in '63. The slightly muffled sound to his guitar is still there (he sounds like Ron Wood of the Faces 1971 masterpiece "A Nod's As Good As A Wink...") - but the song is definitely more powerful now. The live bonus cut of "Travellin' In The Past" is five minutes long (no recording details) and very well recorded considering the amount of riffage going on (fans will love it)...

I don't think "Nantucket Sleighride" is the Hard Rock masterpiece many make it out to be - but its many moments have been a pal to me for more than four and half decades and this CD remaster rocks that whale.

I'm off now to re-listen to "High Roller" from Leslie West's first solo album "The Great Fatsby" in 1975 – the kind of good old Boogie Rock that Mountain epitomised back in those days of magical albums and their expansive gatefold sleeves...

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"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...

This Review Along With Hundreds of Others Is Available In My

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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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