"Liege & Lief" by FAIRPORT CONVENTION (May 2002 Universal/Island Remasters 1CD Reissue - Gary Moore Remaster) - A Review by Mark Barry...

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1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters  
As well as 1960s and 1970s Rock and Pop - It Also Focuses On
Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

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"…Come All Ye Rolling Minstrels…"

Voted in 2006 as the 'most influential Folk album ever' by those lovely peopleoids at the BBC - "Liege & Lief" finished out an astounding year for FAIRPORT CONVENTION - 1969. They gingerly popped out "What We Did On Our Holidays" in January, "Unhalfbricking" (with "Who Knows Where The Time Goes") in July and the mighty "Liege & Lief" in December of that momentous year. 

Other bands who put out three great studio albums in one year are The Rolling Stones in 1965 (USA), The Lovin' Spoonful in 1967 (USA), Creedence Clearwater Revival in 1969 (USA) and with a slight Fairport tie-in - Matthews Southern Comfort in 1970 in the UK. 

But with their three 1969 albums (all on Island Records) - England's Fairport Convention practically introduced Folk-Rock to the world as well the gigantic singer-songwriter talents of vocalist Sandy Denny and guitarist Richard Thompson. "Liege & Lief" was some achievement really. Here are the Rakish Paddies, Crazy Man Michaels and Farmers Tossing Feathers...

Released May 2002 - the single CD version of "Liege & Lief" by FAIRPORT CONVENTION on Universal/Island Remasters IMCD 291 (Barcode 731458692928) breaks down as follows (55:21 minutes);

1. Come All Ye [Sandy Denny and Ashley Hutchings song]

2. Reynardine [Traditional Air Arranged By Fairport Convention]

3. Matty Groves [Traditional Air Arranged By Fairport Convention]

4. Farewell, Farewell [Richard Thompson song]

5. The Deserter [Traditional Air Arranged By Fairport Convention] - Side 2

6. Medley: The Lark In The Morning, Rakish Paddy, Foxhunter's Jig, Toss The Feathers [Traditional Air Arranged By Fairport Convention]

7. Tam Lin [Traditional Air Arranged By Dave Swarbrick]

8. Crazy Man Michael [Dave Swarbrick/Richard Thompson song]

Tracks 1 to 8 are their 4th album "Liege & Lief" - released December 1969 in the UK on Island Records ILPS 9115 and May 1970 in the USA on A&M Records SP 4257.

9. Sir Patrick Spens (Sandy Denny Vocal Version) [Traditional Air Arranged By Fairport Convention]

10. Quiet Joys Of Brotherhood (Take 1) [Traditional Air Arranged By Sandy Denny, Words by Richard Farina]

Both 9 and 10 are PREVIOUSLY UNRELEASED (Take 4 of "Quiet Joys Of Brotherhood" was released on the 1986 retrospective box "Who Knows Where The Time Goes" - not Take 1)

The 16-page booklet on this single-disc remaster is a pretty affair - colour montages of the band, historic references and plates on subjects that inspired the songs, liner notes by original Producer JOE BOYD and band member ASHLEY HUTCHINGS remembering the making of. GARY MOORE carried out the gorgeous and warm remaster with both Joe Boyd and Ashley Hutchings in attendance. Moore's name has graced Thin Lizzy, Elton John and T.Rex remasters for Universal and his much-praised work is of the same calibre here - warm, detailed and full of life.

Recorded across 4 sessions (16, 22, 29 October and 1 November) - the band was Sandy Denny (Vocals), Richard Thompson and Simon Nicols (Lead Guitars), Dave Swarbrick (Violin and Viola), Ashley Hutchings (Bass) and Dave Mattacks (Drums). Retreating to a large country house called 'Farley Chamberlayne' in Hampshire to recover from a horrific car crash that took the life of Drummer Martin Lamble and Richard Thompson's girlfriend Jeannie Taylor - the circumstances surrounding the recordings couldn't have been worse (on the verge of breaking up). Yet somehow digging down deep into English Roots for material and the warmth of the area and place seemed to heal and galvanize the proceedings. And although "Liege & Lief" is categorized as 'Folk' (the jigs of "Toss the Feathers" are purely that) - I've never heard the album in that straightjacket way and many Rock buyers thought so too. For us Folk-Rock had arrived.

Side One opens with an absolute belter "Come All Ye" - a Denny/Hutchings song that sounds like its been in someone's repertoire for 300 years or so - and just now dusted off for the modern world. The first Traditional "Reynardine" is a ballad where 'old music is played on new instruments' - floating like its haze on a country river in the morning. The eight-minute "Matty Groves" is likely to send many an English schoolteacher into a Morris Dance - Dave Swarbrick's Violin and Richard Thompson's guitar licks trading off a gorgeous Sandy Denny vocal. In fact we must talk about Sandy. When Australian Trevor Lucas joined with her in Fotheringay - the two shared lead vocals - and while he has a fabulous voice - Sandy Denny had a tone that felt like vocal honey. Her English charm and sincerity seemed unforced, real and effortless. When she begins the gorgeous Side One finisher "Farewell, Farewell" - there's a faint croak in her notes - yet it works precisely because it's so fragile (a little like herself). Ghosts of Sandy Denny fill every Kate Rusby album.

"The Deserter" is a soldier's lament given a Swarbrick/Thompson background of floating Violin and plucked Guitars. The three-part "Medley" leads us into proper Folk Music with the added backbeat of drums. You can just hear a whole pub chucking aside their wooden stools as they prance about to the jigs and reels like - well drunken sailors. "Tam Lin" and the pretty "Crazy Man Michael" bring proceedings to the close with history and melody. Of the two extras - there's a barnstormer. The ten-minute "Quiet Joys Of Brotherhood" (based on "She Moves Through The Fair") is a trippy Acid Folk workout where a lone bongo is accompanied by a violin and what sounds like a fuzzed-up Jews harp - all of it wrapped around sublime Sandy vocals. It's a properly fabulous extra.

Groundbreaking, first past the post and now a timeless classic - "Liege & Lief" has stood the test of musical time. And this cheap-as-chips deep-in-the-purse CD remaster does that legend proud and cries out for a place in your straw bed and homemade ale casket...

"Unhalfbricking" by FAIRPORT CONVENTION (March 2003 Island Remasters 'Expanded Edition' CD Reissue - Paschal Byrne Remaster) - A Review by Mark Barry...

"Unhalfbricking" by FAIRPORT CONVENTION from 1969

"...No Thought For Time..."

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Fairport Convention were to have an extraordinary year in 1969 - one of only a handful of bands to release three studio albums in one year - "What We Did On Our Holidays" in January with the mighty "Liege & Lief" in December and this - their 2nd platter "Unhalfbricking in July 1969. Other bands that achieved three in a year were The Rolling Stones in 1965 (USA), Creedence Clearwater Revival in 1969 (USA) and Matthews Southern Comfort in 1970 (UK). While those other bands should be name-checked for such voluminous original output - by the time the Fairports had placed "Unhalfbricking" at No. 12 in the UK LPs charts with "Liege & Lief" to follow at the tail-end of that extraordinary year at No. 17 – our Muswell Hill Heroes had practically invented the genre 'British Folk Rock' or 'Electric Folk' and changed music forever.

Yet despite its higher chart placing at No. 12 - it's "Liege & Lief" that gets all the plaudits, the hero worship and general trembling on ancient British knees. I'd like to argue that the humble but unfairly forgotten "Unhalfbricking" with the eleven-minute World-Music/Irish Traditional/British Folk structures of "A Sailor's Life" and the jaw-dropping beauty of Sandy's "Who Knows Where The Time Goes?" is just as influential and should be just as hallowed. And besides any album that has Nick Drake's house on the front cover – a silly made-up name from Sandy Denny - and makes three old Bob Dylan songs sound like new again gets an automatic five-star rating from me. "Million Dollar Bash" indeed! Here are the CD reissue details...

UK released March 2003 - "Unhalfbricking" by FAIRPORT CONVENTION on Island Remasters IMCD 293 - 063 596-2 (Barcode 044006359625) is an 'Expanded Edition' CD Reissue and Remaster with Two Bonus Tracks that plays out as follows (48:18 minutes):

1. Genesis Hall [Side 1]

2. Si Tu Dois Partir

3. Autopsy

4. A Sailor's Life

5. Cajun Woman [Side 2]

6. Who Knows Where The Time Goes?

7. Percy's Song

8. Million Dollar Bash

Tracks 1 to 8 are their 3rd studio album "Unhalfbricking" - released July 1969 in the UK on Island Records ILPS 9102 in Stereo and November 1969 in the USA on A&M Records SP 4206. Produced by JOE BOYD, SIMON NICOL and FAIRPORT CONVENTION (Engineer JOHN WOOD) - "Genesis Hall" and "Cajun Woman" are Richard Thompson songs - "Autopsy" and "Who Knows Where The Time Goes?" are Sandy Denny songs - "A Sailor's Life" is a Traditional cover with "Si Tu Dois Partir", "Percy's Song" and "Million Dollar Bash" all being Bob Dylan covers.

BONUS TRACKS:

9. Dear Landlord [Bob Dylan song] - an outtake from the "Unhalfbricking" sessions

10. The Ballad Of Easy Rider [Byrds song written by Roger McGuinn] - an outtake from the "Liege & Lief" album sessions

FAIRPORT CONVENTION was:

SANDY DENNY - Lead Vocals

RICHARD THOMPSON - Lead Guitars and Vocals

SIMON NICOL - Second Guitar

ASHLEY HUTCHINGS - Bass

MARTIN LAMBLE - Drums

Guests:

DAVE SWARBRICK - plays Fiddle on "Cajun Woman", "A Sailor's Life", "Si Tu Dois Partir" - Mandolin on "Million Dollar Bash"

TREVOR LUCAS - plays Triangle on "Si To Dois Partir"

MARC ELLINGTON - sings on "Million Dollar Bash"

IAN MATTHEWS - sings on "Percy's Song"

DAVE MATTACKS - plays drums on "The Ballad Of Easy Rider"

Even after all these years (2019 will be 50) – the wildly-different American A&M Records front sleeve with three circus elephants and a woman astride on top still throws me for six – what were they thinking! (Its pictured on Page 8 of the 16-page booklet). Original Band Member ASHLEY HUTCHINGS penned the new liner notes and gives really interesting insight into the songs – the fantastic rearrangement of "A Sailor's Life" with its early World Music incantations and how guest musicians like Fiddle Player Dave Swarbrick and Drummer Dave Mattacks were such a comfortable fit that they soon became permanent members of the band. Long-time Audio Engineer PASCHAL BYRNE handled the original tapes and his typically excellent skill gives this CD reissue a gorgeous sound. There's also a wad of Colour and Black and White photos of the Famous Five - Sandy goofing about and Richard Thompson looking like he needs to see a good barber and soon.

The album opens with the first of two Thompson originals "Genesis Hall" (the other on here is "Cajun Woman") and immediately the guitars and Sandy's voice create a magical sound. The lyrics "...to see both sides...to judge without hate..." still impress too. The first of three Bob Dylan covers sees his "If You Gotta Go, Go Now" transformed into a daft-as-a-brush French knees up on Fiddle and Washboard. Bizarrely the July 1969 UK 7" single on Island WIP 6064 with Richard's "Genesis Hall" on the flipside was a No. 21 hit and brought the hairy-mob into a Top Of The Pops studio for the first and only time. Things settle back down with Sandy's "Autopsy"- a song that's both sleepily pretty and strangely bleak at one and the same time - it's 4:20 minutes punctuated by beautifully economic and played guitar work from RT. Side 1 ends with a monster - the 11:08 minutes of "A Sailor's Life" - a Traditional air sweetly sung by Sandy. But then as it progresses it's transformed into a drone that encompasses Irish Folk, Indian Rhythms and British Folk Rock - Swarbrick's looming Fiddle slinking in while Thompson plucks and flicks on the guitar - both battling it until the end. It's fantastic stuff...

Side 2 opens with the second Thompson original - where he lets rip on the wild partying "Cajun Woman" - a song that seems two decades ahead of its sound yet strangely out of place here (if that makes sense). But then 'it' happens - the magic - "Who Knows Where The Time Goes?” Re-listening to it for the millionth time and I'm still floored by its beauty and pathos. I often imagine a Mum watching her grown-up daughter from out of a kitchen window taking to her Dad with her new beau in the garden - introducing the one she'll marry. The mum is listening to Sandy sing on her mini stereo - fixing things on her counter-top (just so) - her precious child now a woman and leaving for her own life. No thought for time - except where has it gone and how did it go by so fast...

The Extras actually feel like Bonus Material - an outtake cover of Dylan's "Dear Landlord" where the band sound relaxed and Sandy effortless in her rendition. The Byrds cover for "The Ballad Of Easy Rider" actually hails from the "Liege & Lief" sessions later in 1969 but Hutchings says in the liner notes that its sound is more in keeping with "Unhalfbricking" - and he's right - in fact it sounds like a sort of dry-run for "Who Knows Where The Time Goes?" - very pretty indeed.

When you think that you couldn't locate the original British vinyl LP with its black-eyed Island Records logo for under £250 - then the three-quid cost of this fabulous CD reissue seems like a garden fence I'd want to climb. Fab and then some...

"Finbar and Eddie Furey/Traditional Irish Pipe Music/The Lonesome Boatman/The Dawning Of The Day" by FINBAR and EDDIE FUREY (June 2017 Beat Goes On Reissue - 4LPs onto 2CD - Remasters) - A Review by Mark Barry

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1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters  
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Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

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"...Good Tidings..."

In the hot and sweaty summer of 1979 – I was a young Dubliner living in the Fair Strumpet City and it was near impossible to escape how huge the traditional air "The Green Fields Of France" was by The Fureys - a Number in Ireland for an astonishing 28 weeks.

Prior to that - the two brothers of four from the dog-rough Ballyfermot area of Dublin couldn't get musically arrested any where else for decades (no pun intended) despite having played their beloved Traditional Irish Music since they were lads of 14 (Finbar had won 23 All-Ireland Pipe Playing championships by 1966). To put this into a real world context - I ran the Rarities Dept. in Reckless Records in Berwick Street for the guts of 20 years (one of the great used record shops in the capitol) and I can count on one finger the number of times I saw actual vinyl copies of 'any' of these four UK-issued LPs. Released between 1968 and 1972 on Transatlantic and Dawn Records - they fell into that nether-world category of being physically rare three/four decades later - but not necessarily valuable. They're forgotten almost completely now of course – seriously receded back into the hairless hairlines of old fogeys like me.

Which brings us hopping gaily and bleary-eyed to this quite brilliantly put together 2CD set from England's 'Beat Goes On'. It finally brings together four of those rarities (three by the Duo and one Solo for Finbar) and all of it in quality presentation and properly gorgeous Audio too. Let's get to the Rakish Paddies and Sally who sits weeping...

UK released Friday, 30 June 2017 - "Finbar and Eddie Furey/Traditional Irish Pipe Music/The Lonesome Boatman/The Dawning of The Day" by FINBAR and EDDIE FUREY on Beat Goes On BGOCD 1299 (Barcode 5017261212993) offers 4LPs Remastered onto 2CDs and plays out as follows:

Disc 1 (66:35 minutes)

1. The Spanish Cloak [Side 1]

2. Come By The Hills

3. Sliabh Na Mban (The Mountain Of The Women)

4. Dainty Davy

5. Jig: Tattered Jack Welch

6. The Flowers In The Valley

7. Reel: Pigeon On The Gate

8. Jig: Graham's Flat [Side 2]

9. Leezie Lindsay

10. Set Dance: Piper In The Meadow Straying

11. The Curragh Of Kildare

12. Eamonn An Chnuic (Ned Of The Hills)

13. This Town Is Not Your Own

14. Jig: Rocking The Baby

Tracks 1 to 14 are their debut LP "Finbar and Eddie Furey" - released 1968 in the UK on Transatlantic Records TRA 168. Produced by BILL LEADER - FINBAR FUREY plays the Irish Uilleann Pipes and Penny Whistle - EDDIE FUREY sings Lead Vocals, plays Guitar and Bodhran

15. Rakish Paddy [Side 1]

16. The Hag With The Money

17. Castle Terrace

18. Madam Bonaparte

19. The Young Girl Milking The Cow

20. Fin's Favourite

21. Peter Byrne's Fancy [Side 2]

22. O'Rourke's Reel

23. Roy's Hands

24.  Planxty Davy

25. The Bonny Bunch Of Roses

26. Eddie's Fancy

27. The Silver Spear

Tracks 15 to 27 are Finbar Furey's first solo album "Traditional Irish Pipe Music" - released 1969 in the UK on XTRA Records XTRA 1077. Produced by BILL LEADER - FINBAR FUREY plays the Irish Uilleann Pipes, Acoustic Guitar and a Variety of Whistles

Disc 2 (79:55 minutes):

1. Bill Hart's Favourite [Side 1]

2. Dance Around The Spinning Wheel

3. Let Me Go To The Mountains

4. McShane

5. Colonel Fraser

6. The Lonesome Boatman [Side 2]

7. Carron Lough Bay

8. The Prickly Bush

9. Bogy's Bonny Belle

10. The Fox Chase

Tracks 1 to 10 are their second duo album "The Lonesome Boatman" - released 1969 in the UK on Transatlantic Records TRA 191. Produced by BILL LEADER - FINBAR FUREY plays Irish Uilleann Pipes and Penny/Indian Whistles - EDDIE FUREY sings Lead Vocals, plays Guitar, Mandolin and Bodhran

11. Drops Of Brandy [Side 1]

12. My Lagan Love

13. Farewell To Tarwathy

14. Locks And Bolts

15. William Hollander

16. Crowley's reel

17. Jennifer Gentle

18. Barney Hare

19. Her Father Didn't Like Me Anyway [Side 2]

20. Reynardine

21. The French Drink Wine

22. Blackbird

23. The Dawning Of The Day

24. Coppers And Brass

25. Tie The Bonnet

26. Sally Sits Weeping

Tracks 11 to 26 are their third duo album "The Dawning Of The Day" - released May 1972 in the UK on Dawn Records DNLS 3037. Produced by BARRY MURRAY - FINBAR FUREY plays the Irish Uilleann Pipes and Whistles - BRIAN BROCKLEHURST plays Bass and EDDIE FUREY sings Lead Vocals, plays Guitar and Bodhran. All songs are Traditionals except "Her Father Didn't Like Me Anyway" by Gerry Rafferty and "The French Drink Wine" by Seamus McGrath.

The substantial 28-page booklet reproduces the original album liner notes, musician credits and other production details (lyrics that came with the Dawn Records LP "The Dawning Of The Day" in 1972) and features superlative new liner notes from JOHN O’REGAN – a long-time associate with BGO and a good egg at this CD reissue malarkey (his notes cover their entire career and not just the four albums involved – internet references and sources name). Good as they are (and the card slipcase makes all these BGO reissues look classy too) – ultimately it’s the new ANDREW THOMPSON Remasters from original tapes that makes this 2-Disc sucker sing. The sound on all four records is superb – even the bare bones of "Traditional Irish Pipe Music" where a lot of the time its simply Finbar on the Uilleann Pipes – is lovely and warm. Tracks like "Roy’s Hands" which combines Acoustic Guitar with the wailing elbow-pipes or the truly lovely "My Lagan Love" have a sweetness that is enhanced by the glorious Audio. To the material...

The Fureys Folk is thankfully free of political posturing and full of genuine tunes, slow airs, jigs and reels. In fact when you hear Contemporary Folk singers like Judy Collins, Eddi Reader and Sinead O’Connor – you can so hear why they would be drawn emotionally and spiritually to melodies like "Farewell To Tarwathy", "Lezzie Lindsay" and "My Lagan Love" (in that order) – while master Irish piper Liam O ’Flynn from Planxty and The Chieftains did the gorgeous air of "Sliabh na mBan (The Mountain Of The Women)" on his 1998 CD album "The Piper’s Call".

The lone solo outing here by piper Finbar "Traditional Irish Pipe Music" not surprisingly has some of the most haunting and authentic-sounding melodies.  Eddie (God Bless Him) hasn’t got the greatest nor most expressive voice in the known Universe but he still gets to shine on "The Lonesome Boatman" and a rare moment of immigrant bitterness - "This Town Is Not Your Own". And by the time they’re contract was up with Transatlantic Records in the early Seventies – signing to Dawn Records was a smart move. Although Dawn had Prog Rock/Hard Rock leanings with the likes of Comus, Atomic Rooster and Fruupp – they’d also debuted Folk and Folk-Rock acts like Trader Horne, Prelude, Donovan and Heron (Mike Heron of The Incredible String Band) not to mention the Jug Band swing of Mungo Jerry. By the time we reach 1972 and "The Dawning Of The Day" LP with its elaborate gatefold sleeve and lyric insert (a luxury release in those days) – they were even getting songs gifted to them by future songwriter luminaries. The Fureys were pals with Folk/Comedy duo The Humblebums (Gerry Rafferty and Billy Connolly) and before Rafferty debuted his own version of the witty and Folky "Her Father Didn't Like Me Anyway" – Gerry gave the boys the tune. Dawn clearly thought it was goer and issued the song as the album's lone 45 in the UK on Dawn DNS 1025 (May 1972) with the Traditional "Reynardine" on the B-side (another album cut). But despite John Peel declaring "Her Father..." as his 7" single of 1972 – the public ignored it - the LP too.

Perhaps they’ll give it another go round on this timely and sweetly flowing 2CD reminder. Recommended...

"The Big Sleep" - The 1946 Film (2017 Warners/HMV UK 'Premium Collection' BLU RAY Reissue) - A Review by Mark Barry...

"…I'm Getting Cuter Every Minute…"

THE BIG SLEEP from 1946
2017 Warners/HMV UK 'Premium Collection' BLU RAY, DVD and Download Reissue

Directed by Howard Hawks and released in the summer of 1946 - No. 49 in the UK-issued Warners 'Premium Collection' BLU RAY Reissue Series is a true classic of the Noir genre – the witty, clever and impeccably stylish Bogart & Bacall vehicle - "The Big Sleep". Also UK-released 6 November 2017 onto BLU RAY is that other famous Bogart winner from five years earlier (1941) – "The Maltese Falcon".

Despite its occasional script references to the huge shadow of World War II – "The Big Sleep" positively brims with new sexiness, vim, great dialogue and a double-act chemistry that simply can’t be bought in any department store no matter how swanky. Here are the guns, gas-guzzlers and glamorous gals...

The outer glossy card slipcase housing the clear plastic case within lends this 2-disc release a very classy feel and the banded four artcards clipped inside are a very nice touch indeed (one of the cover-art movie poster and three of Bogart and Bacall in various close-up clinches). It’s a 2-Disc Set – a BLU RAY and a DVD – the BLU RAY is listed as Region ABC – All Regions or Region Free – so no issues with playback anywhere. But remember the DVD is Region 2 only – so Region 1 and 3 buyers should note this (however most will be buying this reissue for the All Regions BR disc). There is no booklet mores the pity (only 6 titles out of 56 so far in this British series have one) - but there is a ‘Watch It Anywhere’ Digital Download Code Sheet to use so you can watch the movie on the go on your mobile device. Technical details are...

Aspect Ratio: 1080 High Def 16x9 1:37:1

Audio is DTS-HD in English 2M, Dolby Digital, Castillan Spanish 2M, French 2M, German 2M, Latin Spanish 2M and Polish 2M.

Subtitles: English SDH, Castillan Spanish, French, German SDH, Latin Spanish and Polish

Extras include (a) the 1945 Alternate Version (b) The Big Sleep Comparisons 1945/1946 (c) Introduction by Robert Gitt and (d) Theatrical Trailer.

As you can see from the info above – the film in presented in its original Aspect Ratio of 1:37:1 (not widescreen) – which means a boxed view with black lines on both the left and right. The restored print is a joy to look at. From the moment Private Eye gumshoe Philip Marlowe enters the upmarket household of a wheelchair-bound General Sternwood to discuss his flighty mid-20s daughter Carmen and her debts to a bookstore owner – the print is glorious in all its Black and White Raymond Chandler period pomp (Sidney Hickox did the Cinematography).

Humphrey Bogart (Marlowe - a canny and suitably crumpled private eye), Charles Waldron (Sternwood - a cantankerous but practical father) and the gorgeous Martha Vickers as the young socialite Carmen slinkily smoozing everything in trousers – immediately start to light up the screen with their expertise and the sassy dialogue. But as soon as the older and smarter Sternwood daughter turns up – Lauren Bacall as Vivien Rutledge – and she gets to tangle with a clearly enamoured Bogie – the real sizzle begins. Vivien suspects that her wealthy papa has murderous enemies and the real reason he wants Marlowe is to not just plug his daughter's gambling connections and ability to bring scandal to the family name - but to find a young lad called Sean Regan who has disappeared mysteriously with secrets that can’t ever fall into the wrong hands. And on the story goes - twisting and turning and wrong-footing - as the Noir genre does. In fact the plot is bloody hard to follow at times if not impossibly convoluted - but who cares when it looks this good and has Bogart and Bacall steaming up the lends every few minutes.

The original 1945 version at 116 minutes is only a deuce longer than the re-shot, re-edited and re-released 1946 version (114 minutes) - but it has a different structure and ending. Also the part of Mona Mars played by Pat Clark in the first cut is replaced with Peggy Knudsen in the finally released 1946 version. The re-shoot took place for many reasons - mostly though because Hawks realised what was happening between Bogie and Bacall and he was smart enough to exploit their visual and physical dynamite. Their obvious affection and sexiness towards each other also ran in tandem with huge public interest in their slightly scandalous marriage. Hawks did well of course to milk that famous off-screen/on-screen chemistry - even though in my books you could argue that the seriously sexy Martha Vickers actually outshines Bacall (sacrilegious talk I know). And the bookstore assistant played by Dorothy Malone is equal to the task too (she only just passed in January 2018 aged 93).

Many have described the chemistry between Bogart and Bacall as incendiary – true – but for me it's the banter – the one-two verbal sucker punches from the William Faulkner, Leigh Brackett and Jules Furthman screenplay that send this movie soaring. Check these out...

Bacall: So you're a private detective. I didn't know they existed - except in books. Or else they were greasy little men snooping around hotel corridors. My - you're a mess - aren't you?

Bogart: I'm not very tall either. Next time, I'll come on stilts, wear a white tie and carry a tennis racket.

Bacall: I doubt if even that would help...

Bacall: I don't like your manners.

Bogart: I don’t like them either. I grieve over them long winter evenings...

In the bookstore – the initially friendly assistant (a front) smells a rat as Bogey grills her on her first edition expertise...knowledge she clearly doesn’t have...

Bogart: You do sell books - don't you?

Assistant (points downwards): What do they look like – grapefruit!

This is a film where gals are gals and any chump who gets fresh gets a sock in the jaw. Women casually says things like “...A lot depends on who’s in the saddle...” and this moll ain’t talking about her man’s odds at Epsom. Nobody smiles – people sleep in cars – smucks drown in cars – cops are either dead or dirty or both - shop assistants look like Harpers Bizarre models and any man without a Trilby is a bagman probably carrying a concealed weapon he intends to slug some wise guy with. And don’t get me started on the cool cars.

I love it - and this 2017 variant of "The Big Sleep" on BLU RAY is a sexy treat you need in your gangster's boudoir...

PS: Info on the Warner Brothers 'Premium Collection' BLU RAY Reissue Series 

Released In Conjunction With HMV UK (releases 2016 to 2018):

Each 2-Disc Set Contains a BLU RAY, a DVD, a Digital Download Code (with Ultraviolet), an Exclusive Outer Glossy Slipcase and 4 Art Cards (usually one is the movie poster and others are stills from the movie). None of the 56 releases to date have booklets except where noted (11, 27, 31, 40, 48 and 53) with “Casablanca” being the only issue in the Series with Three-Discs. The Entire Series is numbered on the silver spine with the year of the film's release above that number (as per the list below). Begun in October 2016 - releases are ongoing into 2018 and while some have been available in the USA - many titles are first time on BLU RAY in the UK and Europe...

2016:

1. Them (1955) - released 3 October 2016 - Barcode 5051892202770

2. Forbidden Planet (1956) - released 3 October 2016 - Barcode 5051892202985

3. The Omega Man (1971) - released 3 October 2016 - Barcode 5051892202763

4. Soylent Green (1973) - released 3 October 2016 - Barcode 5051892202756

5. All The President's Men (1976) - released 3 October 2016 - Barcode 5051892202626

6. Logan's Run (1976) - released 3 October 2016 - Barcode 5051892202718

7. The Shining - Extended Cut (1980) - released 3 October 2016 - Barcode 5051892202206

8. Diner (1982) - released 3 October 2016 - Barcode 5051892202664

9. Little Shop Of Horrors (1986) - released 3 October 2016 - Barcode 5051892202749

10. Gremlins 2: The New Batch (1990) - released 3 October 2016 - Barcode 5051892202848

2017:

11. King Kong (1933) - released 27 February 2017 - Barcode 5051892206600 (with 32-Page Booklet)

12. The Adventures Of Robin Hood (1938) – released 27 February 2017 - Barcode 5051892206921

13. Excalibur (1981) – released 13 March 2017 - Barcode 5051892206280

14. The Mission (1986) - released 13 March 2017 - Barcode 5051892206877

15. Jason & The Argonauts (1963) - released 13 March 2017 - Barcode 5050349003724

16. The Hunger (1983) - released 17 Apr 2017 - Barcode 5051892207638

17. Performance (1970) - released 17 Apr 2017 - Barcode 5051892207621

18. The Time Machine (1960) - released 8 May 2017 - Barcode 5051892208291

19. Outland (1981) - released 8 May 2017 - Barcode 5051892208215

20. A Scanner Darkly (2006) - released 8 May 2017 - Barcode 5051892208857

21. Gattaca (1997) - released 8 May 2017 - Barcode 5050349523925

22. Donnie Brasco (1997) - released 29 May 2017 - Barcode 5050349609926

23. Blow (2001) - released 29 May 2017 - Barcode 5051892208277

24. Battle Of The Bulge (1965) - released 5 June 2017 - Barcode 5051892208260

25. The Dirty Dozen (1967) - released 5 June 2017 - Barcode 5051892208284

26. Casualties Of War (1989) - released 5 June 2017 - Barcode 5050349145820

27. Gettysburg: Director's Cut (1993) - released 12 June 2017 - Barcode 5051892208321

28. Jeremiah Johnson (1972) - released 12 June 2017 - Barcode 5051892208307

29. Legends Of The Fall (1994) - released 12 June 2017 - Barcode 5050629158823

30. Sex, Lies And Videotape (1989) - released 17 July 2017 - Barcode 5050349292623

31. A Streetcar Named Desire (1951) - released 17 July 2017 - Barcode 5051892209236

32. Cat On A Hot Tin Roof (1958) - released 17 July 2017 - Barcode 5051892209274

33. Who's Afraid Of Virginia Woolf? (1966) - released 17 July 2017 - Barcode 5051892209328

34. White Heat (1949) - released 14 August 2017 - Barcode 5051892209687

35. The Public Enemy (1931) - released 14 August 2017 - Barcode 5051892209656

36. Little Caesar (1931) - released 14 August 2017 - Barcode 5051892209618

37. Point Blank (1967) - released 18 September 2017 – Barcode 5051892209632

38. The Yakuza (1974) - released 18 September 2017 - Barcode 5051892209663

39. Body Heat (1981) - released 18 September 2017 - Barcode 5051892209557

40. Chinatown (1974) - released 18 September 2017 - Barcode 5053083131807

41. Shaft (1971) - released 2 October 2017 - Barcode 5051892209649

42. New Jack City (1991) - released 2 October 2017 - Barcode 5051892209625

43. Pet Sematary (1986) - released 16 October 2017 - Barcode 5053083131814

44. House Of Wax 3D (1953) - released 16 October 2017 - Barcode 5051892209984

45. The Haunting (1963) – released 16 October 2017 – Barcode 5051892209915

46. A Clockwork Orange (1971) - released 16 October 2017 - Barcode 5051892210867

47. The Maltese Falcon (1941) - released 6 November 2017 - Barcode 5051892209922

48. Casablanca (1942) - released 5 February 2018 (delayed release) - Barcode 5051892209816 (Three Disc Special Edition with Booklet)

49. The Big Sleep (1946) - released 6 November 2017 - Barcode 50501892209892

50. Lost Horizon (1937) - released 6 November 2017 - Barcode 5050629028638 (80th Anniversary Reissue/4K Restoration with Booklet)

2018:

51. Amistad (1997) - released 15 January 2018 - Barcode 5053083134747

52. Munich (2005) - released 15 January 2018 - Barcode 5053083134754

53. (Frank Capra's) Mr. Smith Goes To Washington (1946) – released 5 February 2018 – Barcode 5050629038132

54. The Beast From 20,000 Fathoms (1953) – released 26 February 2018 – Barcode 5051892212618

55. Clash Of The Titans (1981) – released 26 February 2018 – Barcode 5050189221263

56. Valley Of The Gwangi (1969) – released 26 February 2018 – Barcode 5051892212625

"A Man I'd Rather Be (Part 1)" by BERT JANSCH (January 2018 Earth 4CD Book Set with 2015 Remasters) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 2 of 3 - Exceptional CD Remasters  
As well as 1960s and 1970s Rock and Pop - It Also Focuses On
Folk, Folk Rock, Country Rock, Reggae, Punk and New Wave

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)

"...Stepping Stones..."

I'm probably going to disappoint a few BJ fans with this review (I'm let down myself) - but I'm absolutely dumbfounded by the lacklustre presentation of this Book Set from 'Earth' and the fact that it contains nothing I couldn't get elsewhere - and frankly cheaper. It does have great points - namely the amazing Audio - but again that's available elsewhere too and in better presentation also. But let's get into the nitty gritty of this 4-Disc reissue first...

UK released Friday, 26 January 2018 (2 February 2018 in the USA) - "A Man I'd Rather Be (Part 1)" by BERT JANSCH on Earth EARTHCD023 (Barcode 809236102324) is a Limited Edition 4CD 'Book Set' that contains his first four albums on Transatlantic Records from 1965 and 1966 (two in each year). Volume 2 is released 26 February 2018 and contains the following four. There are also 4LP VINYL variants of these releases. It plays out as follows...

Disc 1 - "Bert Jansch" - 39:32 minutes

1. Strolling Down The Highway [Side 1]

2. Smokey River

3. Oh How Your Love Is Strong

4. I Have No Time

5. Finches

6. Rambling's Going To Be The Death Of Me

7. Veronica

8. Needle Of Death

9. Do You Hear Me Now? [Side 2]

10. Alice's Wonderland

11. Running From Home

12. Courting Blues

13. Casbah

14. Dreams Of Love

15. Angie

Tracks 1 to 15 are his debut album "Bert Jansch" - released April 1965 in the UK on Transatlantic Records TRA 125 in Stereo (No US Issue). Produced by BILL LEADER - all songs written by Jansch except "Angie" which is a Davy Graham cover. Jansch plays Acoustic Guitar only.

Disc 2 - "It Don't Bother Me" - 44:07 minutes

1. Oh My Babe [Side 1]

2. Ring-A-Ding Bird

3. Tinker's Blues

4. Anti Apartheid

5. The Wheel

6. A Man I'd Rather Be

7. My Lover

8. It Don't Bother Me [Side 2]

9. Harvest Your Thoughts Of Love

10. Lucky Thirteen

11. As The Days Grow Longer Now

12. So Long (Been On The Road So Long)

13. Want My Daddy Now

14. 900 Miles

Tracks 1 to 14 are his 2nd album "It Doesn't Bother Me" - released December 1965 in the UK on Transatlantic Records TRA 132 in Stereo (No US Issue). Produced by NATHAN JOSEPH - all songs written by Jansch except "Lucky Thirteen" by John Renbourn, "So Long (Been On The Road So Long)" by Alex Campbell and "900 Miles" - a Traditional. John Renbourn plays guitar on "My Lover" and "Lucky Thirteen".

Disc 3 - "Jack Orion" - 32:38 minutes

1.  The Waggoner's Lad [Side 1]

2. The First Time Ever I Saw Your Face

3. Jack Orion

4. The Gardener [Side 2]

5. Nottamun Town

6. Henry Martin

7. Black Water Side

8. Pretty Polly

Tracks 1 to 8 are his 3rd album "Jack Orion" - released September 1966 in the UK on Transatlantic Records TRA 143 in Stereo (No US Issue). Produced by BILL LEADER - all tracks are Traditional Songs arranged by Bert Jansch except "The First Time Ever I Saw Your Face" which is a Ewan MacColl song. Jansch plays Acoustic Guitar on all songs as well as Banjo on "The Waggoner's Lad" with Guitar accompaniment from John Renbourn on four songs - "The Waggoner's Lad", "Jack Orion", "Henry Martin" and "Pretty Polly".

Disc 4 - "Bert And John" - 26:32 minutes

1. East Wind [Side 1]

2. Piano Tune

3. Goodbye Pork Hat

4. Soho

5. Tic-Tocative

6. Orlando

7. Red's Favourite [Side 2]

8. No Exit

9. Along The Way

10. The Time Has Come

11. Stepping Stones

12. After The Dance

Tracks 1 to 12 are his 4th album credited to BERT JANSCH and JOHN RENBOURN - released September 1966 in the UK on Transatlantic Records TRA 144 in Stereo (No US Issue). Produced by BILL LEADER - all songs are Jansch and Renbourn originals except "Goodbye Pork Pie Hat" and "The Time Has Come" which are Charles Mingus and Anne Briggs covers respectively.

Although there's no mastering credits anywhere (amazingly lax) - it's clear to me that these are the 2015 '50th Anniversary' Remasters done by BARRY GRINT in Alchemy for BMG and issued in digipaks with 12-page booklets (Earth have licensed that material). "Bert Jansch" was issued April 2015 on TRACD 125 (Barcode 5414939917516) – with the other three in September 2015 - "It Doesn't Bother Me" on TRACD 132 (Barcode 5414939921483) - "Jack Orion" on TRACD 143 (Barcode 5414939921513) and "Bert and John" on TRACD 144 (Barcode 5414939921544). These four reissues are still available on Amazon for approximately six quid each (same tracks no extras) and I mention this because here you don't get any artwork or notes really. The blurb on the sticker tells you that you get Keith de Groot's original back-cover liner notes for 1965's "Bert Jansch" as well as Jansch's own notes for the other three LPs which were also on the rear sleeve. Well - the first LP is here but the other three aren't. You don't even get the LPs front or rear artwork repro'd anywhere! I suppose my biggest gripe is that the book's minimalist approach ends up looking like a cop-out instead of a visual hurrah.

The supposed new notes from BILL LEADER (Producer of three of the albums) runs to about 4 short pages and he spends much of his time apologising for the poor sound on the 1st LP and doesn't discuss the recording of the following three at all. In fact most of the page-leaves are taken up listing the tracks. There are some new outtake photos for the first record and the "Bert and John" collaboration - but other than that - bugger all else – no memorabilia – no concert tickets – hell the blurb in the Amazon description runs to longer (the essay you do get doesn’t contain any comments from any famous musical admirers). The incredibly rare and desirable September 1966 5-Track EP called "Needle Of Death" had two exclusives - "Running From Home" and "Green Are Your Eyes (Courting Blue)" - but despite the ludicrously short playing times on Disc 3 and 4 - they're AWOL. There's no extras or unreleased either - the 1993 Transatlantic/Demon reissues had those - not here!

The AUDIO is however spectacular - with even the notorious lo-fi debut coming out smelling of clean roses (it was recorded with a Guitar, a Voice, a Microphone and in a less-than-studio like Camden Flat). Both "Jack Orion" and especially "Bert And John" are fabulous to hear - the duelling instrumental guitars of "Bert And John" pinging in both speakers with lovely warmth and clarity. You have to say that the music is beautifully rendered - much like what was done by Island Records for the Nick Drake catalogue in 2000. And speaking of influential "Stepping Stones" to the ninth-degree - you can 'so' hear why singer-songwriters like Tom Paxton and Paul Simon loved Jansch for taking Folk past the realms of merely strummed instruments and into something new (almost early Folk Rock) and why mega-guitarists like Jeff Beck and Jimmy Page obsessed on the man and his techniques ("Black Water Side" famously turned up on "Zeppelin 1"). Other gems include his "Lucky Thirteen" duet with John Renbourn - just sublime - and that version of Anne Briggs' "The Time Has Come" still has the power to move too (I’d go on record in saying that I love his voice – expressive and emotive in a way that English Folk needs). The last two Acoustic instrumentals on the "Bert And John" album - "Stepping Stones" and "After The Dance" have some hair-raising duetting – the notes slapping and strings squeaking like their dancing a dervish. In fact some 50+ years after the event – it’s still shocking as to how good these albums are and how they’ve stood up. Wow...

If you have the four 2015 '50th Anniversary' CD reissues with their tasty digipaks, 12-page booklets and gorgeous remasters from original tapes - then disappointingly this near 30-pound Earth Records Book Set from January 2018 is a waste of your time and money (it really isn't that pretty to look at either). I'm afraid I'm seriously thinking of cancelling my pre-order for Volume 2.

But if you don't own them - well then you may want to consider ordering this especially with the stupendous Audio on offer. I just wish "A Man I'd Rather Be (Part 1)" actually had been a must-buy celebration of Bert Jansch the man and his huge musical legacy instead of a visual ho-hum...

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"The Jewish Joke" by DEVORAH BAUM (2017 Profile Books Hardback) - A Review by Mark Barry...

"...Shlemiels and Shiksas..."

Witty and wise and rather wonderful - "The Jewish Joke - An Essay With Examples (Less Essay, More Examples)" by DEVORAH BAUM was recommended to me by a reviewer I admire and trust - Sid Nuncious - and the dapper little English gent was bang on the money.

I bought the hardback for a tenner off Amazon - a wee thing about the size of an oversized iPhone 8. Published by Profile Books in 2017 – its 180+ pages come with 24 chapters of about five or six leaves each - thereby allowing you to dip into one or two installments of an evening for only a few minutes and come back the next night for more laughs and chucklesome insights.

Devorah has Chapter Titles like "How Do You Tell The Difference Between A Jewish Mother and a Jewish Mother-In-Law" or "How Do You Tell The Difference Between Morality and Neurosis?" - or the ever popular "How Do You Tell The Difference Between A Jew And A Parrot?"

What she does is set up an 'angle' in each of the discussions - she'll pepper the next with absolutely loads of very funny Jewish jokes (in italics) and then examine in brilliant minutiae exactly what's going on - morally, psychologically and even physically. There's that famous Jewish self-deprecation in the face of horrible odds - Two Jews are in a Nazi firing squad - the Squad Captain asks - any last requests - the first Jew shouts, "There's been a terrible mistake!" The second Jew says, "Moishe, don't make trouble..." Obsession with Religion - the Jews wander for 40 years in the desert in the Bible - why - because none of the men would ask for directions.

The book is full of these wickedly witty observations and half the joy here is the constant discovery that there’s more on the next few pages to come (you don't laugh at them - you laugh with them). She also tries hard to get a grip on the slippery nature of the Jewish people and succeeds without being preachy or pseudo-intellectual. And as you read the quotes and words – I like too how you can so ‘hear their voices’ coming off the pages – the funny peculiar way Jews deal with life in all its random messiness. So come the final chapters you’re chock-full of admiration at their genuine God-given funny bones combined with the sheer brass schnitzels and brain power it takes to stand up there behind some microphone in the dark and give people the joy of laughter.

The themes are well worn. Deborah has of course a field day with the Jewish Boy and his domineering scheming mother (even if she does love him or her) - the Jewish Father arguing with God or his friends (they're both schmucks in his eyes) - the braggadocio Jew going on about his huge business or love prowess when he probably has little of either. And in amongst the first-name mentions of characters like Moishe, Saul, Ira, Schmuley, Itzhik, Jerry the Dentist and Ismael the Doctor and their nosey neighbours the Goldsteins – there are of course doubting Gentiles, rowdy Synagogues and randy Rabbis. You get endless studying of the Torah, Hebrew and strict adherence to Yom Kippur, Yiddish and Kosher Food (God forbid there should be shell fish at the Mitzvah). There are Jewish slang phrases we’ve all heard in so many Woody Allen movies like Schnorrer, Schlemiel, Shiksa and Kvetching. Oy vey indeed Mrs. Rosenberg. And of course the big one - Religion – where she surmises that some Jews feel God abandoned them (especially historically) – while others would like to measure a suit for the rotund absentminded git (at a very good price of course).

If I was to be pedantic - you could add that some jokes are better than others and the formula begins to slow towards the final few chapters. But although she does forget to mention or quote some of my all-time favourites like Don Rickles, Mel Brooks and the frankly Godlike Billy Wilder (huge innovators in comedy) - many other famous Jewish comedians (old and new) are rightly name-checked and quoted - Jerry Seinfeld, Lenny Bruce, Woody Allen, Amy Schumer, Sacha Baron-Cohen, David Baddiel, Lena Dunham (of Girls fame), Sarah Silverman, Rita Rudner, Joan Rivers, Cathy Ladman, Maureen Lipman, Jackie Mason and Groucho Marx - to name but a few.

After enjoying this you should make a beeline to a Comedy TV series I’ve been raving about for a while now. "The Marvelous Mrs. Maisel" is set in Fifties New York and is entirely Jewish in its humour - a very witty show about stand-up comedians and breaking free from emotional chains. It won two American Golden Globes in January 2018 for Best Comedy and for its lead actress – Rachel Brosnahan.

Why do Jewish Comedians have that lethal way with humour and jokes - is it history, hardship, necessity, talent, genius, drive? And how do they maintain a healthy self-deprecating humility that guides their generosity and humanity in the face of persecution and bigotry? I don't know. But in a roundabout way – "The Jewish Joke" celebrates their extraordinary contribution to our world. This wicked little book truly reveals how Jews make us laugh – even bellyache - to the point where there are tears rolling down your face. And isn’t that just the best...