"Too Many Teardrops: The Complete Groove & RCA Recordings" by CHARLIE RICH (January 2018 Ace 2CD Retrospective - Duncan Cowell 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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"...Loved Everybody But Me..."

The 'Big Boss Man' of 60's cool CHARLIE RICH has always floated my uh-huh boat and since Ace's first two-disc winner covering his 60ts output "It Ain't Gonna Be That Way: The Complete Smash Sessions" from April 2011 - I've been aching to get my grubby paws on some more.

Well it's only taken those equally dapper chappies over at London's Steele Road a piffling seven years to answer my silver fox musical needs. Volume 2 of their Charlie Rich exploration "Too Many Teardrops: The Complete Groove & RCA Recordings" isn’t all knicker-wetting genius for sure - RCA loading too many tunes with strings and girly backing vocals to a point where CR is drowned out in a sea of schlock. But his fabulous voice and songwriting talent still comes shining through so there’s still plenty to savour here - and all of it sounding sonically spiffo in glorious Stereo. There's a lot to sort out - so let's curl our lips and get to the misery and heartache...

UK released Friday, 26 January 2018 (February 2018 in the USA) - "Too Many Teardrops: The Complete Groove & RCA Recordings" by CHARLIE RICH on Ace Records CDTOP2 1509 (Barcode 029667084826) is a 2CD 40-Track retrospective covering recordings made from June 1963 to February 1965 and plays out as follows:

Disc 1 (48:59 minutes):

1. Big Boss Man

2. Are You Still My Baby

3. Turn Around And Face Me

4. Big Jack

5. If I Knew Then What I Know Now

6. River, Stay 'Way From My Door

7. She Loved Everybody But Me

8. Share Your Love With Me

9. Let Me Go My Merry Way

10. Like Someone In Love

11. Nice And Easy

12. Lady Love

13. The Ways Of A Woman In Love

14. Rosanna

15. I'm Right Behind You

16. Tomorrow Night

17. No Room To Dance

18. I've Got You Under My Skin

19. Ten Dollars And A Clean White Shirt

20. Tragedy

Disc 2 (48:37 minutes):

1. Too Many Teardrops

2. There Won't Be Anymore

3. One More Mountain (One More River) – PREVIOUSLY UNISSUED

4. It's All Over Now

5. The Grass Is Always Greener

6. Why, Oh Why

7. I Need A Thing Called Love

8. It Just Goes To Show (You Never Know About Love)

9. My Mountain Dew

10. I Don't See Me In Your Eyes Anymore

11. The Big Build Up

12. She Called Me Baby

13. I'm Gonna Sit Right Down And Write Myself A Letter

14. Now Everybody Knows

15. Ol' Man River

16. Twelfth Of Never

17. Gentleman Jim

18. Is Goodbye That Easy To Say

19. (My Friends Are Gonna Be) Strangers

20. Christmas Greetings

All tracks in STEREO except Track 20 on Disc 2 – a 10-second radio greeting in MONO – Track 3 on Disc 2 is PREVIOUSLY UNISSUED

LPs: The three principal albums from the 1964 to 1966 period covered by this 2CD retrospective are "Charlie Rich" on Groove (1964), "That's Rich" (1965) and "Big Boss Man!" (1966) on RCA Victor. All were released in both Mono and Stereo - the STEREO mixes ONLY are used here. In order to sequence those LPs - use the following track selections:

"Charlie Rich" US LP from February 1964 on Groove GS-1000 in Stereo

Side 1: Tracks 1, 6, 4 on Disc 1, Track 9 on Disc 2, Tracks 7 and 9 on Disc 1

Side 2: Tracks 15 and 5 on Disc 2, Track 13 on Disc 1, Track 6 on Disc 2, Tracks 14 and 2 on Disc 1

"That's Rich" US LP from March 1965 on RCA Victor LSP-3352 in Stereo

Side 1: Tracks 1, 10 and 14 on Disc 2, Tracks 16, 10 and 17 on Disc 1

Side 2: Track 3 on Disc 1, Tracks 11 and 18 on Disc 2, Track 5 on Disc 1, Tracks 4 and 8 on Disc 2

"Big Boss Man!" US LP from April 1966 on RCA Victor LSP-3537 in Stereo (compilation of singles and hits)

Side 1: Track 16 on Disc 2, Tracks 4, 7, 13, 2 and 9 on Disc 1

Side 2: Track 9 on Disc 2, Track 1 on Disc 1, Tracks 2, 6 and 5 on Disc 2 and Track 11 on Disc 1

Other LPs featured in this set are:

"She Loved Everybody But Me" UK LP from 1970 on RCA Camden CAS-2417

Track 18 on Disc 1 and Track 13 on Disc 2

"She Called Me Baby" UK LP from 1974 on RCA Victor APL 1-0686

Tracks 8, 15, 19 and 20 on Disc 1 and Tracks 7, 10 and 12 on Disc 2

"Now Everybody Knows" UK LP from 1976 on RCA Victor ANL 1-1251

Track 19 on Disc 2

SINGLES: This compilation will also allow the following singles to be sequenced 

                  [7/1] =Track 7 on Disc 1 - [5/2] = Track 5 on Disc 2 etc:

1. She Loved Everybody But Me [7/1] b/w The Grass Is Always Greener [5/2]

August 1963 US 7" single on Groove 58-0022

2. Big Boss Man [1/1] b/w Let Me Go My Merry Way [9/1]

October 1963 US 7" single on Groove 58-0025

3. Lady Love [12/1] b/w Why, Oh Why [6/2]

February 1964 USA 7" single on Groove 58-0032

4. My Mountain Dew [9/2] b/w The Ways Of A Woman in Love [13/1]

April 1964 USA 7" single on Groove 58-0035

5. Nice And Easy [11/1] b/w Turn Around And Face Me [3/1]

July 1964 USA 7" single on Groove 58-0041

6. Too Many Teardrops [1/2] b/w It's All Over Now [4/2]

October 1964 USA 7" single on RCA Victor 47-8468

7. There Won't Be Anymore [2/2] b/w Gentleman Jim [17/2]

March 1965 USA 7" single on RCA Victor 47-8536

The 20-page booklet features in-depth, fact-filled liner notes from admirer, musicologist, St. Etienne main man and all-round good guy BOB STANLEY as well as a Groove/RCA Victor Sessionography by TONY ROUNCE stretching from 24 June 1963 to 5 February 1965. There's the usual plethora of great US 7" single labels, rare picture sleeves, trade adverts, reviews and in-the-studio photos of Charlie doing his smooze-thing at the piano. There's even a snap of CR with his Producer, Mentor and pal CHET ATKINS. As we've come to expect from Ace - it's the business.

But the big deal here is 39-songs in STEREO (Track 40 is a throwaway 10-second radio slot where CR says Merry Christmas then buggers off for a beer and a cry) remastered by one of my fave Audio Engineers DUNCAN COWELL - a long-standing associate with Ace and many other reputable labels. Cowell also handled almost all of the fabulous 'Blue Horizon' CD reissues including Fleetwood Mac. The Audio here is gorgeous - the tunes may not always match it for sure - but this is RCA recorded material (Hawkins Street and 17th Avenue South Studios in Nashville) and the equipment, engineers and musicians are quality all the way. Let's get to the music...

Most of these sessions were Produced by CHET ATKINS and arranged by ANITA KERR and when RCA wasn't trying to make Charlie Rich sound like Elvis' older brother singing Bossa Nova when Elvis sang Bossa Nova (and so on) - he gets to veer away from Cole Porter and Sinatra hits and let rip on some very cool R&B covers and a lot of his own original material. Disc 1 opens on a stone-cold winner - his cover of Jimmy Reed's Bluesy "Big Boss Man" - quite possibly one of my fave mid-60ts tracks and from a distance - impossible now to think that it only achieved a chart placing of No. 107. But along with his debut 45 for Groove "She Loved Everybody But Me" (an obvious soundalike to the better "Lonely Weekends") - they both sold enough to get him his first Long Player for Groove - "Charlie Rich" in February 1964. Amidst its 12-tracks sat goodies like the Mort Dixon shuffler "River, Stay 'Way From My Home" and the done-with-my-baby drama of "Let Me Go My Merry Way". The oh yeah curly-lipped swagger of "Big Jack" with its harmonica fills and cool Saturday Night gonna fight Big Jack for my gal vibe would have made a cracking 45. The very Elvis-sounding "The Ways Of A Woman In Love" and "Rosanna" were co-written with Bill Justis and Harold Bowen and while "Ten Dollars And A Clean White Shirt" and "Tragedy" are good - you can unfortunately hear why these overly sappy outtakes stayed in the can until 1974. His own "Lady Love" feels like a Girl Group melodrama with the ladies giving it some serious b-vox ache - while his "I'm Right Behind You" is virtually indistinguishable to Presley in full-on 60ts lovelorn mode.

Disc 2 opens with the country shuffle of "Too Many Teardrops" - a schmaltzy tune that has great production values but is overdone by strings and backing singers. His own compositions "There Won't Be Anymore" and "It's All Over Now" tell equally heartbroken tales of relationship woe – while the pining "The Grass Is Always Greener" is a co-write with his wife Margaret Ann. But better is his "Why, Oh Why" - a lovely piano-roller beautifully arranged for piano and strings. The new song is a Previously Unissued cover of Eddie Snyder and Paul Vance's "One More Mountain (One More River)" - beautifully recorded but a tad syrupy. Better is his take on Stan Kessler's "The Big Build Up" and "I'm Gonna Sit Right Down And Write Myself A Letter" - an outtake that eventually showed on a budget LP in 1970. His command of a wistful ballad gets full rein in "Is Goodbye That Easy To Say" and "(My Friends Are Gonna Be) Strangers"- both nods toward the Silver Fox years to come and eventual chart success.

For sure you hope that there's more of "Big Boss Man" and those looking for such R&B pleasure will be sorely disappointed (this compilation is more schmooze than booze). But if you're interested in more CR - Ace's "It Ain't Gonna Be That Way: The Complete Smash Sessions" from 2011 and Bear Family's 2009 CD compilation "Charlie Rocks" offer a lot also (see reviews for both). In the meantime - "Too Many Teardrops..." is a cool sounding place to start giving this superb singer and stylist his due... 

"The Elektra Years: The Complete Albums Box" by BREAD featuring David Gates and James Griffin (October 2017 Rhino 6CD Box Set of Remasters) - A Review by Mark Barry...

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"...Reach Out To The Other Side..."

BREAD albums used to sit in our racks in Reckless Records in Soho for months on end – poo-pooed by hairy badge-laden yet discerning buyers as Los Angelinos Soft Rock or worse – lovey-dovey schlock (yew).

But then you were also aware of those nice love songs Bread did – tunes that used to populate the charts in the early Seventies. Hell you might even have snogged to one or two of them and become animated in the trouser area (not by David Gates you understand). So years later and miles away from 'the pubic-years' - most curious types would opt for the monster 1977 compilation LP "The Sound Of Bread" on Elektra K 52062 as a one-stop (when none of your mates was looking mind). Sporting one of the most boring and lazy corporate sleeves ever to disgrace a Woolworths shelf on a Saturday - "The Sound Of Bread" nonetheless had all the hits anyone would want emanating from its Butterfly Elektra Records label. And played tune-after-tune you could 'so' hear why this nondescript looking album caught the imagination of the public - it was such a lovely listen and became an unexpected No. 1 in Blighty in a year when Punk and New Wave was busy gobbing at this kind of music. Which brings us to this rather dinky 2017 mini box set reissue...

Sporting dapper-looking mini LP repro sleeves – Rhino's "The Elektra Years" allows us to dig a little deeper into their six forgotten albums from 1969 to 1977 before both David Gates and James Griffin went solo after the first 1973 break-up. A nice touch is that the CD labels reflect the original colouring and designs - Red Elektra for the 1969 debut and the Butterfly label variant for each thereafter. Five have their lyric inserts reproduced and although “Manna” doesn’t have its original die-cut triple gatefold artwork – both "Baby I'm-A Want You" and "Lost Without Your Love" do have their gatefolds. A couple of key singles are missing namely the re-recording of the gorgeous "It Don't Matter To Me" - a US No. 10 hit in October 1970. A far better version than the original 1969 LP cut – it's an omission for sure. But outside of that - what we have here is a rather pleasant piece of musical toast and jam. Here are the crusty details...

UK released 27 October 2017 (3 November 2017 in the USA) - "The Elektra Years: The Complete Albums Box" by BREAD on Elektra/Rhino 081227933869 (Barcode 081227933869) is a 6CD Mini Box Set with Six Studio Albums from 1969 to 1977 (all in Stereo and minus any bonus tracks). It plays out as follows:

Disc 1 - "Bread" - 36:07 minutes:

1. Dismal Day [Side 1]

2. London Bridge

3. Could I

4. Look At Me

5. The Last Time

6. Any Way You Want Me

7. Move Over [Side 2]

8. Don't Shut Me Out

9. You Can't Measure The Cost

10. Family Doctor

11. It Doesn't Matter To Me

12. Friends And Lovers

Tracks 1 to 12 are their debut album "Bread" - released August 1969 in the USA in Stereo on Elektra Records EKS 740144 and November 1969 in the UK with the same catalogue number (reissued November 1971 in the UK on Elektra K 42029). It peaked at No. 127 on the US LP charts (didn't chart UK)

BREAD was:

DAVID GATES - Lead Vocals, Guitars, Bass, Organ, Piano, RMI Electric Piano, Moog, Violin, Viola and Various Percussion

JAMES GRIFFIN - Lead Vocals, Guitars and Various Percussion

ROBB ROYER - Vocals, Guitar, Bass, RMI Electric Piano, Piano, Flute, Recorder and Various Percussion

Disc 2 - "On The Waters" – 37:29 minutes:

1. Why Do You Keep Me Waiting [Side 1]

2. Make It With You

3. Blue Satin Pillow

4. Look What You've Done

5. I Am That I Am

6. Been Too Long On The Road

7. I Want You With Me [Side 2]

8. Coming Apart

9. Easy Love

10. In The Afterglow

11. Call On Me

12. The Other Side Of Life

Tracks 1 to 12 are their second studio album "On The Waters" - released July 1970 in the USA on Elektra Records EKS 74076 and September 1970 in the UK on Elektra 2469 003. It peaked at No. 12 in the USA - No. 34 in the UK. Same line-up as "Bread" with MIKE BOTTS added.

Disc 3 - "Manna" - 36:13 minutes:

1. Let Your Love Go [Side 1]

2. Take Comfort

3. Too Much Love

4. If

5. Be Kind To Me

6. He's A Good Lad

7. She Was My Lady [Side 2]

8. Live In Your Love

9. What A Change

10. I Say Again

11. Come Again

12. Truckin'

Tracks 1 to 12 are their third studio album "Manna" - released March 1971 in the USA on Elektra Records EKS 74086 and July 1971 in the UK on Elektra Records EKX 74086 (reissued 1972 in the UK on Elektra K 52001). It peaked at No. 21 in the USA - didn't chart UK. Same band line-up as "On The Waters"

Disc 4 - "Baby I'm-A Want You" - 34:51 minutes:

1. Mother Freedom [Side 1]

2. Baby I'm-A Want You

3. Down On My Knees

4. Everything I Own

5. Nobody Like You

6. Diary

7. Dream Lady [Side 2]

8. Daughter

9. Games Of Magic

10. This Isn't What The Governmeant

11. Just Like Yesterday

12. I Don't Love You

Tracks 1 to 12 are their 4th studio album "Baby I'm-A Want You" - released February 1972 in the USA on Elektra Records 75015 and March 1972 in the UK on Elektra Records K 42100. It peaked at No. 3 in the USA and No. 9 in the UK.

Disc 5 - "Guitar Man" - 43:15 minutes:

1. Welcome To The Music [Side 1]

2. The Guitar Man

3. Make It By Yourself

4. Aubrey

5. Fancy Dancer

6. Sweet Surrender

7. Tecolote [Side 2]

8. Let Me Go

9. Yours For Life

10. Picture In Your Mind

11. Don't Tell Me No

12. Don't Even Know Her Name

Tracks 1 to 12 are their fifth studio album "Guitar Man" - released November 1972 in the USA on Elektra Records EKS-75047 and November 1972 in the UK on Elektra Records K 52004. It peaked at No. 18 in the USA - didn't chart UK. First LP to feature LARRY KNECHTEL who replaced ROYER

Disc 6 - "Lost Without Your Love" - 36:21 minutes:

1. Hooked On You [Side 1]

2. She's The Only One

3. Lost Without Your Love

4. Change Of Heart

5. Belonging

6. Fly Away

7. Lay Your Money Down [Side 2]

8. The Chosen One

9. Today's The First Day

10. Hold Tight

11. Our Lady Of Sorrow

Tracks 1 to 11 are their sixth and final studio album "Lost Without Your Love" - released January 1977 in the USA on Elektra Records 7E-1094 and January 1977 in the UK on Elektra Records K 52044. It peaked at No. 26 in the USA and No.17 in the UK

There is no booklet nor mastering credits but the Audio is superb throughout so these must be the Rhino Remasters of old. Outside of the obvious hits like "Make It With You", "If", "Guitar Man" and "Baby I'm-A Want You" (proper tunes one and all) - it's those album cuts that interest me. Great guitar work on "Call On Me" from "On The Waters" and the ethereal slightly trippy vibe achieved on "I Am That I Am" where Bread gets all mystical. There's amazing punch on "Could I" and beautiful Acoustic guitar-pings coming off "Look At Me" (both from the debut LP) and you hear Gates the hitmaker already peering through. Elektra tried "Move Over" in early 1970 as a US and UK 7" single but its flanged guitars and treated chorus didn't catch the public's ear ("Friends And Lovers" might have been a better choice).

By the time you get to 1971's "Manna" and 1972's "Baby I'm-A Want You" - Bread are a bona fide hit-single making machine. While I never liked the heavy-handed "Let Your Love Go" (the lead-off 45 from "Manna" still made No. 28 in the USA) - "Too Much Love" could easily have tapped into that America audience. The lovely "If" was a deserved No. 4 hit and the audio on it and tracks like "Take Comfort" and "She Was My Lady" is beautifully done. "Manna" album sleeper is the piano-pretty "Come Again" - a typically sweet melody from Gates although the strings threaten to over egg the 'tears welling up inside'.

Can't say "Mother Freedom" floats my boater but the title track to the "Baby I'm-A Want You" album sounds fabulous here (and still such a tune) while the boppin' David Gates and James Griffin countrified "Down On My Knees" could easily have come of the more Pop side to "Desperado" by the Eagles. Although its been mucked about with by too many cover versions over the years - "Everything I Own" is still a great David Gates song - as is the truly lovely "Diary" - both sounding dapper and spangly-new here. The anti-establishment "This Isn't Want The Governmeant" and the unusually acidic "I Don't Love You" now feel a little clunky despite some cool harp blowing and harmony vocals in the latter – whilst "Games Of Magic" might just be the album's sleeper.

Their second album in 1972 "Guitar Man" saw the departure of Robb Royer and the arrival of Larry Knechtel and opens with a band already used to jets and Carnegie Hall. The rollicking "Welcome To The Band" soon gives way to a far-better winner – the album’s title track – a No. 11 hit Stateside while it made a respectable No. 16 in England a couple of months prior to the LP’s release. The smoochy "Aubrey" provided them with a No. 11 hit in America while "Sweet Surrender" managed No. 15. But even with these Summer-easy tunes (the jaunty "Yours For Life" could easily have been another hit) – Bread were no longer making the Top Ten and beyond and the end seemed on the cards. Both Gates and Griffin went solo with two albums each only to reform in late 1976 for 1977's well-received "Never Let Her Go" (and again the audio rocks on this one too).

For sure you could say that a 15-track 'Hits Set' is all anyone really needs for BREAD – but having revisited this six-pack of albums – I find enough in-between the cracks to be more than pleasantly surprised. David & Co I’m-A Want You indeed (oh dear)...

"The Post" – A Review of the 2017 Film by Mark Barry...

"...Inalienable Rights..."

I suppose I've been spoiled by "Three Billboards Out Ebbing, Missouri" and "Darkest Hour" (far better films – see my reviews) - but despite its Hollywood A-Listers and a staggering support cast that runs into double-digits - I found "The Post" to be incredibly flabby and dull in places and self-important to the point of being farcical.

Streep does her usual schtick - a kind of overcooked inner hysteria that to me is becoming insufferable (gets her big moments of breakthrough etc - let's Oscar-nominate her for farting-in-a-bottle). Her performance here as the owner of the paper is hammy rather than enlightening. Tom Hanks is always good and here he's the only one who actually humanises the story as he plays her stick-to-your-guns Editor. And there was a lot at stake. In 1971 with the war still raging and huge swathes of the American people violently opposed to it and protesting it too - the Washington Post newspaper is handed thousands of classified documents from an insider that show the American Government, three Presidents and their closest Aids and Councils were all lying about the Vietnam War for over 30 years. They knew it was un-winnable as far back as 1965 and yet still sent hundreds of thousands of innocent American servicemen and women into combat and certain death 9000 miles away rather than lose political face.

While the New York Times pips The Washington Post at getting the truth out there first into the public domain – Richard Nixon's administration (Tricky Dicky who would later go down in flames for corruption with Watergate and disgrace the office of The Presidency more than anyone in history) of course tries to quash the publication of more explosive material and calls in a judge to put a stopper on The Times. Nixon also wants to disallow any other newspaper from publishing (exposing even more abuses of power) using the excuse that it will jeopardise soldiers in the field and National security. This begins a moral and legal battle with liars in power who if they win could amend the inalienable right of Free Speech (the First Amendment) in their favour and eventually stymy the Press’s ability to tell the truth. But if she publishes she could lose the whole paper because of money tie-ins (a cherished family business) and all its employees could lose their jobs - with some of the senior journalists and writers even going to jail for contempt of court. Lofty subject matter indeed. So with all of that going on - you'd think you'd care more...

Bob Odenkirk, Bruce Greenwood, Michael Stuhlbarg and West Wing's Bradley Whitford all shine too as does Matthew Rhys from "The Americans". But right from the off it feels just a little clunky. You're told its 1966 in Vietnam and they're playing a 1969 Creedence Clearwater Revival song (continuity guys) - then we're into 1969 with a Butch Cassidy and The Sundance Kid poster on the wall of an apartment when no-one told us we'd left 1966! There's the moment Streep walks into the crowd waiting outside the American Supreme Court and its all women - they stare at her like she's some goddess - oh gawd please! Then there's the deliberate sepia look to the print - trying to replicate that '70's' French Connection look - but it only gets on your nerves and feels very self-conscious.

I don't really know why "The Post" bored me so much or brought out such irritation in me - its theme of Press Freedom being eroded - the truth in the news being controlled and falsified by an utterly corrupt US Government - couldn't be more apt or come as a more, timely reminder. It's just that this film is so knowingly self-important - like actors matter! And it was 1971 and not 2017 or 2018 - where is your balls now when we need it. If you love Freedom and Diversity so much Americans - then why elect the worst business crook and downright racist into the highest office in the land. I adore the USA and have done all my life - but this film had a strangely depressing effect on me - like "The Post" is in itself the worst form of self-aggrandizement and falsehood.

Obviously others enjoyed "The Post" - even loved it - but if I never see another film with a 'worthy' performance from Meryl Streep again - I'll be eternally grateful. And instead of being force-fed that I should care - I'd like the movie to actually make me care. If I was to sum up – Spielberg’s latest was good rather than great and I desperately wanted it to be so much more.

I want to go to see movies that will make me feel and think about important issues – but something about “The Post” made me think about Oprah Winfrey (a chat-show host) as a President because she makes a windbag speech at an awards ceremony or actresses wearing black dresses in supposed solidarity with sexually abused victims when a huge number of them stood smiling in skimpy dresses beside that monster come awards season and said nothing (God celebrities need to get a grip).

In the end you get a real bad feeling with this movie like its Hollywood and the American Press elite congratulating itself on how brave they were in 1971 without talking about how gutless and compliment they were in 2017 with another monster at the helm – a man who wants to build a wall to close out an entire race of people. Make up your own mind of course – but I can't help think that in early 2018 there are just too many other good movies out there more worthy of your attention...

"Bitter Green/Colours Of The Dawn/If I Sang My Song + Bonus Tracks" by THE JOHNSTONS (September 2017 Beat Goes On 2CD Set - 3LPs and More onto 2CDs - Andrew Thompson 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)

"...So Long Ago..."

A companion volume to the 2CD reissue "The Johnstons/Give A Damn/The Barley Corn" from May 2013 on Beat Goes On BGOCD 1086 (it gave fans three studio LPs from 1968 and 1969 on Transatlantic Records) - what you get here are the remaining three JOHNSTONS albums for that iconic British Folk label before they disbanded in 1973 - "Bitter Green" (1969), "Colours Of The Dawn" (1971) and "If I Sang My Song" (1972) as well as Thirteen Bonus Tracks spanning their entire career from 1966 to 1972 – twelve singles sides and a rare US-only LP track.

The Irish Folk and Folk-Rock band combined the singing, playing and songwriting talents of Paul Brady, Adrienne Johnston and Mick Maloney as well as the American Chris McCloud for the final two platters - the last of which saw Paul Brady's songwriting talent fully emerge. Here are the colourful tales...

UK released Friday, 8 September 2017 (15 Sept 2018 in the USA) - "Bitter Green/Colours Of The Dawn/If I Sang My Song + Bonus Tracks" by THE JOHNSTONS on Beat Goes On BGOCD 1297 (Barcode 5017261212979) is a 2CD Reissue and Remaster offering three full albums and 13 Bonus Tracks and plays out as follows:

Disc 1 (78:23 minutes):

1. Jesus Was A Carpenter [Side 1]

2. The Gypsy

3. Lord Thomas & Fair Ellender

4. The Kilfenora Jig

5. Fiddler’s Green

6. The Story Of Isaac [Side 2]

7. Bitter Green

8. The Penny Wager

9. Marcie

10. Reels: The Fair Haired Boy/Kiss The Maid Behind The Barrel/The Dawn

11. The Spanish Lady

Tracks 1 to 11 are their fifth studio album "Bitter Green" - released December 1969 in the UK on Transatlantic Records TRA 211 (no US release).

PAUL BRADY - Vocals, Guitar, Dulcimer and Harmonica

ADRIENNE JOHNSTON - Lead Vocals

MICK MALONEY - Vocals, Guitar, Banjo and Mandolin

DARYL RUNSWICK - Bass

12. Hello Friend [Side 1]

13. Crazy Anne

14. Brightness She Came

15. If I Could

16. Angela Davis

17. Colours Of The Dawn [Side 2]

18. I'll Be Gone In The Morning

19. Seems So Long Ago, Nancy

20. The Old Man's Tale

Tracks 12 to 20 are their sixth studio album "Colours Of The Dawn" - released January 1971 in the UK on Transatlantic Records TRA 231 and March 1971 in the USA on Vanguard VSD 6572.

PAUL BRADY - Lead Vocals and Guitars

MICK MALONEY - Lead Vocals and Guitars

ADRIENNE JOHNSTON - Lead Vocals

CHRIS McCLOUD - Produced and Wrote "Crazy Anne" and "Angela Davis" - co-wrote "Colours Of The Dawn" and "I'll Be Gone In The Morning" with Paul Brady

Note: the 1971 US version of "Colours Of The Dawn" on Vanguard Records was a 10-track LP and had a different running order to the 9-song UK version. The extra song was "Aiseiri" and the US LP can be sequenced from this 2CD set using the following:

Side 1: Tracks 16, 15, 18, 19 from Disc 1 and Track 22 from Disc 2

Side 2: Tracks 17, 12, 14, 13 and 20 from Disc 1

Disc 2 (76:42 minutes):

1. The Wind In My Hands [Side 1]

2. Won't You Come With Me

3. Border Child

4. If I Sang My Song

5. December Windows

6. I Get To Thinking [Side 2]

7. Continental Trailways Bus

8. Bread And Wine

9. You Ought to Know

Tracks 1 to 9 are their seventh and final studio album "If I Sang My Song" - released 1972 in the UK on Transatlantic Records TRA 251 (no US issue).

PAUL BRADY - Acoustic and Electric Guitars, Harmonium, Electric Piano, Whistle and Backing Vocals

ADRIENNE JOHNSTON - Lead Vocals

JOSEPH TEMPLETON - Fiddle / FRANK NOLAN - Flute / HALLVARD KVALE and PETER ABRAHAMSEN - Kazoo

RICK KEMP - Bass / KEITH BLEASBY - Congas / PHIL CHESTERTON - Drums

TIM HART (of Steeleye Span) and ROYSTON WOOD (of The Young Tradition) - Backing Vocals

BONUS TRACKS (single-sides and LP rarities from 1966 to 1972):

10. Going Home

11. The Travelling People

Tracks 10 and 11 are the non-album A&B-sides of their debut 7” single released July 1966 in the UK and Ireland on Pye Records 7N 17144.

A-side by Geiff - the B-side is a Ewan MacColl song

12. The Alamo

13. The Life Of The Rover

Tracks 12 and 13 are the non-album A&B-sides of a UK 7" single released November 1966 on Pye Records 7N 17205.

A-Side is a Traditional arranged by The Johnstons - the B-side is a Ewan MacColl song

14. I Will Never Marry

15. Banks Of Claudy

Tracks 14 and 15 are the non-album A&B-sides of a UK 7" single released November 1967 on Pye Records 7N 17430

Both sides are Traditional Songs arranged by The Johnstons

16. The Curragh Of Kildare

17. Leaving London

Tracks 16 and 17 are the non-album A&B-sides of a UK 7" single released May 1967 on Pye Records 7N 17315

The A-side is a Traditional - the B-side is a Tom Paxton cover

18. My House

19. The Wherefore And The Why

Tracks 18 and 19 are the non-album A&B-sides of a UK 7" single released April 1969 on Big T Records BIG 121

The A-side a Peter Sarstedt cover - the B-side is a Gordon Lightfoot cover

20. Streets Of London

Track 20 is the A-side to a UK 7" single released April 1970 on Big T Records BIG 132 - re-issued September 1972 on Transatlantic Records BIG 505 - it's a Ralph McTell cover - the B-side in both cases was "The Spanish Lady" from the "Bitter Green" album

21. The Morning Of Our Love

Track 21 is the non-album B-side to "Continental Trailways Bus" released a UK 7" single March 1972 on Transatlantic Records BIG 501

22. Aiseiri

Included on the US LP version of "Colours Of The Dawn" on Vanguard VSD 6572 (for placing see 'Note' above)

An outer card slipcase (default for most BGO releases these days) and a 24-page booklet await you with hugely informative set of liner notes from noted writer JOHN O’REGAN (includes words with Paul Brady). The artwork is there – musician and production credits, the song-by-song breakdown on the rear sleeve of "Bitter Green" – the Chris McCloud liner notes to the "Colours Of The Dawn" album and the lyrics to the "If I Sang My Song" LP that were printed on the inner gatefold of its striking red cover. Long-standing BGO Audio Engineer ANDREW THOMPSON has handled the Transfers and Remasters and they gorgeous – especially the first time on CD "If I Sang My Song" album.

Starting out a 4-piece Folk Band from Ireland’s Co. Meath (just north of Dublin)  – Adrienne and her young sister Lucy Johnston teamed up with the multi-instrumentalist lads – Paul Brady and Mick Moloney. The "Bitter Green" album is the most 'Traditional' of the LPs on offer here. While you would expect such a band to tap into Ewan MacColl's beautiful Folk melodies ("Jesus Was A Carpenter") - it's impressive to see the young Johnstons covering and introducing future songwriter lights-in-the-darkness like Gordon Lightfoot ("The Gypsy" and "Bitter Green"), Joni Mitchell ("Marcie") and Leonard Cohen ("The Story Of Isaac") amidst all those Reels, Jigs and tales of penniless immigrant woe.

1971's "Colours Of The Dawn" debuts a radically re-arranged band and sound - more Folk Rock than just purist Traditional interpretations. The album was all done with the domineering American Chris McCloud at the helm - who by all accounts doesn't come out of anything well. Brady describes writing songs and working with him as a sort of 'oil poured over my soul' moment that took him years to recover from - and after McCloud's marriage to Adrienne Johnston and her sad and controversial death in 1981 (which apparently only came to light a decade later) - his name took on darker tones indeed. The album does however mark the first flowering of Brady's knack with a melody where he pens "Brightness She Comes" on his own and co-writes "Colours Of The Dawn" and "I'll Be Gone In The Morning" with McCloud. The album also taps into Folkies Ian Campbell with "The Old Man's Tale", Pete Seeger with "Hello Friend" and again Gordon Lightfoot with his lovely but cutting "If I Could".

First time on CD for "If I Sang My Song" and again Paul Brady spreads his songwriting wings. He co-writes four with Chris McCloud - "The Wind in My Hands", "Won't You Come With Me", "If I Sang My Song" and "You Ought To Know. He also co-authored "Bread And Wine" with Adrienne Johnston while penning "December Windows" and "Continental Trailways Bus" on his own. The LP was a conscious effort to get away from Traditionals (only "Border Child" gives that a nod) so is almost entirely original material and is impressive for being so. I love the gorgeous Acoustic Guitar, Penny Whistle interludes and harmonies between Paul and Adrienne on "Won't You Come With Me" – the duo searching for gentler times. Even the Traditional "Border Child" comes over like a James Taylor or plaintive Bob Dylan strum where politics and borders make you feel he’s hurting for what was happening to his friend and family in the Six Counties. Elton John type piano notes complete with arranged Strings make both "The Wind in My Hands" and "December Windows" moving experiences – such a long way from the Folk of old. And amidst the plentiful single-sides in the Bonus Tracks on Disc 2 is the Irish No. 1 from 1966 "The Travelling People" (a flipside that caught a nation's heart) and many more tunes/covers that will please his Folk Music based fans.

Never the coolest or hippest of groups (Pentangle jump to mind) - nevertheless the harmonies and clever arrangements (the three voices would often make the most beautiful Mellow Candle kind of vibe) - the smart songwriter choices they covered and championed until they ultimately branched out into their own original material - means that The Johnstons should be reassessed and given a bit of musical TLC (for me the "If I Sang My Song" set is an undiscovered nugget of an album on this reissue).

The best you can say is that this fab-sounding jam-packed twofer for THE JOHNSTONS from those nice chappies over at Beat Goes On has done their unfairly forgotten musical legacy a proper solid. Paul Brady would go on to have cover versions of his Rock sides done by huge artists Tina Turner, Santana and Bonnie Raitt - but this is where that great soulful singer-songwriter journey really began to flourish. Nicely done and recommended...

"Sing Lesley Sing: The RCA and CBS Recordings 1968-1972" by LESLEY DUNCAN (July 2017 RPM Records 2CD Anthology - Michael Taylor and Simon Murphy Remasters) - A Review by Mark Barry...

 

This Review Along With 300+ Others Is Available In My

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"...Don't Forget Love..."

RPM Records have been servicing collector's needs in the digital domain for yonks and once again they've come up trumps on an artist that deserves recognition and whose catalogue has either been ignored by the majors or is deleted and clocking up extortion prices on auction sites - Durham's sweet-voiced LESLEY DUNCAN.

What you get here are her highly-revered 1971 and 1972 platters "Sing Children Sing" and "Earth Mother" and six rare 7" single sides she cut for RCA and CBS between 1968 and 1969. Let's get to the intricate details...

UK released Friday, 21 July 2017 - "Sing Lesley Sing: The RCA and CBS Recordings 1968-1972" by LESLEY DUNCAN on RPM Records RETRO D991 (Barcode 5013929599918) is a 2CD anthology that plays out as follows:

Disc 1 (62:04 minutes):

1. Chain Of Love [Side 1]

2. Lullaby

3. Help Me Jesus

4. Mr. Rubin

5. Rainbow Games

6. Love Song [Side 2]

7. Sunshine (Send Them Away)

8. Crying In The Sun

9. Emma

10. If You Won't Be Mine

11. Sing Children Sing

Tracks 1 to 11 are her debut album "Sing Children Sing" - released June 1971 in the UK on CBS Records S 64202 and November 1971 in the USA on Columbia Records C 30663. Produced by JIMMY HOROWITZ - all songs by Lesley Duncan except "Chain Of Love", "Sunshine (Send Them Away)", "Crying In The Sun" and "Emma" which were co-written with Jimmy Horowitz. Horowitz also plays Organ, Celesta and Piano. GUESTS include Elton John on Piano with Ray Cooper of Elton's band on Tambourine - Tristan Fry of Sky on Percussion - Chris Spedding and Joe Moretti on Guitars - Toni Compo on Bass - Terry Cox of Pentangle on Drums.

BONUS TRACKS:

12. Lullaby (Single Version)

13. I Love You, I Love You

Tracks 12 and 13 are the A&B-sides of a 27 September 1968 UK 7" single on RCA Victor RCA 1746 - both songs LD compositions and non-album

14. A Road To Nowhere

15. Love Song (1969 Version)

Tracks 14 and 15 are the A&B-sides of a 24 January 1969 UK 7" single on RCA Records RCA 1783.

Both sides are non-album. The A-side is a Carole King/Gerry Goffin song and is a cover of a Carole King US single on Tomorrow Records 7502 from March 1966. The B-side "Love Song" (1969 Version) is her own composition and was re-sung and re-recorded for the 1971 "Sing Children Sing" album. It was the 1969 version that Elton John heard and covered on his 1970 album "Tumbleweed Connection" which actually featured Lesley guesting on piano. Elton repaid the compliment by guesting on piano on her 1971 version and LP.

16. Sing Children Sing (Single Version)

17. Exactly Who Are You

Tracks 16 and 17 are the A&B-sides of a 16 October 1969 UK 7" single on CBS Records 4585 - both sides are non-album and the song "Sing Children Sing" differs to the 1971 album version

Disc 2 (42:59 minutes):

1. Times [Side 1]

2. Queen To Your King

3. Love Will Never Lose You

4. Thunder

5. God Is Real (In My Soul)

6. Fortieth Floor

7. Old Friends [Side 2]

8. Sorry Living

9. If It's All The Same To You

10. Earth Mother

11. By And Bye

Tracks 1 to 11 are her second studio album "Earth Mother" - released September 1972 in the UK on CBS Records S 64807 (no US release). Produced and Arranged by JERRY HOROWITZ - he also played Organ, Piano and Flute. GUESTS included Chris Spedding on Guitar - Alan Bown of The Herd, Judas Jump and Status Quo on Guitar and Bass with Barry De Sousa on Drums. All songs by LD except "Old Friends", "Earth Mother" and "By And Bye" co-written with Jerry Horowitz. "God Is Real (In My Soul)" is a Traditional cover version arranged by Jerry Horowitz - while "If It’s All The Same To You" is an Alan Bown song. Bown released his own version on his debut solo LP "Gone To My Head" on Mercury Records in 1972.

The 12-page booklet has a lovely array of colour photos - the two album covers - rare European 7" single picture sleeves for "Love Song", "Sing Children Sing" and "Earth Mother" - a demo for one of RCA 45s and all of it rounded off with superb new liner notes from KIERON TYLER. Good names like ANDY DAVIS and JOHN REED were involved in the compiling/research and a duo-team carried out the excellent Transfers and Remasters - MICHAEL TAYLOR and SIMON MURPHY. The Audio is ace and I'm certain that LD worshipers who love the sheer prettiness of say "Love Song" will chew it up.

The six 'Pop' singles are interesting but you can see that they're too far removed from her singer-songwriter style and soul to make any real impact. And how odd is it to see the initial 1969 version of the gorgeous "Love Song" relegated to a B-side. The initial version was good (enough to famously catch Elton John's eyes and ears) - but the remake is sensational - surely as good as anything on Carole King's 1971 masterpiece "Tapestry" (one of Lesley's heroes). But I suspect fans will make a beeline to the albums on this twofer.

"Chains Of Love" is a melodic opener setting the tone for the whole debut album - songs, songs and more songs. While I can live without the Holy Roller of "Help Me Jesus" - the rolling Nilsson "I Guess That's Why God Loves New York City" feel to "Lullaby" is captivating as she sings "...I watch you dance and play...a little prince of all you survey..." Even better is "Mr. Rubin" - a slow Gospel organ plea for public figures to 'don't forget love' - their 'them or us' attitudes make her feel genuinely ashamed. I think it's one of the album's greats - along with the beautiful "Love Song". The Remaster allows the Acoustic Guitars of "Rainbow Games" and "Love Song" shine like wee diamonds. So by the time you reach the re-recorded title track "Sing Children Sing" - the positive 'don't give in' message feels precious and her loss to us in 2010 crushingly sad.

Already so much more sophisticated than the debut - 1972's "Earth Mother" reunites her with Arranger, Producer and Co-Writer Jerry Horowitz. I think it’s a bit of a forgotten nugget. You can hear the maturing songwriting in the opener "Times" - a Faces type organ softly under-pining the melody in the background. "Queen To Your King" is very Carole King and is perhaps over-orchestrated for its own good. "Love Will Never Lose You" slinks in a waft of echoed keyboard notes before a squeaking Acoustic takes it up a notch - it's very "Loving and Free" Kiki Dee – sweetly swaying as she sings "...to hold on to love...you've got to let it go..." Lyrically and musically "Thunder" is another album highlight - sincerely believing that Nature will 'get us back to where we're going'. The Traditional Gospel song "God Is Real (In My Soul)" is more closely associated with Mahalia Jackson - yet here Lesley gives it just as good with a churchy organ and slow piano in tandem - a beautiful tune steeped in her obvious and genuine belief. "Fortieth Floor" is confessional and accusing at one and the same time - our hero watching to stem those enemies within. "Old Friends" is a superb melody featuring Chris Spedding making his guitar work sing and feel soulful like the song. The other tune I turn to is Alan Bown's "If It's All The Same To You". The ex Herd, Judas Jump and soon to become member of Status Quo Bassist and Guitarist - put out the song on his debut solo LP "Gone To My Head" in 1972 on Mercury Records (not that many noticed). As the Acoustic Guitar strings rattle on this clever cover version – once again the Remaster is gorgeous - as it is on the Pink Floyd sounding environmental-plea title track "Earth Mother" and the brilliant Beach Boys Acapella finisher "By And Bye" – a perfect end to a hugely accomplished album.

Duncan was 28 when her debut LP "Sing Children Sing" hit the shops in 1971 - and notoriously gig-shy neither it nor the even better 1972 follow-up "Earth Mother" did much business outside of small circles. But across the following years and decades both gathered warmth and affection from a growing band of passionate fans – people who played those British Orange CBS labels on their turntables like both LPs were secret infusions of joy they’d greedily kept to themselves. 

Lesley Duncan passed in 2010. Well done to RPM for honouring her memory with this cracking twofer...