"The Guernsey Literary & Potato Peel Pie Society" - A Review of the 2018 Film by Mark Barry...

"The Guernsey Literary And Potato Peel Pie Society"

A Review of the 2018 Film

https://youtu.be/HTDNGv61-Dk

"...This One May Work Its Magic On You..."

I can understand how someone could find "The Guernsey Literary And Potato Peel Pie Society" twee and even a tad schmaltzy. But the audience I saw it with loved the movie and wiped away a few tears as the credits rolled.

Defying her extraordinary beauty so it doesn't work against her like she did in "Darkest Hour" - once again actress Lily James shows what she can do when given a leading role. She is properly great as author Juliet Ashton – a young female novelist in London post WWII doing a small book tour she doesn’t believe in to pay the bills. Using the pseudonym Izzy Bickerstaff – she is a dreamer that longs for real connection. Her literary agent offers a lifeline when she is suddenly commissioned to do a story for the Times Newspaper. Ashton will travel to Guernsey to investigate a group of like-minded word-lovers who used a book club to survive the slow drain of all freedoms as the Nazis occupied the Chanel Island in 1941. What she doesn’t expect is friendship, life-changing stories that will inspire a book and the unconditional love of those who had to endure years in servitude whilst now struggling with the consequences, the strange aftermath they find themselves lumbered with.

It helps that the clever story and cast are perfectly matched - Matthew Goode as her literary agent Sidney Stark whose more than a little in love with his own client - Glen Powell as her well-to-do American soldier Mark Reynolds who has put a huge sparkler on his beau's index finger (although she proclaims her love for him she seems unwilling to wear it once she gets to the English Chanel island and meets a local farmer she's been corresponding with) - and Dutchman Michael Huisman as the handsome and goodhearted islander pig-farmer Dawsey Adams who feels a kindred spirit with the English lass from London – a gal with a hankering for Jane Austen and Charles Lamb and can quote whole passages to prove it.

Other notables are Jessica Brown Findlay as the feisty Elizabeth McKenna whose heart and compassion have her taken away by the Germans leaving behind a trail of secrets and wounded hearts - Ireland's Bronagh Gallagher as the embittered religious zealot landlady who seeks to poison Juliet Ashton's enquiries into what really happened to Elizabeth - and especially Penelope Wilton as the frail hurt-to-her-core Amelia Maugery - a woman who has lost too much to the enemy and is unwilling to retell their island stories of occupation for fear of more of the same. Throw in great parts for Katherine Parkinson as the naive and yet magical Isola Pribby and Tom Courtenay as the big softy postmaster Eben Ramsey - and you're firmly in the silver-haired arena of movies. Special mention should also go to little Florence Keen who almost steals the show as the child Kit who looks up to handsome farmer Dawsey and calls him 'dad'. The flashbacks to WW II and then forward to a post-war island one year after work well and are at times amazingly informative - giving insights into a side of that very British War that is rarely discussed.

For sure there are those who will cringe at ah-shucks humour, poo-poo the good-looking leads as unrealistic representations of ordinary folk despite Huisman and James’ fabulous onscreen chemistry, find factual continuity errors and wonder at the sheer size of Lily James' costume wardrobe when she packed one case with some typing pages, an ink fountain pen, wool hats and a possible pair of lacy knickers. But that rather distantly cold assessment does this lovely little movie a massive disservice. Using a team of three screenplay writers - Director Mike Newell has taken a beloved book and done it proud - even if the fishing harbour and town scenes framed by Zac Nicholson's cinematography come over at times like a Downton Abbey Reunion or that Ridley Scott Hovis Advert cranked up to two hours instead of two minutes. And anyone who loves books and the connections they make will quietly quiver inside with page-turning delight as the scenes unfold and favourite booky discussions take centre stage – by the end probably succumbing to an urgent need to crack open a classic right quick.

The accusations of triteness, nostalgia stroked and throwbacks to a simple-life world that no longer exists probably have a real-world point - but bugger them all and knob to their cynicism. There's heart in this film, pathos, sadness, bravery, romance, gentle wit and ultimately a satisfying redemption of sorts. And the audience I was with 'felt it all'.

2018's "The Guernsey Literary & Potato Peel Pie Society" is a gorgeous big-screen watch - an uplifting story - and another win for seriously good writing, direction and ensemble casting. I urge you to seek out this audience-warming gem of a movie...

"Nighthawks At The Diner" by TOM WAITS - 1975 2LP Live Set of New Material on Asylum Records (March 2018 Anti Records CD Reissue - Waits/Brennan/Lyman Remasters) - A Review by Mark Barry...

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CAPT. FANTASTIC - 1975

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"...Precipitation Is Expected..."

Tom Waits had opened his musical account on America’s Asylum Records with two fabulous singer songwriter albums in the shape of 1973's "Closing Time" followed fast by another equally understated masterpiece - "The Heart Of Saturday Night" from 1974. Dripping with Americana – his louche barstool growl conjured up Bukowski stumbling out of some seedy 43rd Street watering hole into the harsh inner city morning glare – an emotionally-battered bum with a bottle of bourbon in one hand, a packet of Lucky Strikes in the other and some hookers initials carved into his arm with the rusty lid of an Campbell's Tomato Soup tin.

TW's next move was a clever one – an entire double-album of new material recorded live across two days in late July 1975 at NYC's Record Plant in front of an invited audience. Waits sets the scene during the Intro pretending its Raphael's Silver Cloud Lounge as the crowd is treated to the scoop Betty Boop and a Los Angelinos 'emotional weather forecast'. This live setting allowed the music a fabulous looseness – a jazzy sleaze hovering over great new songs – all crammed with his pawnshop suit persona and Gatling Gun wit shining ("...I'm so horny the crack of dawn better be careful round me..."). Although the lounge lizard slumped over a piano amidst plumbs of smoke from a well-filled ashtray routine wasn't exactly new - you can literally feel the enrapt audience both loving and discovering someone special in front of them – perhaps even hearing something and someone unique.

The album has had a limited compact disc history. To my knowledge "Nighthawks At The Diner" was reissued onto CD as far back as 1989 in the USA, Europe and the UK (WEA 960 612-2) along with the rest of his Asylum Records catalogue. Mostly non-remasters – it has remained there ever since. The 1998 version on Asylum 7559-60620-2 is essentially another reissue of that original lacklustre version. Only one track - "Eggs And Sausage (In A Cadillac With Susan Michelson)" - has ever been remastered from the 2LP set – featuring on the November 2001 CD compilation "Used Songs" (see review). This is the first time the whole enchilada has received a digital dust-off – and what a revelation it is.

March 2018 now sees Anti Records of the USA reissue his entire Asylum Records seven-album catalogue from 1973 to 1980 on Remastered CDs, DLs and 180-Gram LPs – Anti being his musical home since his "Mule Variations" set won awards galore in 1999. But even though these Remastered CDs are priced at just under a tenner in the UK (and the corresponding dollar rate in the USA) – knowing what Anti could have been given us and outside of the sound – they’re disappointingly bare bones.

Each CD is housed in a faded card digipak, has a picture disc of sorts, a booklet and new Tom Waits/Kathleen Brennan/Karl Derfler supervised tape transfers – mastered in turn by Peter Lyman at his Infrasonic Mastering Studios in California (a renowned studio with Grammy award-winners on their resume). Although the disc is a picture CD (at the microphone with his hat on for Nighthawks)  – when you open the digipak you're confronted with nothing - no photo on the left and nothing beneath the tray on the right. As with the booklet for "The Heart Of Saturday Night" – there are no new liner notes, no history (not even a catalogue number for the original release) and worse not a single extra track when these reissues have been screaming out for deluxe editions for years. At least the 20-page booklet allows you to slaver over page after page of lyrics that even 40-years after the event seem amazing. The 2LP set will also to be released on 180-GRAM VINYL in May 2018 with a download code built in (see list below).

So what do you get from your CD...what have the Naugahyde booths been whispering to the Stolly brunettes and Vermouth blondes...

UK and EUROPE released Friday, 23 March 2018 - "Nighthawks At The Diner" by TOM WAITS on Anti 7567-2 (Barcode 8714092756722) is a straightforward CD Reissue and Remaster of the 18-Track 1975 double-album originally on Asylum Records and plays out as follows (73:40 minutes):

1. (Opening Intro) [Side 1]

2. Emotional Weather Report

3. (Intro)

4. On A Foggy Night

5. (Intro)

6. Eggs And Sausage (In A Cadillac With Susan Michelson)

7. (Intro) [Side 2]

8. Better Off Without A Wife

9. Nighthawk Postcards (From Easy Street)

10. (Intro) [Side 3]

11. Warm Beer And Cold Women

12. (Intro)

13. Putnam County

14. Spares Parts 1 (A Nocturnal Emission)

15. Nobody [Side 4]

16. (Intro)

17. Big Joe And Phantom 309

18. Spare Parts II And Closing

Tracks 1 to 18 are his third album "Nighthawks At The Diner" (a 2LP set) - released October 1975 in the USA on Asylum Records 7E-2008 and December 1975 in the UK on Asylum SYSP 903 (reissued June 1976 on Asylum K 63002). Produced by BONES HOWE with all songs written by Tom Waits except "Big Joe And Phantom 309" by Tommy Faile and "Spare Parts 1 (A Nocturnal Emission)" by Chuck E. Weiss - it peaked at No. 164 on the US LP charts (didn't chart in the UK).

TOM WAITS - Vocals on all Tracks, Piano on Tracks 6, 8, 11, 13 and 15, Guitar on Tracks 4 and 17

MIKE MELVOIN - Piano on Tracks 2, 4, 9, 14 and 18, Electric Piano on Tracks 6, 8, 11 and 13

PETE CHRISTLIEB - Tenor Saxophone

JIM HUGHART - Upright Bass

BILL GOODWIN – Drums

The digipaks each come with a generic 'Newly Remastered with Waits/Brennan' sticker (Kathleen Brennan is his wife). But when you open this one only to be confronted by blank spaces on both sides and naught new - it all feels staggeringly lazy. Worse - instead of being a celebration of this American songwriter's magnificent catalogue – it comes across the same way the Neil Young reissues did – what could be gotten away with instead of giving fans something to get their teeth into. The inevitable 'unreleased stuff' Box Set will follow on Anti no doubt - thereby costing fans more dosh and yet another purchase. But let's concentrate on what is awesome - the amazing Audio...

Like all the others in the 2018 series - this CD is incredible sounding – Mastering Engineer PETER LYMAN having brought out every nuance of the original quality Production job done by Bones Howe back in July 1975 when the double-album was recorded in front of an invited audience. Every song feels new and up for grabs – the atmosphere tingling as he schmoozes from littered streets to boozy bars.

Waits shuffles into his seat, huffs, then the witty rapport begins and immediately the crowd are in his grasp. In "Emotional Weather Report" we're told of tornado watches issued early Saturday morning in case his heart explodes, precarious fronts coming at the northern portion of his mental health and a pressure ridge extending from his baby's cheeks down to the vice grips on his loins. The crowd whoops and hollers as "On A Foggy Night" leaves our hero stranded in nowheresville with no sign of a gas station for miles. The fantastic "Eggs And Sausage (In A Cadillac With Susan Michelson)" paints those nighthawks at the diner – Formica table, slice of toast, hash browns and refilled coffee as the singer tells us "...I'm a refugee from a disconcerted affair as the lead pipe morning falls and the waitress calls..."

The Hopper Painting personalities that fill his stories continue with "Better Off Without A Wife" where bachelors and bowery bums howl at the moon and curse trumpet players who have a way with the ladies. There are so many lyrics to the eleven and half minutes of "Nighthawk Postcards (From Easy Street)" - they take up nearly four and half pages in the booklet - more tales of hustlers over at Chubb's Pool & Snooker Hall - Tom quickly eyeballing the scene with his lips around a bottle neck and his foot on the throttle. The band has taken a break - so something by Tammy Wynette is on the joint’s jukebox in "Warm Beer And Cold Women" where the moon rises and men with tattoos drink deep as they eye the girls giggling over by the fluorescent tubing. Two-lane asphalt roads bristle with Stratocaster Guitars slung over the shoulders of small town Machiavelli types in the brilliant "Putnam County" while his cover of the countryish "Big Joe And Phantom 309" shows his love of storytelling and America's underdogs. I love it to bits...

So – storming great audio and musically the album is a stone five-star singer-songwriter winner - but naught a lot else. Fans will have to own them for sure given the sonic upgrade – but it’s just such a shame that Anti Records haven’t risen to his now legendary status and provided us with something actually worth getting giddy about - especially when it comes to an artist that so many of us have adored for so long.

Tom Waits' third "Nighthawks At The Diner" has always been the runt of his mighty litter somehow - a forgotten artefact – the kind of Seventies artistic splurge they really don't make anymore. But like so much of his fantastic output this twofer-onto-1CD is something that needs to be celebrated. Much like the great man himself. Yet another to buy and enjoy...

TOM WAITS - 2018 Reissue Series of CDs, LPs and Downloads on Anti Records

All CDs are in Card Digipaks, come with Booklets and Pic CDs but No Extras

"Closing Time" and "The Heart Of Saturday Night" released Friday, 9 March 2018 - the others released Friday, 23 March 2018

1. "Closing Time" (1973) – CD on Anti 7565-2 (Barcode 8714092756524)

LP released 9 March 2018 on Anti 7565-1 (Barcode 8714092756517)

2. "The Heart Of Saturday Night" (1974) – CD is on Anti 7566-2 (Barcode 8714092756623)

LP due 18 May 2018 on Anti 7566-1

3. "Nighthawks At The Diner" (1975 Live Double Album onto 1CD) - Anti 7567-2 (Barcode 8714092756722)

2LP Set due 18 May 2018 on Anti 7567-1

4. "Small Change" (1976) - Anti 7568-2 (Barcode 8714092756821)

LP due 8 June 2018 on Anti 7568-1

5. "Foreign Affairs" (1977) - Anti 7569-2 (Barcode 8714092756920)

6. "Blue Valentine" (1978) - Anti 7570-2 (Barcode 8714092757026)

7. "Heartattack And Vine" (1980) - Anti 7571-2 (Barcode 8714092757125)

"Shook, Shimmy And Shake: The Complete Recordings 1966-1970" by WYNDER K. FROG (February 2018 RPM Records 3CD Box Set of Remasters) - A Review by Mark Barry...

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1960s and 1970s MUSIC ON CD - Volume 3 of 3

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"...Dancing Frog..."

Lincolnshire lad Michael Weaver hailed out of Bolton and his weirdly named band WYNDER K. FROG (with one 'g' mind you and never two) had a couple of albums of instrumental keyboard-driven groovers in 1966 and 1968 on Island Records in the UK and one belatedly on United Artists in the USA in 1970.

They also managed some straggler tracks in movies, stand-alone singles beloved of Mods and Club-Going Dancers alike and an ultra-rare unreleased second album (recorded 1968) that makes its way into the public domain for the first time ever via a Dub from a surviving-acetate (tracks 9 to 17 on Disc 3). For fans of his groovy 60ts Hammond-Organ sound (the lad is still with us and provides new liner notes for this release) - "Shook, Shimmy And Shake..." from RPM Records has gathered together the whole caboodle and presented the shimmering lot to us in this rather spiffing little 3CD Box Set.

At times sounding not unlike a glorified Booker T & The MG's covers band from South Ealing giving it some sugar-shaker on a Woolworths LP sporting a scantily-clad nubile to pull in male shoppers on a Saturday afternoon - it’s not all undiluted hippy-hippy-shake genius for sure. But the good stuff is great fun, Island Records 7" singles fans will love those catalogue-hole-filling tracks (great talcum powder shuffling B-sides like "Zooming", "Dancing Frog", "Shook, Shimmy And Shake" and "Baldy") and you have to say that the overall presentation here is top notch (as it is with all RPM stuff). And who doesn't love a cool Hammond Organ groove-tastic neck-jerker. Out of the fire and into the frying pan – time to Boogaloo folks and do the Harpsichord Shuffle...

UK released Friday, 23 February 2018 (2 March 2018 in the USA) - "Shook, Shimmy And Shake: The Complete Recordings 1966-1970" by WYNDER K. FROG on RPM Records RPMBX 540 (Barcode 5013929554009) is a 3CD Box Set containing three period albums (1966, 1968 and 1970) along with other Bonus Material and plays out as follows:

Disc 1 "Sunshine Super Frog" (46:50 minutes):

1. Sunshine Superman [Side 1]

2. I Feel So Bad

3. Oh Mary

4. Blues For A Frog

5. Somebody Help Me

6. Mercy

7. Hold On, I'm Coming [Side 2]

8. Shook, Shimmy And Shake

9. Incense

10. Walking Into New Orleans

11. (Don't Fight It) Feel It

12. Dancin' Pain (alias Dancing Frog)

Tracks 1 to 12 are the debut album "Sunshine Super Frog" - released December 1966 in the UK on Island Records ILP-944 in Mono only (no US release).

BONUS TRACKS:

13. Turn On Your Lovelight

14. Zooming - Tracks 13 and 14 are the A&B-sides of a non-album UK 7" single released July 1966 on Island WI-280

15. Green Door (Mono Version) - non-album A-side of a UK 7" single released February 1967 on Island WIP 6006 (Track 12 on the LP is the B-side)

16. I'm A Man - non-album A-side of a UK 7" single released June 1967 on Island WIP 6014 (Track 8 on the LP is the B-side)

17. Henry's Panter - originally released 1966 on a UK 7" Flexidisc on Lyntone LYN 1109 (credited to Wynder K. Frogg (And Henry) and has an Ed Stewart ‘Dog’s Life’ spoken intro)

18. Wade In The Water (BBC Radio Version) - originally broadcast 15 October 1966 on the BBC's "Saturday Club"

Disc 2 "Out Of The Frying Pan" (56:19 minutes):

1. Jumping Jack Flash [Side 1]

2. Gasoline Alley

3. Willie And The Hand Jive

4. Harpsichord Shuffle

5. Baby I Love You

6. This Here

7. Green Door [Side 2]

8. Bad Eye

9. Alexander's Ragtime Band

10. Tequila

11. The House That Jack Built

12. Hymn To Freedom

13. Hi-Heel Sneakers

Tracks 1 to 13 are their second studio album "Out Of The Frying Pan" - released December 1968 in the UK on Island Records ILPS 9082 in Stereo and April 1969 in the USA on United Artists UAS 6695.

BONUS TRACKS:

14. Jumping Jack Flash (Mono Version)

15. Baldy - Tracks 14 and 15 are the non-album A&B-sides of an August 1968 UK 7" single released on Island WIP-6044

16. Dancing Frog (Stereo Version)

17. Blues For A Frog (Stereo Version) - Tracks 16 and 17 remixed from Mono into Stereo and released February 1969 on the UK Soundtrack LP to "The Touchables" on Stateside SSL 10271 (Stereo only)

Disc 3 "Into The Fire" (70:37 minutes):

1. Into The Fire [Side 1]

2. Howl In Wolf's Clothing

3. F In Blues

4. Cool Hand Stanley

5. Eddie's Tune

6. Why Am I Treated So Bad

7. Hot Salt Beef

8. Warm And Tender Love  

Tracks 1 to 8 are their third and last album "Into The Fire" - released April 1970 in the USA on United Artists UAS 6740 in Stereo. The album was to be called "Accrington Mushroom" and due for UK release November 1969 on Island ILP 9109 but was withdrawn (no test pressings have ever surfaced).

BONUS TRACKS:

9. Happy Jack

10. We Can Work It Out

11. Funky Broadway

12. Loving You Is Sweeter Than Ever

13. A Memory Of Bruce

14. The House That Jack Built

15. I'll Go Crazy

16. Tequila

17. Baldy

Tracks 9 to 17 are PREVIOUSLY UNISSUED - an unreleased second album recorded in 1968 and dubbed here from surviving acetate

To my knowledge and outside of a long deleted CD reissue by Edsel in 1995 for the second LP "Out Of The Frying Pan" – none of these Frog albums have made it officially onto CD before - so well done to compiler and true son of the Modfather JOHN REED for his bang up job at compiling what fans have been after for decades. Each singular card sleeve repro’s the three rare album covers and a tasty attention to detail had CD1 with the Red and White colour scheme of the Island Records label from late 1966, CD2 is the Pink variant of 1968 and the third has the United Artists Orange and Pink colours of 1970.

The 28-page chunky booklet has wonderfully detailed liner notes courtesy of NICK ROSSI that include valuable and first hand accounts by MICK WEAVER in new interviews. These are complimented by the usual plethora of trade adverts, that rare promo-photo of the six-piece band where Island misspell the name with two ‘g’s’ instead of one, repros of the those fab UK Island 7” singles, a Belgium single on Philips and a cool French EP sleeve where Weaver is flogged as a teen-idol singing Donavan’s "Sunshine Superman" alongside three other hits from the first album. The band also featured on two desirable Island Records label sampler LPs – "Green Door" on the 1967 compilation "British Blue-Eyed Soul" (ILPS 9066) and "Gasoline Alley" on the wonderful "You Can All Join In" from 1969 (IWPS 2 was yours for only 14/6d) – so they're both pictured. Traffic fans will love the Jimi Hendrix London Tour Date Poster on Page 23 where on the 18th of February 1969 you can see The Soft Machine and 'Mason, Capaldi, Wood & Frog' supporting the great man at The Royal Albert Hall (2/6d for a ticket!). This ill-fated four-piece moniker for Traffic (featuring Mick Weaver as the Frog and once muted to called Wooden Frog) didn't last of course past this public appearance. There are also photos of "The Touchables" soundtrack on Stateside and a US 45 promo on UA of WKF doing the Stones hit "Jumpin' Jack Flash". It is indeed a gas, gas, gas...

The Audio comes courtesy of SIMON MURPHY over at Another Planet and these notoriously crude recordings are full of beans even if the first album's Mono has all the subtlety of an overworked transistor radio. They're not audiophile but they are punchy and absolutely full of that 60ts shoutin' 'n' roarin' party-hard shing-a-ling. Being an Acetate I’m amazed at how good that unreleased LP sounds and the Stereo of the second LP is wonderful too. For sure his one-dimensional instrumental-after-instrumental set up on the LPs may grate some after a while – but I'm honestly loving how damn good much of this stuff is - music I honestly haven't listened to in decades and now feel I've been missing out on something fab and period-groovy.

Apart from Syd Dale's "Blues For A Frog" (itself a derivative of a James Brown groove), the Mick Weaver/Jimmy Miller penned "Dancing Frog" and the Fallon/Miller track "Incense" - the other nine are R&B covers and contemporary pop hits of the day - Donovan's "Sunshine Superman", a variant of Jackie Edward's "Somebody Help Me" (a hit for The Spencer Davis Group with Stevie Winwood), Owen Gray's fantastic "Shook, Shimmy And Shake", Fats Domino's "Walking To New Orleans", the Sam & Dave hit "Hold On, I'm Coming" penned by Isaac Hayes and David Porter and so on. The six Bonus Tracks on Disc 1 are actually that – the first four being killer Mod sides – Mono and Marvellous as they mumble through Jim Lowe’s "Green Door" (a number 1 hit for Shakin’ Stevens in 1981) – while the BBC’s Ed Stewart tries to sound cool as he sells some kind of dog product on "Henry's Panter".

Album number two does the same - the Stones "Jumpin' Jack Flash", Johnny Otis' "Willie And The Hand Jive", Tommy Tucker's "Hi-Heel Sneakers", The Champs "Tequila" and so on. But there are very cool self-penned tunes like Weaver's own "Gasoline Alley" where both he on the organ and Dick Heckstall-Smith of The Graham Bond Organisation on Saxophone play up a storm. It's funny also to hear "Willie And The Hand Jive" sound like The Benny Hill Show Theme song - but that's what happens track after track - groovy organ and a driving rhythm section making you want to strut your ancient stuff across some dancefloor somewhere making an unholy tit of yourself. Weaver's own "Harpsichord Shuffle" is pretty much a Ray Charles keyboard riff turned up a notch while Chris Mercer of The Keef Hartley Band gives it some cool Sax and Kokomo's Neil Hubbard gets Ike Turner funky on his guitar (what a belter). For sure "Alexander's Ragtime Band" is a Hammond groove too far but that’s immediately followed by a kick-ass take on "Tequila" that’s liable to make your mother shimmy those voluminous hips as she vacuums Dad’s cigarette ashes off the living room carpet.

But the real surprise here is the American-only album that died a death on its initial release. Weaver stumped up most of the instrumentals for the April 1970 LP "Into The Fire" which has a decidedly Funkier feel than the first two albums - like his band just discovered Sly & The Family Stone and Clarence Carter. Choppy guitars, sexy sax work and a backbeat that just won't quit infest the songs. Favourites include the Bluesy Harmonica of "Howl In Wolf's Clothing" - another fab workout - while "F In Blues" is a rare excursion into actual Blues - a slow late-night lounge-lizard lurch on the organ punctuated by great Sax blowing. I also dig his cover of The Staple Singers stunning "Why Am I Treated So Bad" - a tune that still has power even if there are no words to ram home the message of equality - his new Hammond Organ sounding loud and clear. For sure there is an audible drop in the sonic attack as we’re treated to The Who's "Happy Jack" and The Beatles' "We Can Work It Out" from the Acetate of the unreleased album - but it's not as bad as you would imagine. "Funky Broadway" feels more of an inspired choice than the obvious Who and Fabs choices.

For sure the band Wynder K. Frog and its main-man Mick Weaver are a footnote in Pop's history and few in 2018 will probably know their names or even care. But if you've any penchant for 60ts Groovers and that driving Hammond Organ Sound - then the little 3CD Box Set "Shook, Shimmy And Shake" is the fried hot potato that needs to be on your shopping list. Well done to RPM and all involved...

"Fragile: Definitive Edition CD/BLU RAY" by YES (November 2015 Panegyric Reissue - Steve Wilson 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

"...Heart Of The Sunrise..."

The fifth release to date to receive the twinkle-fingers jiggery-pokery remix-magic of Porcupine Tree's Steve Wilson – 1971's "Fragile" was always going to inject a flying-jalopy flutter into the Prog Rock trousers of YES fans – make their scaly Schindleria Praematurus Space Ark hearts beat a little faster (if you get my fishy drift). And you have to say that the dapper gent has done another sterling job - even if I personally find the remixes just a tad too squeaky clean (1971's "The Yes Album", 1972's "Close To The Edge", 1973's double "Tales From Topographic Oceans" and 1974's "Relayer" are the other four Wilson revamps).

Firs up there are two versions of this November 2015 'Definitive Edition' Reissue for "Fragile" – the CD and DVD-A variant on Panegyric GYRSP50009 (Barcode 633367900722) and its bigger brother – the CD and BLU RAY Version – the one we are about to dance a jig too. There is a mountain of detail to be crossed, so onwards into the Heart of the Sunrise…

UK released Friday, 6 November 2015 - "Fragile: Definitive Edition CD/BLU RAY" by YES on Panegyric/Atlantic GYRBD50009 (Barcode 633367900821) is a 2-Disc Reissue (CD and BLU RAY) with New 5.1 Surround, Stereo and Instrumental Album Remixes and Remasters by Steve Wilson – it plays out as follows:

CD Definitive Edition (64:38 minutes):

2015 STEREO MIXES

1. Roundabout [Side 1]

2. Cans And Brahms

3. We Have Heaven

4. South Side Of The Sky

5. Five Per Cent For Nothing [Side 2]

6. Long Distance Runaround

7. The Fish (Schindleria Praematurus)

8. Mood For A Day

9. Heart Of The Sunrise

Tracks 1 to 9 are their fourth studio album "Fragile" - released 26 November 1971 in the UK on Atlantic Records 2401019 and 4 January 1972 in the USA on Atlantic SD 7211. Produced by EDDIE OFFORD - it peaked at No. 7 in the UK and No. 4 in the USA and was the first Yes album to use Roger Dean's artwork (something that became synonymous with the band's image)

ADDITIONAL TRACKS:

10. Roundabout (Rehearsal Take, Early Mix)

11. We Have Heaven (Full Version, Steve Wilson Mix)

12. South Side Of The Sky (Early Version, Steve Wilson Mix)

13. All Fighters Past (Steve Wilson Mix)

14. Mood For Another Day (Previously Unreleased Take)

15. We Have Heaven (Acapella, Steve Wilson Mix)

All tracks mixed and produced from the original multi-track tapes by STEVE WILSON

BLU RAY Definitive Edition:

2015 STEREO MIXES

Tracks 1 to 9 as per CD - LPCM Stereo (24bit/96khz)

5.1 SURROUND MIXES

Tracks1 to 9 as per CD - LPCM and DTS-HD MA (24bit/96khz)

ORIGINAL STEREO MIXES

Tracks 1 to 9 as per CD - Flat Transfer from Original Master - LPCM Stereo (24bit/192khz)

ADDITIONAL TRACKS

1. Roundabout (Rehearsal Take, Early Mix)

2. We Have Heaven (Full Version, Steve Wilson Mix)

3. South Side Of The Sky (Alternate Take, Steve Wilson Mix)

4. All Fighters Past (Steve Wilson Mix)

5. Mood For Another Day (Previously Unreleased Take)

6. We Have Heaven (Acapella, Steve Wilson Mix)

Tracks 1 to 6 LPCM Stereo (24bit/96khz)

BLU RAY EXCLUSIVE

1. Roundabout (Early Rough Mix from "Fragile" 2003 CD Reissue)

2. South Side Of The Sky (Early Take)

3. Roundabout (Headphones Mix for Vox Overdubs)

Tracks 1 to 3 LCM Stereo (24bit/96khz)

2015 STEREO INSTRUMENTAL MIXES

Tracks 1 to 9 as per the CD - LPCM Stereo (24bit/96khz)

ORIGINAL 5.1 MIX

Tracks 1 to 9 as per CD (with 6 and 7 as one track) plus "America" as Track 10

Mix from the Rhino DVD-A release - LPCM Stereo (24bit/96khz)

NEEDLE-DROP

A1/B1 (Matrix) first -pressing UK original vinyl LP transfer

Tracks 1 to 9 as per the CD - LPCM Stereo (24bit/96khz)

10. Roundabout (US Single Edit)

11. Long Distance Runaround (US Single Edit)

YES was:

JON ANDERSON – Lead Vocals

STEVE HOWE – Electric and Acoustic Guitars and Vocals

RICK WAKEMAN – Organ, Grand Piano, Electric Piano, Harpsichord, Mellotron and Synthesizer

CHRIS SQUIRE – Bass Guitars and Vocals

BILL BRUFORD – Drums and Percussion

PACKAGING: Using a Mini-LP replica gatefold sleeve (slightly oversized compared to the CD variant) – you get the original Roger Dean artwork - gatefold sleeve with the lyrics on one side and the album credits on the other with the mini booklet of the original LP now detached) - as well as archive material (evolution of the Fragile logo) and new Roger Dean front-cover images used on both discs (they are housed in plain black card sleeves). Noted Progressive Rock writer and enthusiast SID SMITH provides new liner notes in the 16-page booklet and there are Audio Source notes about the Transfers, Remixes and BLU RAY Set-up (Headless Operation) and so forth.

The booklet also has the usual original/reissue credits, the lyrics to the four worded tracks, repro's of a UK, USA and French original 1971 LP labels (a white label promo for the American issue on Atlantic SD 7211), period colour photos of each band member, concert tickets for the October 1971 Tour (Jonathan Swift was the support act), photos of the rare and unique artwork to French, Dutch, German and Spanish edited singles for "Roundabout" (called "Carrusel" in Spain) most with "Long Distance Runaround" as its flipside - as well as a Melody Maker magazine full-page advert for the album. Sid Smith interviews Rick Wakeman, Steve Howe, Roger Dean and others and of course discusses the sad passing of original Bassist Chris Squire in 2015 only months before the reissue – noting quite rightly that the big man and the unique Bass sounds he made came from a mere 23 year-old back in August and September 1971. The whole shebang is nicely presented and feels substantial – especially the sheer amount of material on the BR disc. If I were to criticise - I'd say that some of the BLU RAY 'Exclusive' material is mildly superfluous whilst other parts of it should have been made available on the CD too (the single edits would easily have fit). But others would argue that if you buy this BR version – then you know what it is that you're getting - and fair enough. To the music...

The album "Fragile" consisted of four centrepieces – the short "Long Distance Runaround" and the long "Roundabout", "Heart of the Sunrise" and "South Side Of The Sky". But realising they hadn’t enough material, each was sent off to write a solo piece - and they did. Personally I find Bruford’s "Five Per Cent For Nothing" (named after a dodgy publishing deal) and Wakeman’s "Cans And Brahms" both superfluous to anyone’s requirements. The individual stuff is saved by Chris Squire’s ingenious "The Fish" where every sound is from some sort of Bass Guitar, Howe’s delightful Spanish guitar piece "Mood For A Day" and Anderson’s voice-crescendo "We Have Heaven".

What is fascinating though (apart from the staggering clean audio provided by Wilson – disarmingly perfect almost) is the unexpected quality of the extras which are thankfully worthy of the moniker Bonus and not just reissue padding. Apparently found at the end of one of the master tapes whilst Steve Wilson was researching the reissue - the snippet "All Fighters Past" turns out to be a work-in-progress abandoned at the sessions. But on hearing it fans will immediately recognise that it was used for passages in both "Siberian Khatru" on 1972's "Close To The Edge" and in parts of "The Revealing Science Of God" on Side 1 of 1973's double-album "Tales From Topographic Oceans". The piano-to-the-fore/at-the-beginning of the Early Mix for "South Side Of The Sky" almost makes me wonder did the boys make an arrangement mistake. I can understand why the clever finished version was chosen but there’s something about this Rick Wakeman led cut that I find a hundred times more endearing than the released version. The two versions of Anderson's beautiful vocal tour-de-force "We Have Heaven" are fascinating - but although the 'Headphones Mix' on the BLU RAY is a trip - I thought the rehearsal variant of "Roundabout" on the CD didn’t seem radically different.

YES broke American with "Fragile" in January 1972 when an edit of "Roundabout" was played on US Radio and its angular yet funky rhythms caught the listener's fascination. The album eventually made No. 4 there – better than they did in their native Blighty. YES had truly arrived and with a different kind of music made on their own terms – an amazing achievement.

"…Mountains come out of the sky…" – Jon Anderson sang on the opening musical carousel "Roundabout". Well, having loved "Fragile" back in those heady days - I'm so pleased to report that this superb-sounding 2015 reissue warrants another ride on the 1971 Space Ark. Letting in the sunshine indeed...