"After Bathing At Baxter's" by JEFFERSON AIRPLANE - Third Album from December 1967 in Stereo on RCA Victor Records - featuring Grace Slick, Marty Balin, Paul Kantner, Jorma Kaukonen, Jack Casady and Spencer Dryden (August 2003 RCA/BMG Heritage CD Reissue – Bob Irwin Remaster) - A Review by Mark Barry...

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"...My Love Talks To Winking Windows..."

Popping more than balloons in the public parks of Sixties San Francisco – I'm sure she did mate. A visionary time – genius – indulgent knob – take your pick. I suppose in the 52-year comfort-zone of 2019, it's so easy to be pass-remarkable about the year 1967 and its hallucinogenic words, third-eye thinking and peaceful ideals. The Summer of Love – Flower Power – letting it all hang out – rebelling against the man, man - and all that. And yet if you ever wanted proof-positive of how to argue that 'experimentation and drug-taking indulgence will produce brilliance' – then a listen to the Airplane's out-there third album "After Bathing At Baxter's" from November of that astonishing year will settle it for you. It's bonkers – it's brill – it's gobbledegook (try listening to the second track "A Small Package Of Value Will Come To You, Shortly" and not laugh/cringe). For better or worse "After Bathing At Baxter's" is a truly evocative time capsule into that musically explosive year – echoes that still inform our listening peccadillos to this day.

Let’s frame the picture first. Jefferson Airplane had exploded onto the East Coast music scene in 1965 and their cutesy Byrds-like debut "Jefferson Airplane Takes Off" had hit the shops in August 1966 to critical acclaim and a respectable debut chart position. But the second platter "Surrealistic Pillow" and its two top-ten smash singles "Somebody To Love" and the trippy "White Rabbit" made them cultural icons and commercial stars (the LP shifted a million copies) with a public and record company eager for more come album number three – more hits – more controversy – more madness. But already feeling artistically strangled and deliberately eschewing the perceived commercialism of the day (consolidate your fan base and simply give them more of what they want) – the San Francisco band holed up in the studio for nearly six months and on RCA’s dime made the music they wanted without the boffins in ten-gallon hats and Crimplene slacks knowing what was going on. Probably just as well they weren’t listening to the nine-minute hippy-fest that is "Spare Chaynge" where Bassist Jack Casady, Guitarist Jorma Kaukonen and Drummer Spencer Dryden have a wee bit of an instrumental wig-out while blissfully unaware RCA Victor hick-types foot the not inconsiderable bill. Even the LP sleeve was cryptic – you had to turn over the front cover to see what words the cartoon-drawn Fred Flintstone Whacky Races Jefferson Airplane was hauling on its trailing banner - "After Bathing At Baxter's" (the LP’s title is words from a Gary Blackman poem reproduced on the inner sleeve of original albums) – complete with an environmental message amidst the modern-day detritus splattered about the city below – ‘Every Litter Bit Helps’. And its eleven songs were also broken up into five thematic bits with weirdly-worded banner-headings like "Streetmasse" and "Shizoforest". Yeah man…

Co-founder Marty Balin and leading songwriter light on the "Takes Off" debut and its follow-up "Surrealistic Pillow" allegedly found the experimental jams and sessions gruelling and even distasteful - leaving Grace Slick and Paul Kantner to step forward and provide seven of the eleven songs with the remainder of the band improvising the rest (Balin has only one credit on the LP – a co-write with Kantner on "Young Girl Sunday Blues)".  When it hit Billboard in late December 1967 - the public were amused and disinterested in equal measure with "…Baxter's" stalling at No. 17 whereas "Pillow" had busted No. 3 with ease. But time and distance has shown that their artistic freak-out had merit – especially when you take into account the equally cool and brilliant "Crown Of Creation" album that followed in 1968. Let’s get stuck into those wild tymes of the year before…here are the pooneils…

UK released August 2003 (July 2003 in the USA) - "After Bathing At Baxter's" by JEFFERSON AIRPLANE on RCA/BMG Heritage 82876 53225 2 (Barcode 828765322522) is an Expanded Edition 'Original Masters' CD Reissue with Four Bonus Tracks (three of which are Previously Unissued) and pans out as follows (68:30 minutes);

"Streetmasse" [Side 1]

1. The Ballad Of You & Me & Pooneil

2. A Small Package Of Value Will Come To You, Shortly

3. Young Girl Sunday Blues

"The War Is Over"

4. Martha

5. Wild Tyme (H)

"Hymn to an Older Generation"

6. The Last Wall of the Castle

7. rejoice

"How Suite It Is" [Side 2]

8. Watch Her Ride

9. Spare Chaynge

"Shizoforest Love Suite"

10. Two Heads

11. Won't You Try/Saturday Afternoon

Tracks 1 to 11 are their third studio album "After Bathing At Baxter's" - released November 1967 in the USA on RCA Victor LOP-1511 (Mono) and December 1967 in the UK on RCA Victor RD 7926 (Mono) and SF 7926 (Stereo). The STEREO Mix is used for this CD reissue.

BONUS TRACKS:

12. The Ballad Of You & Me & Pooneil [Live – Long Version]

13. Martha [Mono]

14. Two Heads (Alternate Version)

15. Things Are Better In The East (Demo Version)

Tracks 12, 14 and 15 are PREVIOUSLY UNRELEASED

Track 13 is the B-side of the US 7” single to "Watch Her Ride" released December 1967 on RCA Victor 47-9398

JEFFERSON AIRPLANE was:

GRACE SLICK – Lead Vocals, Keyboards

JORMA KAUKONEN - Lead Guitars and Vocals

PAUL KANTNER – Lead, Rhythm Guitars and Vocals

MARTY BALIN – Lead and Backing Vocals

JACK CASADY - Bass

SPENCER DRYDEN – Drums, Vocals, Piano, Organ and Percussion

The 12-page liner notes are courtesy of band-expert and uber-fan JEFF TAMARKIN who authored "Got A Revolution! The Turbulent Flight Of Jefferson Airplane" issued on Atria Books the same year as the CD reissues (2003). The colour photo and handwritten song list that adorned the inner gatefold is spread across the two centre pages - but the cartoons-and-poem inner that came with original LPs is rather sloppily absent and without explanation. There are a couple of black and white photos of the band (from the sessions) and the usual reissue credits. Pieced together from insider interviews - his explanation of the album's recording history across six crazy months is affectionate and genuinely informative - even if he rather conveniently omits that other cultural sensation happening across the sea in Blighty (Sgt. Peppers released 1 June 1967 and dominating the rest of that year right into December) – an LP that would surely have had an impact on the band’s working process and thinking. Page 11 of the booklet also seems to want us to believe the album's US catalogue number was LSP-4545 - when it wasn't (that's a Seventies repress as I recall). But apart from these glitches mostly Tamarkin makes a good argument as to why fans love "…Baxter's" so much – it's true 'Plane' – dancing to the piper at the gates of their own SF dawn (with less smog and rain). But the big news here is a BOB IRWIN Remaster from original tapes – bringing the STEREO mix to life – and for me the amazing quality of the four Extras which feel like just that – like actual bonus material (three are unreleased).

Edited down to a more manageable 4:35 minutes from what now appears to have been a near 12-minute session - the album opens on the wailing guitar of Paul Kantner's "The Ballad Of You & Me & Pooneil". Both Kantner and Slick trade oohs and aahs as the song finds its strange guitar groove. RCA tried it as a 45 prior to the album's release in September 1967 on RCA Victor 47-9297 with Side 2's "Two Heads" as the flipside - but it only managed a No. 42 placing on the American singles charts. It's followed by the mad voices of "A Small Package..." probably the most insufferable track on the album - a one and half minute indulgence of 'no man is an island' wit (he's a peninsula). Things pick up big time with the Balin/Kantner offering "Young Girl Sunday Blues" - a wicked groove you wish would go on longer (nice solo from Kaukonen).

Part 2 of 5 offers us "Martha" - another winner from Kantner - all acoustic guitars and collaborative vocals - it's one of my favourites on the record (the Mono version used on the 45 is one of this CD's bonus tracks). The band starts to really cook on "Wild Tyme" - a guitar-hooky Kantner rocker where everything is changing around them and singer Grace Slick reliably informs us that "...I'm doing things they haven't even named yet..." (nice). Jorma Kaukonen provided the 'teach me how to love' guitar-bop that is "The Last Wall of the Castle" - where halfway through he lets rip on a seriously gnarly solo (maybe Neil Young was listening to this over in the ranks of Buffalo Springfield). Grace then discusses "Ulysses" by James Joyce in her decidedly weird yet wonderful "rejoice" - a piano-jaunt that somehow manages to be sinister as she sings words like 'throw up on his leg' and a 'crotch that amazes'. I can only imagine what RCA executives must have made of "Spare Chaynge" - a nine-minute Avant Garde Prog Rock moment complete with its own funny spelling and deliberate difficulty. The final two "Two Heads" and "Won't You Try/Saturday Afternoon" must have offered solace in that they might be called actual 'tunes'. And off the Bonus Cuts - I'm loving the demo-delicacy of "Things Are Better In The East" - an original take of a song that would eventually morph into "Two Heads".

Studio set No. 4 "Crown Of Creation" was delivered in September 1968 and again featured an even more breathtaking leap forward (rightly revered back in the day and still is now). They really had lived up to that space-age-music moniker foisted on them by RCA Records on the rear cover of their 1966 debut album – here comes the 'Jet Age Sound'.

But despite many five-star appraisals other than mine – I’m fairly certain that re-listening to Jefferson Airplane and their "After Bathing At Baxter's" album in 2018 will have the now-generation scratching their heads and fearing for our sanity and judgement - an acquired taste – like Balsamic Vinegar Crisps or the Metric System. But as the poster on the original US album cover proclaimed - "Consume!" – and for once I’m with the cartoonist…

"Reaffirmation: An Anthology 1971-1973" by HELP YOURSELF Including the Albums "Help Yourself" (1971), "Strange Affair" and "Beware The Shadow" (both 1972) with "The Return Of Ken Whaley" and "Happy Daze" from 1973 and more - featuring Malcolm Morley and Ken Whaley (July 2014 Esoteric Recordings 2CD Remasters) - A Review by Mark Barry...

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"…Running Down Deep…"

Having not sold in quantity at the time - HELP YOURSELF albums have become pricey suckers on the auction circuit over the last few years and this superlatively presented 2CD set on Esoteric Recordings of the UK (part of Cherry Red) is a great way of accessing their British Country Rock/Prog leanings for a reasonable cost. It has fab presentation and quality remastering too. Here are the Electric Fur Trappers and Strange Affairs…

Released July 2014 – "Reaffirmation: An Anthology 1971-1973" by HELP YOURSELF on Esoteric Recordings ECLEC 22459 (Barcode 5013929455948) is a 2CD retrospective and breaks down as follows:

Disc 1 (77:30 minutes):

1. Running Down Deep

2. I Must See Jesus For Myself

3. Paper Leaves

4. Old Man

5. Deborah

6. Street Songs

Tracks 1 to 6 are from their debut album "Help Yourself" released April 1971 in the UK on Liberty Records LBS 83484

7. Strange Affair

8. Brown Lady

9. Heaven Row

10. The All Electric Fur Trapper

11. Many Ways Of Meeting

12. Deanna Call And Scotty

Tracks 7 to 12 are from their 2nd studio album "Strange Affair" released April 1972 in the UK on United Artists UAS 29287

13. Alabama Lady

14. Reaffirmation

15. Passing Through

Tracks 13 to 15 are from their 3rd studio LP "Beware The Shadow" released November 1972 in the UK on United Artists UAS 29413

Disc 2 (69:14 minutes):

1. She's My Girl

2. American Mother

Tracks 1 and 2 are from their 3rd studio LP "Beware The Shadow" released November 1972 in the UK on United Artists UAS 29413

3. Mommy Won't Be Home For Christmas

4. Johnny B. Goode

Tracks 3 and 4 are the A&B-sides of a UK 7" single released December 1972 on United Artists UP 35466 – both tracks non-album

5. Candy Kane

6. Who Killed Paradise?

7. It Has To Be

8. Man, We're Glad We Know You

9. Blown Away

Tracks 5 to 9 are from their 4th studio album "The Return Of Ken Whaley" released July 1973 in the UK on United Artists UDG 4001. It was paired at the time of release with a free album called "Happy Daze" on United Artists FREE 1. See Tracks 10 and 11

10. Virginia

11. I've Got Beautiful You

Tracks 10 and 11 are from "Happy Daze" – see 5 to 9 above

12. Eddie Waring (Live)

Track 12 appeared on the MAN and FRIENDS (Various Artists) 2 x 10" live album "Christmas At The Patti" released in the UK July 1973 on United Artists UDX 205/6

Tastefully housed in a card slipcase – the compilation has been put together with obvious affection by MARK POWELL and TIM FRASER-HARDING (Powell has been involved in hundreds of quality reissues). The 16-page booklet has superb liner notes by MICHAEL HEATLEY featuring reminiscences on Malcolm Morley's songwriting and the band’s struggles sided with trade adverts, band photos and publicity shots, ticket stubs, Posters of 1971 Festival appearances and a rare advert for the first album on Liberty Records. But the great news for fans is a BEN WISEMAN remaster from original master tapes at Audio Archiving in London. I’ve had an old CD of their stuff from years back and the improvement here is immense – clear instruments, vocals upfront, power and subtlety on every track – top notch job done.

Although associated with guitar workouts – in the beginning HELP YOURSELF were often more British Country Rock via the USA than stoner boogie. Tunes like the lovely piano-soft “Deborah” on their debut and “Brown Lady” on their second LP come on like America circa “A Horse With No Name” in 1972. Then they get a bit boogie with excellent “Running Down Deep” and “Old Man” which sounds like Matthews Southern Comfort meets Neil Young – a languid chugger that lasts just under seven minutes – at times feeling like “Southern Man” off “After The Gold Rush” – very cool. Ken Whaley’s bass and the swirling fuzz-guitars on “The All Electric Fur Trapper” are so clear – beautiful job done with the transfer (bit of a tune too). The band had a genius in MALCOLM MORLEY who penned the bulk of these across-the-board songs flitting from Country to Funky to Boogie in a heartbeat. Ex British hard rockers SAM APPLE PIE and later a member of MAN – Morley’s guitar and moods dominates the albums. Light and rocking one moment (“Blown Away”) then acidic and lyrically heavy the next (“Who Killed Paradise?”) – he could be both soft (“She’s My Girl”) and creepy at one and the same time (“Candy Kane”).

The Yuletide single “Mommy Won’t Be Home For Christmas” is a broken-home slice of festive reality with kids who saw mommy “went away in October…Christmas sure is looking black…”) while its great B-side sees them get all Foghat on Chuck Berry’s “Johnny B. Goode” – it’s a rarity on 7” and its inclusion here is a smart move. Things go all 12-minute Prog with the brilliant “It Had To Be You” – Morley’s Keyboard work layering synths and piano and trippy Man/Hawkwind moments. The same feeling comes with the compilation’s driving title track “Reaffirmation” – another near 13-minute slowy that builds into a sort of Deke Leonard funky guitar groove and just keeps going (bit of a discovery this one). In fact the live fourteen-minute “Eddie Waring” is just that – a Deke Leonard composition that wouldn’t have been out of place on say Man’s superb live set “Maximum Darkness” from 1975.

Ken Whaley went on to be with pub-rockers DUCKS DELUXE and sadly passed away in 2013 – Richard Treece and Malcolm Morley still gig occasionally to this day.

A stormingly good reissue for a band that deserves one – HELP YOURSELF to a slice of these forgotten English heroes…

"All Mod Cons" by THE JAM featuring Paul Weller (June 2006 Polydor/Universal 2-Disc 'Deluxe Edition' Reissue with 1CD and 1DVD – Gary Moore Remaster) - A Review By Mark Barry...

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Music Of 1977 to 1979 

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"...English Rose..."

Even though I probably wasn’t consciously aware of it - by 1978 I was already an old fart. Yet like all my mates at the time (kids of the early Seventies) - we knew the real deal when it hit our eardrums. Amidst the amateur clatter, concert gobbing and clenched fists - the English New Wave was also producing The Clash, The Damned, The Stranglers, The Buzzcocks, The Undertones, The Sex Pistols and so many more - all of whom were evolving past mere spit and snarl. What was not to love?

But with a genuinely articulate wordsmith/songwriter in Woking's own Paul Weller - especially on the subject of all things British, working class and growing up – two years into Punk's explosive and abusive journey - The Jam in 1978 somehow stood above them all. Their undeniably angry yet life-affirming third platter "All Mod Cons" pierced my heart and grabbed my pogoing crotch with equal force - a musical and lyrical grip that has never loosened across 40 years. This is a fabulous album and I remember fondly discussing "…Mod..." with John Reed who had just penned a 26-page appraisal of his emotional-crave for England's Record Collector Magazine (he was compiling the first Price Guides for them at the time as well as writing one of the largest articles they’d ever done on this supremely collectable band) - his eyes ablaze like a kid who'd just found a new sixpence on streets awash with muck.

The albums "In the City" and "This Is The Modern World" from May and November 1977 were undeniably great opening bids and exciting mission statements in themselves (the second even made the lower reaches of the US charts) - but the mighty "All Mod Cons" was an entirely different toffee wrapper. Hell it even seemed to have a hidden-track on Side 1 - the gorgeous "English Rose". Much like "Train In Vain" on The Clash's "London Calling" the following year - "English Rose" was not credited on the rear cover artwork - but in this case did at least turn up as a label credit. And entirely out of keeping with the rest of the record's kick-'em-in-the-nadges mood (except maybe for the equally sweet "Fly") – the straight-up love song and its pastoral acoustic sound wrong-footed everyone (Weller even seemed embarrassed by it at the time).

What a blast "All Mod Cons" is and this 2006 2-Disc 'Deluxe Edition' remaster - itself sporting fresh material (both Audio and Visual) - only hammers home the greatness and legacy of that period masterpiece with Mod gusto. In fact this is one of those reissue instances when I would cry 'give me more' and not less. So with no bonds that can ever keep me from she, let's get to the Billy Hunts...

UK released 20 June 2006 - "All Mod Cons: Deluxe Edition" by THE JAM on Polydor/Universal 9839238 (Barcode 602498392386) is a 2-Disc Reissue (1CD and 1DVD) with Previously Unreleased Audio and Visual elements that plays out as follows:

CD - 78:54 minutes:

1. All Mod Cons [Side 1]

2. To Be Someone (Didn't We Have A Nice Time)

3. Mr. Clean

4. David Watts

5. English Rose

6. In The Crowd

7. Billy Hunt [Side 2]

8. It's Too Bad

9. Fly

10. The Place I Love

11. 'A' Bomb In Wardour Street

12. Down In The Tube Station At Midnight

Tracks 1 to 12 are their third studio album "All Mod Cons" - released November 1978 in the UK on Polydor Records POLD 5008 and Polydor PD-1-6188 in the USA. Produced by VIC COPPERSMITH-HEAVEN (real name Victor Smith) - it peaked at No. 6 and No. 204 in the UK and USA LP charts. All songs written by Paul Weller except "David Watts" which is a KINKS cover version written by Ray Davies.

BONUS TRACKS:

13. News Of The World

14. Aunties And Uncles (Impulsive Youths)

15. Innocent Man

Tracks 13 to 15 are the A & two B-sides of a February 1978 non-album UK 7" single on Polydor 2058 995

16. Down In The Tube Station At Midnight (Single Version)

17. So Sad About Us

18. The Night

Tracks 16 to 18 are the A & two B-sides of a October 1978 UK 7" single on Polydor POSP 8 (2059 068)

19. So Sad About Us (Demo)

20. Worlds Apart (Demo)

21. It's Too Bad (Demo)

22. To Be Someone (Demo)

23. David Watts (Demo)

24. Billy Hunt (Alternate Version)

25. Mr. Clean (Demo) - Previously Unreleased

26. Fly (Demo) - Previously Unreleased

All songs written by Paul Weller except "News Of The World", "Innocent Man" and "The Night" by Bruce Foxton while "David Watts" by Ray Davies of The Kinks and "So Sad About Us" by Pete Townshend of The Who are cover versions

DVD – NTSC REGION 0 - Aspect Ratio 4:3, Sound 5.1 and Stereo

1. The Making Of All Mod Cons - Directed by DON LETTS (36 minutes)

Features new interviews with all three members of The Jam, Promo Clips from the period and previously-unseen live footage

2. New solo rendition of "English Rose" by Paul Weller (2:30 minutes)

THEJAM was:

PAUL WELLER - Lead Vocals, Acoustic and Electric Guitars, Piano and Harmonica

BRUCE FOXTON - Bass, Guitar and Vocals

RICK BUCKLER - Drums and Percussion

A plastic/stickered DELUXE EDITION wraparound slipcase houses a four-way fold-out card digipak with the two discs. The 28-page over-sized booklet has fresh liner notes from Mojo Magazine's LOIS WILSON that features new interviews and reminiscences from all three - with Weller honest about what he now knows was a watershed moment for his band. Working class roots, the influence of songwriters like Ray Davies and Pete Townshend who wrote about England with wit, honesty and dare-we-say-it 'affection' - the trappings of sudden stardom and his 'spokesperson for a generation' mantle, Soul Music and the Modfather image, the rip-off grind-you-down nature of the music industry who just wanted more pithy hits and clearly didn't think Punk or its New Wave music would evolve into something special - it's all here. There are comments from Producers Vic Coppersmith-Jones and Chris Parry as well as other key players, the NME front cover, a Strawberry Acetate for "Down In The Tube Station…", a Japanese Picture Sleeve and some UK 45s - but if I'm honest the booklet is also strangely lacking. The inner sleeve to the original album showing the boys photo/memorabilia collage of Soul, Ska and Mod roots (Creation singles, Tamla Motown 45s, 100 Club flyers, Battersea Power Station and Coffee cups etc.) along with the rear LP sleeve is reproduced on the inner flaps as are lyrics beneath the see-through CD trays.

Better news comes in the shape of a new GARY MOORE Remaster from original tapes that lifts up the record even more than the 1997 'Jam Remasters' version did (Audio Engineers PASCHAL BYRNE and DENNIS MUNDAY also helped with the remixes of the two Previously Unreleased demos dovetailing Disc 1). This reissue sounds fantastic - lickety split attack from the guitars, head boy snooty snarl in the vocals and Mister Clean f-u-up power to that pumping two-piece rhythm section (a great job done). Let's get to the place I love...

Side 1 opens with a triple upper-cut - first up being the short and angry 1-2-3-4 attack of "All Mod Cons" where Weller goes after the industry and its supposed 'artistic freedom'. But that's trampled on by the brilliant "To Be Someone..." where a killer Revolver riff kicks you in the nuts only to be followed by a fabulous musical interlude - Paul worrying about his very soul being swallowed up by the cocaine life of guitar-shaped swimming pools - a world that can 'quickly diminish' into cold streets after the pub has shut, stumbling home with all the other clowns to lonely rooms. The bolshy "Mr. Clean" sees Weller go after the 9-to-5 suits and their annual Christmas do – its vicious lyrics suddenly matching the killer beat as he threatens to f-up Mister Squeaky's missus and their cosy life. The angry-young-man then gets his teeth into Ray Davies' angry-young-anthem "David Watts" - head boy of the school and captain of the team - a pure and noble breed - and you suspect a bit of a knob. Then you get the completely unexpected - a wash of waves and acoustic guitars - a love song amidst the inner city angst that floored me when I first heard it. I've always thought "English Rose" a Weller gem - and the new version on the DVD is a highlight for me.

"In The Crowd" is surely one of album's best tracks too (I prefer it to "Down At The Tube Station At Midnight") - a song that doesn't sound like 40 years ago in any way. But rage is not far away. In the stabbing-riffage of "Billy Hunt" someone is a little dog messing up Paul's tree - our hero longing to be Clark Kent’s Superman or Steve Austin’s Bionic Man – superpowers/six-million dollars enabling him able to defend himself against Staff Sergeant Bob and his barking first-day-on-the-job commands. "It’s Too Bad" gets dangerously close to calling in the Beatles lawyers with its guitar melody – but it does at least lower the rage thermostat a few degrees and again shows a songwriting maturity way past the two preceding albums. Then just as you think you know the band – Weller hits you with another warm one – the fabulous "Fly" where again his songwriting leaps out of the speakers. Same thing happens with "The Place I Love" where he makes a stand against the world – the fantastic chug underpinned up by subtle organ giving the song a sort of Soul-Rock power. And of course it ends on the double-whammy of "'A' Bomb In Wardour Street" (an apocalypse in Doc Martins) and "Down In The Tube Station At Midnight" (miscreants after the pub and too many right-wing meetings). What an album…

The Jam were also a stunning singles band and the Bonus Tracks amply show why fans fretted over their 45-releases with such must-buy-it-the-day-of-release passion – even the flip-sides were cool and worth owning. In August 1978 Polydor UK put out two of the album tracks as a single - "David Watts" with "Wardour Street" as the B-side (Polydor 2059 054) – following that with "Down In The Tube Station At Midnight" in October 1978 on the A (Polydor POSP 8 – its two non-album B-sides are amidst the bonus cuts) – rewarding the band with No. 15 and No. 25 chart positions. Bruce Foxton got his two moments too on the "News Of The World" 45 that pre-empted the album in February 1978 (Polydor 2058 995 - Weller playing piano on "Innocent Man"). It's just one of the excellent single-sides that bolster up the CD. I love that Motown-ish cover of Pete Townshend's "So Sad About Us" (the demo is slightly disappointing) and it's unfortunately easy to hear why the awkwardly piano-happy "Worlds Apart" was not used. But the yeah-yeah-yeah demo of "It's Too Bad" is already showing greatness, as does "To Be Someone" where Foxton's Bass lines are more to the fore. The final two Previously Unreleased cuts are rough for sure but again only add more icing to an already tasty cake.

"…Didn't we have a nice time..." – Weller shouted 40 years ago. Well I don't know about nice, and I haven't met the Queen yet either, but I'm still listening and I'm fa-fa-fa-fa f***ing loving it. Nice one son…

"Come On Let's Go: Power Pop From The 70s & 80s" by VARIOUS (26 July 2019 Ace/Big Beat Records CD Compilation – Nick Robbins Remasters) - A Review by Mark Barry...

"...What I Like About You..."

Having raved about The Romantics and their kick-ass Power Pop gem "What I Like About You" from 1979 on Nemperor Records - those terribly right-on and with-it chappies over at Ace and their Big Beat Records label imprint have come up with a whole compilation of similarish shampoo 'n' sneaker shakers.

But as another review has pointed out, there are classics in here like the one I've just mentioned but there are also close-runs, tracks that feel good rather than great. But - and this is the big but - across 24-tracks and 74:27 minutes, "Come On Let's Go: Power Pop Gems From The 70s & 80s" by VARIOUS ARTISTS on Ace/Big Beat CDWIKD 344 (Barcode 029667095723) offers up a genuinely exciting listen. It really does...

1. Come On Let's Go - THE PALEY BROTHERS & THE RAMONES (1978)

2. I Wanna Be With you - THE RASPBERRIES (1972)

3. What I LIke About You - THE ROMANTICS (1979)

4. Let's Go - DIRTY LOOKS (1980)

5. Looking For The Magic - DWIGHT TWILLEY BAND (1977)

6. I Need That Record - THE TWEEDS (1980)

7. Shake Some Action (First Version) - FLAMIN' GROOVIES (Norton CD, 2002)

8. (My Girl) Mary Anne - THE SPONGETONES 

9. Radio Heart - THE SECRETS (Numero Group CD, 2008)

10. Keri - ROBERT JOHNSON (1978) 

11. The Trains - THE NASHVILLE RAMBLERS (1986)

12. Nuclear Boy - 20/20 (1981)

13. Better Than Anyone Else - THE TOMS (1979)

14. Nothing Comes Close - BILL LLOYD (1987)

15. (Baby) It's You - THE BOYS 

16. It's Only Dark - WIRE TRAIN (1984)

17. Andy, Please - VAN DUREN and JODY STEPHENS (Omnivore Recordings CD, 2019)

18. Glitter Best - THE ROOKS (1995)

19. Teen Line - THE SHIVVERS (1980)

20. September Gurls - BIG STAR (1974)

21. Not The Way It Seems - GARY CHARLSON (1978)

22. Tomorrow Night - SHOES (Black Vinyl Records CD, 2007)

23. Rock And Roll Is Dead - THE RUBINOOS (1977)

24. One World - UTOPIA (1982)

The 28-page booklet penned by PP disciple DAVE BURKE is rammed with great photos, rare sleeve art like The Spongetones "Torn Apart" EP on Ripete Records in 1984 or The Flamin Groovies 2002 CD compilation "Slow Death: Amazin' High Energy Rock 'n' Roll 1971-73!" on Norton Records and The Nashville Ramblers giving it some "Trains" on their "American Heart & Soul" LP from 1986. Page 4 has a collage of nine 45 labels like Stiff, Beserkley, Ensign, Capitol, Bearsville, Arista for Dwight Twilley etc.

The Audio is fabulous - punchy and full - long time Audio Engineer NICK ROBBINS handling the transfers for Ace. Amidst the snappy guitar-jangling Joe Jackson bass slapping type energy, there is much to love and anyone interested in the genre should dive in. Another nice job done and discoveries too...

"Vintage: The Very Best Of" by MOBY GRAPE including Stereo tracks from the albums "Moby Grape" (1967), "Wow" (1968), "Moby Grape '69" and "Truly Fine Citizen" (both 1969) and more – featuring Bob Mosley and Skip Spence (November 1993 Columbia/Legacy 2CD Reissue – Vic Anesini Remasters) - A Review by Mark Barry...

  

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"…Truly Fine Citizen…"

In the Summer of Love - California's MOBY GRAPE was to be the next ‘big thing’ and Columbia Records went to great (and some say stupid) lengths to inform the American Public of this. That overkill (promo singles of every single track on the debut album doled out to the press) overshadowed the musical goodies on offer.

But this brill little double-CD concentrates primarily on their first three albums from 1967, 1968 and 1969 and makes a strong case for looking again at a band that got lost inside hype and industry crap that did their musical legacy no favours. Here are the Motorcycle Irenes, Murdered Judges and Humiliated Grapes…

UK released November 1993 on Columbia/Legacy 483958 2 (Barcode 5099748395825) as a 2CD set - "Vintage: The Very Best Of Moby Grape" by MOBY GRAPE breaks down as follows:

Disc 1 (68:48 minutes):

1. Hey Grandma

2. Mr. Blues

3. Fall On You

4. 8:05

5. Come In The Morning

6. Omaha

7. Naked, If I Want To

8. Rounder [Instrumental]

9. Someday

10. Ain't No Use

11. Sitting By The Window

12. Changes

13. Lazy Me

14. Indifference

15. Looper (Audition Version)

16. Sweet Ride

17. Bitter Wind (Alternate Version)

18. The Place And The Time

19. Rounder (Live – Recorded 1968)

20. Miller's Blues (Live – Recorded 1968)

21. Changes (Live – Recorded 1968)

22. Hey Grandma [Single Version in Mono]

23. Omaha [Single Version in Mono]

24. Big

All tracks on Disc 1 remastered in STEREO except 22 and 23 – which are MONO.

Tracks 1 to 7 and 9 to 14 are their entire debut album "Moby Grape" in sequential order – released June 1967 in the USA on Columbia CL 2698 (Mono) and CS 9498 (Stereo). Stereo used in all cases.

Tracks 8, 15 to 21 and 24 are all PREVIOUSLY UNRELEASED

Track 22 "Hey Grandma" is the Mono A-side to the 1967 USA 7" single on Columbia 4-44174 (its B-side was "Come In The Morning")

Track 23 "Omaha" is the Mono A-side to the 1967 USA 7" single on Columbia 4-44173 (it’s B-side was "Someday")

Disc 2 (70:35 minutes):

1. Skip's Song  ("Seeing" Demo)

2. You Can Do Anything (Demo)

3. Murder In My Heart For The Judge

4. Bitter Wind

5. Can't Be So Bad

6. Just Like Gene Autry: A Foxtrot

7. He

8. Motorcycle Irene

9. Funky-Tunk

10. Rose Colored Eyes

11. If You Can't Learn From Your Mistakes (Peter Solo Version)

12. Ooh Mama Ooh

13. Ain't That A Shame

14. Trucking Man

15. Captain Nemo

16. What's To Choose

17. Going Nowhere

18. I Am Not Willing

19. It's A Beautiful Day Today

20. Right Before My Eyes

21. Truly Fine Citizen

22. Hoochie

23. Soul Stew

24. Seeing

All tracks on Disc 2 in Remastered/Remixed STEREO 

Tracks 1, 2, 11 and 23 are PREVIOUSLY UNRELEASED

Tracks 3 to 10 are from their 2nd studio album "Wow" – released July 1968 in the USA on Columbia Records CS 9613 (Stereo)

Tracks 12 to 19, 22 and 24 is all of their 3rd studio album "Moby Grape '69" released February 1969 in the USA on Columbia Records CS 9696 (Stereo, excepting Track 12 "If You Can't Learn From Your Mistakes" which has been replaced with a Previously Unreleased Piano Version)

Tracks 20 and 21 are from their 4th studio album "Truly Fine Citizen" – released September 1969 in the USA on Columbia Records CS 9912 (Stereo)

Compiled with obvious affection by BOB IRWIN - the substantial 28-page booklet features liner notes by Rolling Stone's DAVID FRICKE with contributions from band members BOB MOSLEY, PETER LEWIS, JERRY MILLER, DON STEVENSON and SKIP SPENCE (passed away in 1999).  There’s black and white photos of the boys in silly publicity shots and witty discussions of the disastrous Columbia Records launch of the band as the next big thing – parties full of Moby Grape wine no one could open (no corkscrews) and flower petals that fell from the ceiling but became wet and slippery and had journalists and music insiders sliding around on their derrieres. But the great news for fans of the rather excellent music is the VIC ANESINI remixes and remasters – an engineer’s name who has graced Elvis Presley, The Byrds, Carole King, Dennis Wilson, Simon & Garfunkel, Janis Joplin, Stevie Ray Vaughan and The Jayhawks to cite but a few. His work is typically ace – ballsy, full of life and detail and without being compressed or over trebled for effect.

The debut has its obvious moments like "Come In The Morning" which feels like an edgier Association while "Sitting By The Window" feels like The Mamas and Papa's meets The Byrds. They get all Simon and Garfunkel on the lovely Miller/Stevenson composition "8:05" and those great vocal harmonies continue on the can I buy an amplifier ditty "Naked, If I Want To". Skip Spence's explosive guitar style kicks hard on the frantic LP finisher “Omaha”. And his instrumental "Rounder" (previously unreleased) will be a nugget fans will eat up.

If the debut was an indication of greatest within the ranks – I always thought the follow-up LP "Wow" was a huge leap forward in the right direction. I've loved "Murder In My Heart For The Judge" for years now – A Sixties compilation winner if ever there was one. There's a feeling that the band is finding itself in songs like Mosley's trippy "Rose Colored Eyes" (so cool a sound). It's represented here with in-studio dialogue at the beginning and sounds amazing. The Lou Waxman and Orchestra intro to "Just Like Gene Autry: A Foxtrot" with its faux 78" clicks and pops sounds the American version of the Bonzo Dog Doo Dah Band and makes me giggle. Things get all melodious again with Peter Lewis' "He" while Spence goes Honky-Tonk silly on "Funky-Tonk" complete with Donald Duck type vocals.

Raunchy Rock returns with the boogie of "Hoochie" on their accomplished third album "Moby Grape '69" where they showcase Byrds type melodies with "Captain Nemo" and the fuzzed-up "Going Nowhere". Country beauty fills Mosley's "It's A Beautiful Day Today". That Sweetheart Of The Rodeo vibe continues into the "Truly Fine Citizen" album with Lewis' "Right Before My Eyes" and the excellent melody of the title track "Truly Fine Citizen" (and again the gorgeous remaster really lifts). Amongst the unreleased stuff - the Peter Lewis solo version of "If I Can't Learn From Your Mistakes" impresses as does the knackered Stones drawl of Spence in "Skip's Song" where he barely keeps his vocals together (raw like a wound). For certain across 2 fairly loaded CDs - it isn't all undiscovered genius by any means - but the good stuff is great and at times cherishable.

Somehow always the band that came close but got no plaudit's cigar – this brilliant and reasonably priced 2CD set finally gives MOBY GRAPE's songs the audio polish up they deserve. Love (not murder) in my heart for this one…