"The Apprentice" by JOHN MARTYN - March 1990 UK Album Originally On Permanent Records LP, MC and CD (August 2007 UK One World Records 'Expanded Edition' CD Reissue with Five Bonus Tracks - Dallas Simpson Remaster) - A Review by Mark Barry...

"...Is This The Moment..."

A wee history for the wee laddie... Born 11 September 1948 in Surrey, England, but raised from an early age in Glasgow, Scotland - the 18-year old Iain David McGeachy finally made his way down to London in the summer of 1967. He busked during the day, slept in Trafalgar Square at night, got moved on by the fuzz in the morning and generally got by on a wing and a prayer. Prompted by his first agent, Sandy Glennon, and based on his love for their Acoustic guitars, he then dropped the i in Martin and replaced it with a far cooler y and wisely became JOHN MARTYN.

Then propositioned in a UK folk bar in Kingston, Surrey by producer THEO JOHNSON, he was brought to the attention of independent label genius CHRIS BLACKWELL. Chris took the equally wise decision to sign the curly haired troubadour to his wonderful record label, Island Records (his first white artist signing) and in October 1967 released the mono only ILP 952 (produced by Theo Johnson). It was Martyn's quietly lovely debut album "London Conversation". Recorded for a frankly exorbitant £158 in Pye Studios in Marble Arch, and still only a pimply 19, John Martyn was quite rightly hailed by the press and the public as a major new talent.

Some 14 studio albums later and especially after the relative failure of the well received but commercially underachieving "Piece By Piece" from 1986 - folks at Island Records were in a different mood. His new recordings left them unimpressed and him without a record label. After a semi-successful stint in the 80ts at Warner Brothers, the latter half of the decade saw him in the obligatory live-album wilderness until Martyn then signed to the relatively new Permanent Records in the UK. And in March 1990 he released "The Apprentice". And that's where this 2007 'Expanded Edition' remaster comes Rock-Souling in…

UK released 27 August 2007 - "The Apprentice" by JOHN MARTYN on One World Records OW130CD (Barcode 0604388690527) is an 'Expanded Edition' CD Reissue and Remaster that plays out as follows:

1. Live On Love [Side 1]

2. The River

3. Look At The Girl

4. Income Town

5. Send Me One Line

6. Deny This Love [Side 2]

7. Hole Me

8. Upo

9. The Apprentice

10. The Moment

11. Patterns In The Rain

Tracks 1 to 11 are the album "The Apprentice" released March 1990 in the UK on LP, MC and CD on Permanent Records PERM 1 – the LP had 10 tracks and the Side 2 song "The Moment" was a Bonus on both the MC and CD. All songs are by John Martyn except “Patterns In The Rain” by Foss Patterson.

JOHN MARTYN – All Vocals and Guitars

TAJ WYZGOWSKI – Rhythm Guitar on Tracks 1 and 9

FOSS PATTERSON – Keyboards

ANDY SHEPPARD – Saxophone on Tracks 3, 5 and 6

COLIN TULLY – Saxophone on Track 2 and 8

DAVE BALL – Bass on Track 1

ARAN AHMUN – Drums

DANNY CUMMINGS – Percussion and Backing Vocals

DANUSIA CUMMINGS – Backing Vocals

BONUS TRACKS:

12. Deny This Love (Remix)

13. The Apprentice (Live)

14. The River (Live)

15. Send Me One Line (Live)

16. Look At The Girl (Live)

The four live tracks feature Spencer Cozens on Keyboards, Dave Lewis on Saxophone, Alan Thomson on Bass and Arran Ahmun on Drums. Track 13 first appeared on a CD single in 1990 and Tracks 14, 15 and 16 are PREVIOUSLY UNRELEASED from a 1990 Tour

"The Apprentice" is not a great John Martyn album, it's a good one and fans will know what that means. Three or four cracking tracks, while the rest are either OK or no good at all. What was bad though about the original CD issue was the hugely underwhelming sound - very dull and compressed. The gatefold slip of paper that represented the original booklet too wasn't much better either - it barely gave musician credits and that was it. My original CD is now gold coloured through corrosion, but it still plays...

The tapes on this 2007 UK re-issue have been remastered by DALLAS SIMPSON and a nice job he's done too. It's much better - not spectacularly so but having A/B'd the two - it's definitely better. The booklet too is improved to 8 pages with extras like photos of the one CD single that came off the album "Deny This Love", the lyrics to "Send Me One Line" which was inspired by the '84 Charing Cross Road' book and film and finally, an album history by JOHN HILLARBY - keeper of the JM flame. But bizarrely enough, One World have forgotten to include the session men who actually played on it - the one scrap of info on the original inlay (so I've provided it above).

There are 5 bonus tracks and are a very mixed bag. Tracks 12 and 13 are the two exclusive songs on the "Deny This Love" UK CD single from August 1990 (Permanent CD PERM 1). The Remix of "Deny This Love" drops the awful Acapella beginning and is very much better for it, while the live version of "The Apprentice" could best be described as OK only. The last three are previously unreleased live versions from the 1990 "Apprentice Tour UK" and are the most disappointing of all. Not performance wise, but soundwise - they're covered in hiss and sound like they were dubbed off some crinkly old cassette tape - a real shame because the performances on "Send Me One Line" and "Look At The Girl" are particularly good. A real bummer that - and its easy to see why these two and "The River", the 3rd live track, were left in the can up until now. 

Highlights on the album include the beautiful ballad "Send Me One Line" and the equally soft and lovely album closer, "Patterns In The Rain". One of the great moments on the 11-track CD album is "The Moment" (a bonus track not on the vinyl LP) - and it was this I looked forward to hearing most. There's an acoustic guitar break in it that bursts out of the speakers - and this remaster has at last given that moment real muscle.

He followed "The Apprentice" with "Cooltide" in 1992, a much better album I think. I adore John Martyn and his truly fantastic soulful voice and achingly touching song writing. He could fart in a bottle and I'd still want to hear it.  Try "Send Me One Line", "Hold Me" or "Patterns" on iTunes and you'll hear what you've been missing.

PS: One World Records is the label imprint by VOICEPRINT of the UK dedicated to John Martyn's work. It features remastered reissues of his albums along with newly discovered titles from the archives. Titles so far include:

1.  "The Apprentice" from 1990, his 1st album in the UK for Permanent Records, it's original 11 CD tracks have had 5 Bonus Tracks Added (2007 UK release) (REVIEWED ABOVE)

2.  "Cooltide", from 1991, his 2nd album in the UK for Permanent Records - a gem of an album (see SEPARATE REVIEW)

3.  "Couldn't Love You More" from 1992, an album of 15 excellent re-recordings of his Island Label stuff, now remastered with two bonus tracks added (2007 UK release) (see SEPARATE REVIEW)

4.  "No Little Boy" from 1993, an album of 14 re-recordings covering his career from 1970 up to 1991, now remastered with 2 bonus tracks (2008 UK release)

5.  "One World Records Sampler CD", 14 Tracks, 1 of which is an exclusive live version of  "Amsterdam" recorded in Oxford, October 1982 (available online only)  (2008 UK release)

6.  "Live" - a new set with 20 tracks across 2CDs (2008 UK release)

7. "The Simmer Dim" – Live Album of Unreleased Material Recorded in Scotland in 1980 (June 2008 UK release)

"The London American Label Year By Year: 1967" by VARIOUS ARTISTS – All 28 Singles In Mono (November 2019 UK Ace Records CD Compilation – Duncan Cowell Remasters) - A Review by Mark Barry...

"...Come To Me..."

For many rabid collectors (and with 40 years of reissue experience) - Ace Records of the UK was always going to do a storming job cataloguing a British label that many feel put out the very best the US musical marketplace had to offer – LONDON RECORDS (or 'London American Recordings' to be more exact). Even today the mere sight of a London 45 single with its rather dull black and silver label design - sat neatly in one of those course paper bags with all those neatly spaced lines down them - elicits a perpendicular tingle of aural orgasm (and that’s just the left leg man).

Ace’s brilliant reissue series "The London American Label Year By Year" starts at 1956 and now reaches a landmark 12th CD for the year "1967" in late November 2019 (see my list below). And like its "1966" predecessor CD from 2015 (see separate review), "1967" is a mixed bag for sure, but mostly its filled with more good than nanny goat bad.

You get twenty-eight different tunes remastered from the very best sources – genres like Thrashing Garage, Sunshine Pop, Northern Soul, Novelty Hits, 60ts R&B and Mod Jazz, Pure Pop, Country Pop and (unfortunately) some insipid country meets sombrero bop where someone wants to emulate Johnny Cash's "Ring Of Fire" vibe and fails miserably. It's all here and in (mostly) glorious Mono Technicolor too. There's a ton of tasty tunes to get through so once more good music people unto the stripy label bag breach...

UK released 29 November 2019 - "The London American Label Year By Year: 1967" by VARIOUS ARTISTS on Ace Records CDCHD 1560 (Barcode 029667096720) is a 28-track CD of MONO Singles and breaks down as follows (72:36 minutes):

1. Love Is After Me – CHARLIE RICH

December 1966 US 7" single on Hi Records HI 2116 (didn’t chart)

January 1967 UK 7" single on London HLU 10104 (didn't chart)

A Steve Cropper, Isaac Hayes and David Porter song later done by SAM and DAVE

2. He Ain't Give You None – FREDDIE SCOTT

September 1967 USA 7" single on Shout 220, B-side of "Run Joe" (didn't chart)

December 1967 UK 7" single on London HLZ 10172, A-side with "Run Joe" on the flip (didn't chart)

A Van Morrison cover, also Produced by Bert Barns

3. My Girl Josephine - JERRY JAYE

March 1967 US 7" single on Hi Records HI 2120 (peaked at 29)

April 1967 UK 7" single on London HLU 10128 (didn't chart)

A Fats Domino cover

4. Cry Softly Lonely One – ROY ORBISON

July 1967 US 7" single on MGM Records MGM 13764 (didn't chart)

June 1967 UK 7" single on London HLU 10143 (didn't chart)

5. Humphrey Stomp - EARL HARRISON

December 1966 US 7" single on Garrison 3001 (didn't chart)

March 1967 UK 7" single on London HL 10121 (didn't chart)

Originally issued as a private pressing of 500 copies in New Orleans on ABS Records 107

6. Four Days Of Rain – THE RAGAMUFFINS

April 1967 US 7" single on Seville 141 (didn't chart)

May 1967 UK 7"single on London HLU 10134 (didn't chart)

7. My Old Flame - NINO TEMPO and APRIL STEVENS

March 1967 US 7" single on White Whale WW 247 (didn't chart)

May 1967 UK 7" single on London HLU 10130 (didn't chart)

8. Life Turned Her That Way - MEL TILLIS

January 1967 US 7" single on Kapp 804 (didn't chart)

June 1967 UK 7" single on London HLR 10141 ((didn't chart)

9. Can You Help Me - THE KNICKERBOCKERS

November 1966 US 7" single on Challenge 59348 (didn't chart)

January 1967 UK 7" single on London HLH 10102 (didn't chart)

10. Eight Men, Four Women - O.V. WRIGHT

March 1967 US 7" single on Back Beat 580 (No. 4 US R&B, No. 80 US Pop)

June 1967 UK 7" single on London HLZ 10137 (didn't chart)

11. Never My Love - THE ASSOCIATION

August 1967 US 7" single on Warner Brothers 7074 (No. 2 US Pop)

September 1967 UK 7" single on London HLT 10137 (didn't chart)

12. Bob - THE WILLIS BROTHERS

February 1967 US 7" single on Starday 796

May 1967 UK 7" single on London HLB 10132

13. Huff Puff - MICKY DOLENZ (of The Monkees)

August 1967 US 7" single on Challenge 59372 (didn't chart)

September 1967 UK 7"single on London HLH 10152 (didn't chart)

14. Snap Your Fingers - GAIL WYNTERS

April 1967 US 7" single on Hickory 45-1453 (didn't chart)

30 June 1967 UK 7" single on London HLE 10144 (didn't chart)

15. The Little Black Egg -THE NIGHTCRAWLERS

October 1965 US 7" single on Leo 1012 (original)

January 1967 US 7" single on Kapp K-709 (reissue, No. 85 Pop)

January 1967 UK 7" single on London HLR 10109 (didn't chart)

16. Billy The Kid - WILSON PICKETT and THE FALCONS

July 1967 UK 7" single on London HLU 10148

17. Beautiful People - KENNY O'DELL

September 1967 US 7" single on Vegas V-718 (No. 37 Pop)

November 1967 UK 7" single on London HLZ 10167

18. The Ferris Wheel - SUE THOMPSON

May 1967 US 7" single on Hickory 45-1457 (didn't chart)

June 1967 UK 7" single on London HLE 10142 (didn't chart)

19. I Don't Want To Fall - THE FALLEN ANGELS

November 1967 UK 7" single on London HL 10166 (didn't chart)

20. When You're Gone - BRENDA and THE TABULATIONS

September 1967 US 7" single on Dionn 504 (No. 22 R&B, No. 58 Pop)

December 1967 UK 7" single on London HL 10174

21. You're The Love - THE SIXPENCE

February 1967 US 7" single on Impact 1025 (didn't chart)

April 1967 UK 7" single on London HLJ 10124 (didn't chart)

22. The River Is Wide - THE FORUM

May 1967 US 7" single on Mira 232 (didn't chart)

March 1967 UK 7" single on London HLH 10120 (didn't chart)

23. Boogaloo Down Broadway - THE FANTASTIC JOHNNY C

August 1967 US 7" single on Phil-L.A. Of Soul 305 (No. 5 R&B, No. 7 Pop)

November 1967 UK 7" single on London HL 10169

24. Marryin' Kind Of Love - THE CRITTERS

January 1967 US 7" single on Kapp K-805 (didn't chart)

March 1967 UK 7" single on London HLR 10119 (didn't chart) 

25. I'm Indestructible - JACK JONES

April 1967 US 7" single on Kapp K-818 (No. 81 Pop)

May 1967 UK 7" single on London HLR 10131 (didn't chart)

26. Three Hundred And Sixty Days - DONALD HEIGHT

January 1967 US 7" single on Shout S-208 (didn't chart)

February 1967 UK 7" single on London HLZ 10116 (didn't chart)

27. Traveling Shoes - GUY MITCHELL

November 1967 US 7" single on Starday 819 (No. 51 C&W)

December 1967 UK 7" single on London HLB 10173 (didn't chart)

28. Big Boss Man - ERMA FRANKLIN

August 1967 US 7" single on Shout S 218, A-side (didn't chart)

24 November 1967 UK 7" single on London HLZ 10170, B-side of "Piece Of My Heart"

A Jimmy Reed cover

The 20-page booklet is masterful stuff – beautifully laid out with large numbers of the London labels represented by their sought-after 'yellow label' demo versions. In-between the Record Retailer advert clippings are stunning informational paragraphs by TONY ROUNCE who outdoes his formidable track record for liner notes - it's a feast of properly indepth info and Ace have done “1967” proud. But best of all is those beautifully transferred MONO single mixes courtesy of Audio Engineer and long-time Ace Associate – DUNCAN COWELL. I've had some of these on other CD compilations and these variants sound awesome – full and kicking – singularly powerful and like they would have sounded when they sailed out of our transistor radios. And instead of slavishly sticking to chronological order (January to December) – compiler Rounce has mixed it up – smart sequencing making the rhythms flow better and the listen a hundred times more enjoyable and interesting.

Despite his great voice and a Soulful bopper from Stax hit merchants Steve Cropper (Booker T & The MGs), Isaac Hayes and David Porter – Charlie Rich doesn't really sound convinced on "Love Is After Me" (apparently Northern Soul nuts in the UK kept it selling up until 1971 as they hunted down Pop and Country sevens with a talcum powder tip). Far better is the fabulous Soulful smooch of Freddie Scott giving it some Van Morrison of all things. Bert Barns had produced the mercurial Irishman for his "Blowin' Your Mind" 1967 LP on Bang Records (USA) which contained the done-more-for-you-than-your-Daddy's-ever-done song "He Ain't Give You None" – well Barns returned only months later to also produce this. While it doesn’t have the greatest audio in the world (essentially a home recording brought to HI Records after audience enthusiasm), Jerry Jaye’s R&B driving cover of Fats Domino's "My Girl Josephine" has a piano-roll charm all of its own. The same unfortunately cannot be said of The Big O trying to recapture that Only The Lonely magic with the dreadfully dated "Cry Softly Lonely One".

Earl Harrison gives us a New Orleans shuffler in the shape of "Humphrey Stump" - a tune that that sounds so Robert Parker and a rarity that would turn up on Northern Soul bootlegs in the early 70ts. But for me that's stumped by the gorgeous Byrds-like melody of The Raggamuffins on "Four Days Of Rain" where writer Tom Pacheo pleads "...come to me and ease me of my lonely pain..." Sounding so 'Nilsson 1967' is the duo of Nino Tempo and April Stevens giving us the do-de-do-de-do chipper sunshine pop of "My Old Flame" - not bad but not great either. You'll probably listen to the hammy church organ country of "Life Turned Her That Way" just to laugh as Mel Tillis tells us "...she's been stepped on and walked on so many times, and I hate to admit it, but that last footprint is mine..." (oh dear Mel). 

Thankfully things Boogaloo funky up with the superb "Can You Help Me" - an inexplicable non-charter for The Knickerbockers on Challenge Records. The jury of passion has it in for O.V. Wright as he stands guilty of loving his baby on the wickedly Soulful "Eight Men, Four Women" - a deserved No. 4 US R&B hit with a scrape on the Pop Charts at No. 80. The Association give it some of their trademark Sunshine Pop with the rather lovely "Never My Love" (penned by Donald and Richard Addrisi) but the obvious "Ring Of Fire" identikit sound of "Bob" by The Willis Brothers does it no favours in my sombrero book. Only the 60ts could have produced the get-mad "Huff Puff" where Monkees man Mickey Dolenz does his best Screaming Jay Hawkins impression on the manic tune, all but losing it in a haunted cemetery way by the time it fades out. And you can so hear the kicking Soulful power in his vocals already on "Billy The Kid" – Wilson Pickett getting wicked with The Falcons.

The groovy-things-you-say of "Beautiful People" smacks of cheesy Herman Hermits for Kenny O’Dell – far better coming at ya is "The Ferris Wheel" as Sue Thompson tells you about the spider and the diving bell to a fuzzed-up guitar background (a cleverly rearranged Everly Brothers cover). And on it goes to the truly magical glory-Soul of "When You’re Gone" – Brenda And The Tabulations making the squlechiest of English hearts squelch even more.

So there you have it. In truth not all of "1967" will appeal, but like its 1966 predecessor, l love its diversity and its brilliantly clever choices/sequencing (collectors will also dig those first-time-on-the-digital-format rarities). Even as someone who claims 'to know his stuff' – there are tracks on here I haven’t heard and clearly needed to.

"...I'd do anything to get you back home again..." – Gail Winters coaxes on "Snap Your Fingers". The 1966 installment in this series was a goodun and I suspect that label/genre fans will be hitting their worn out shopping basket button on this one too...

Titles in "The London American Label Year By Year" CD Series n Ace Records

1. The London American Label Year By Year: 1956 (Ace CDCHD 1347, June 2012)

2. The London American Label Year By Year: 1957 (Ace CDCHD 1318, January 2012)

3. The London American Label Year By Year: 1958 (Ace CDCHD 1310, June 2011)

4. The London American Label Year By Year: 1959 (Ace CDCHD 1285, November 2010)

5. The London American Label Year By Year: 1960 (Ace CDCHD 1237, August 2009)

6. The London American Label Year By Year: 1961 (Ace CDCHD 1249, January 2010)

7. The London American Label Year By Year: 1962 (Ace CDCHD 1265, June 2010)

8. The London American Label Year By Year: 1963 (Ace CDCHD 1302, March 2011)

9. The London American Label Year By Year: 1964 (Ace CDCHD 1366, May 2013)

10. The London American Label Year By Year: 1965 (Ace CDCHD 1417, October 2014)

11. The London American Label Year By Year: 1966 (Ace CDCHD 1444, August 2015)

12. The London American Label Year By Year: 1967 (Ace CDCHD 1560, November 2019)

"The Singles 1965-1967" [Box 2 of 3] by THE ROLLING STONES – Eleven 60ts UK and US 7" Singles in Repro Picture Sleeves – Three of Which Have 3 Tracks Reflecting The Different B-sides in the UK and USA. Featuring Mick Jagger, Keith Richards, Brian Jones, Bill Wyman and Charlie Watts with Guests Ian Stewart, Nicky Hopkins and Jack Nitzsche (Keyboards), John Paul Jones of Led Zeppelin (String Arrangements) and Steve Marriott of Small Faces and later Humble Pie on Backing Vocals (January 2004 UK/EU ABKCO Records 11CD Clamshell Box Set – Steve Rosenthal, Teri Landi and Bob Ludwig Transfers, Audio Restoration and Remasters) - A Review by Mark Barry...

 

"…We Love You…"

Ah the glorious bad boys of Rock – The Rolling Stones. The kind of trouser-snake seductive ne'er-do-well pert-bottomed reprobates a concerned mother warned you about (when she wasn't shovelling tranquillisers down her gullet).  We're we (or they) ever so young or indeed so naughty! Hell yes!

This is the second box set in a series of three covering their Satanic Majesties entire 45s output on Decca (UK) and London Records (USA) – this fab little sucker covering their first primo period of non-stop 60ts hipsville - and what a humdinger it is too. There is a mountain of info to wade through, so once more my lysergic listeners unto the nervous breakdowns and girly rainbows…

UK/Europe released 1 January 2004 – "The Singles 1965-1967" by THE ROLLING STONES on Abkco 0602498209851 (Barcode 602498209851) is the Second of Three Box Sets covering their entire Decca/London Records UK and US output on 45s. The Clamshell Box contains 11CDs in Picture Repro Sleeves featuring artwork from many different countries (10 singles by The Rolling Stones and one solo outing by Bassist Bill Wyman), Three Art Cards featuring photos from 1965, 1966 and 1967, a foldout double-sided poster (the Lady Jane single advert with Mick Jagger's face on one side with a band photo on the other) and a 28-Page Fact-Filled Booklet outlined details on each release, reissue credits etc. Its 25-tracks covering eleven 7" singles breaks down as follows…

CD1 "(I Can't Get No) Satisfaction" - 10:29 minutes, 3 tracks:

US 45, 5 June 1965 on London 45-9766

A. (I Can't Get No) Satisfaction b/w The Under Assistant West Coast Promotion Man

UK 45, 20 August 1965 on Decca F 12220

A. (I Can't Get No) Satisfaction b/w The Spider And The Fly

CD2: "Get Off Of My Cloud" - 7:41 minutes, 3 tracks:

US 45, 24 September 1965 on London 45-9792

A. Get Off Of My Cloud b/w I'm Free

UK 45, 22 October 1965 on Decca F 12263

A. Get Off Of My Cloud b/w The Singer Not The Song

CD3: "As Tears Go By" - 4:52 minutes, 2 tracks:

US 45, 18 December 1965 on London 45-9808

A. As Tears Go By b/w Gotta Get Away

UK 45, 4 February 1966 on Decca F 12331 (with different A-side, US A-side relegated to the B)

A. 19th Nervous Breakdown By b/w As Tears Go By

CD4: "19th Nervous Breakdown" - 7:00 minutes, 2 tracks:

UK 45, 4 February 1966 on Decca F 12331 (see Disc 3 for B-side)

A. 19th Nervous Breakdown b/w As Tears Go By

US 45, 12 February 1966 on London 45-9823

A. 19th Nervous Breakdown b/w Sad Day

CD5: "Paint It Black" - 9:44 minutes, 3 tracks:

US 45, 6 May 1966 on London 45-901

A. Paint It Black b/w Stupid Girl

UK 45, 13 May 1966 on Decca F 12395

A. Paint It Black b/w Long Long While

CD6: "Mother's Little Helper" - 5:57 minutes, 2 tracks:

US 45, 2 July 1966 on London 45-902 (Note: no UK issue)

A. Mother's Little Helper b/w Lady Jane

CD7: "Have You Seen Your Mother, Baby, Standing In The Shadows?" - 5:49 minutes, 2 tracks:

US 45, 23 September 1966 on London 45-903

UK 45, 23 September 1966 on Decca F 12497

A. Have You Seen Your Mother, Baby, Standing in The Shadow? b/w Who's Driving Your Plane?

CD8: "Let's Spend The Night Together" - 6:40 minutes, 2 tracks:

UK 45, 13 January 1967 on Decca F 12546

US 45, 13 January 1967 on London 45-904

A. Let's Spend The Night Together b/w Ruby Tuesday

CD9: "We Love You" - 8:26 minutes, 2 tracks:

UK 45, 18 August 1967 on Decca F 12654

US 45, 2 September 1967 on London 45-905
A. We Love You b/w Dandelion

CD10: "She's A Rainbow" - 8:57 minutes, 2 tracks:

US 45, 23 December 1967 on London 45-906

A. She's A Rainbow b/w 2000 Light Years From Home (Note: no UK issue)

CD11: "In Another Land" by BILL WYMAN/The Lantern by THE ROLLING STONES  - 7:19 minutes, 2 tracks:

US 45, 2 December 1967 on London 45-907

A. In Another Land (by BILL WYMAN) b/w The Lantern (by THE ROLLING STONES) (Note: no UK issue)

The Audio is done to a team of three – STEVE ROSENTHAL for Sound Restoration and Archive Coordination, TERI LANDI for Analogue to Digital Transfers and Tape Archive Research and BOB LUDWIG for Mastering. For instance you can really hear the contributions made by NICKY HOPKINS (Piano) and future Led Zeppelin Bassist JOHN PAUL JONES (who arranged the stings) on one of the better tracks from "Their Satanic Majesties…" LP - "She's A Rainbow". Clearer too is Brian Jones pressing down those Mellotron keys on the swirling hippy-dippy soundscape that is "2000 Light Years From Home".

I must admit that I haven't played the Wyman-penned US-only track "In Another Land" in probably four an half decades, but its now nice to hear (once again) the Remaster bring forth Nicky Hopkins lending his piano while Small Faces giant STEVE MARRIOTT taps those distinctive lungs of his for backing vocals. And 'allegedly' none other than Paul McCartney and John Lennon of The Beatles and poet Allen Ginsberg can be heard giving backing vocals to "We Love You" – a tribute to fans who supported the band during those difficult busted months (Nicky Hopkins also contributed piano).

Fans will not surprisingly adore the sheer wallop that comes of the decidedly fruity "Let's Spend The Night Together" – a song apparently written about the first time Mick and Marianne Faithfull hooked up for something we're reliably informed wasn't a fish supper. Unsung hero Jack Nitzsche plays Keyboards on both "Let's Spend The Night Together” and the Bluesy Harmonica driven B-side "Who's Driving Your Plane?" - whilst also contributing distinctive-sounding Harpsichord to the baroque elegance of "Lady Jane". Nitzsche also plays piano on a true digital obscurity – the US B-side "Sad Day” which only appeared on CD in 1989 on the triple "Singles Collection" set. And although its lyrics are now terribly dated and not the most enlightened on the planet, I've always had a thing for the Aftermath song "Stupid Girl" – way more than the rooster strut of "(I Can't Get No) Satisfaction" - a ball-breaker of a song whose fuzzed up guitars and driving rhythm changed the music world forever.

There is of course so much more here, but what you can't deny is the 'on fire' feel to it all. Like The Beatles, The Stones just hit this run of magic that would culminate in Beggars Banquet, Let It Bleed and of course on into Stick Fingers and beyond.

Songs about drugs, sex, record company chaperones and grown men dressed in drag for the picture sleeves. Ah the glory. Remember them this way…

"The Payback" by JAMES BROWN [The Godfather Of Soul] – December 1973 US Double-Album (April 1974 UK) on Polydor Records – featuring Fred Wesley, Maceo Parker, St. Clair Pinckney on Horns with John Starks on Drums (22 September 1992 US Polydor 'Expanded Edition' CD Reissue – Joseph M. Palmaccio Remaster) - A Review by Mark Barry...

"...Stone To The Bone..."

This Review Along With 289 Others Is Available In My

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70ts Soul, R'n'B, Funk, Jazz Fusion
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Fans of this fantastically funky late 1973 double-album will notice some subtle differences on this September 1992 US CD Remaster. But some details first...

Originally penned and recorded to be another Blaxploitation Soundtrack called "Hell Up In Harlem" - the filmmakers were famously less than impressed with more of the same from JB - so they passed, Recorded at sessions throughout the year (February to October) – Brown therefore prepared and rush-released the double into the US market place. It was preceded by the November 1973 issue of the fantastic "Stone To The Bone" single - a four-minute edit of 10-minute monster that would dominate Side 4 of the double-album (along with the equally cool and brill brothers-across-the-nation "Mind Power").

Issues of Billboard talked about "The Payback" set as early as November 1973, but it's sales debut came late in the year when it hit the US R&B charts on the 22nd of December 1973 (charted Pop in January 1974). British Soul lovers saw no original release until April 1974 when Polydor UK simply brought in unsold copies of the US double on PD 2-3007 and stuck a UK catalogue number on its rear sleeve (Polydor 2659 030). It remained unissued on British pressed LPs until the 1993 reissue (Polydor 517 137-1) of this 1992 CD Remaster. And although filmmakers may have rejected it – the US Joe Public lapped it up and Brown did indeed get payback when it eventually went No. 1 R&B and No. 34 Pop - his biggest selling double in years. Which brings us to this cheap but utterly fab CD reissue. Let's get Stoned To The Bone...

US released 22 September 1992 - "The Payback" by JAMES BROWN (The Godfather Of Soul) on Polydor 314 517 137-2 (Barcode 731451713729) offers the full 1973 eight-track double-album onto 1CD with some tracks slightly extended (73:08 minutes):

1. The Payback (CD 7:39 minutes, original LP 7:35 minutes) - Side 1

2. Doing The Best I Can (CD 7:39 minutes, LP 7:50 minutes)

3. Take Some...Leave Some (CD 8:20 minutes, LP 8:22 minutes) - Side 2

4. Shoot Your Shot (CD 8:19 minutes, LP 8:08 minutes)

5. Forever Suffering (CD 5:39 minutes, LP 5:42 minutes) - Side 3

6. Time Is Running Out Fast (CD 12:48 minutes, LP 12:37 minutes)

7. Stone To The Bone (CD 10:14 minutes in Mono, LP 10:05 minutes) - Side 4

8. Mind Power (CD 12:04 minutes, LP 10:35 minutes)

The studio double-album set "The Payback" was US released December 1973 on Polydor PD 2-3007 and April 1974 in the UK on Polydor 2659 030 (using US copies).

As you can see from the timings provided above, the final three tracks are added to - especially the minute and a half bump up onto the seriously great groove of "Mind Power". ALAN LEEDS who did the original liner notes, returns for this 1992 reissue and provides a potted history of the tumultuous 1973 for JB. Leeds has handled all of the magnificent James Brown remasters across the decades – check out the eleven volumes of "The Singles" series of 2CD sets (I’ve reviewed Nos. 6 to 11). His name is a sign of quality. And the JOSEPH M. PALMACCIO Remaster makes every track feel like it’s kicking anew – even if it transpires that "Stone To The Bone" is in fact in Mono?

"The Payback" title-track would haunt so many movies for decades afterwards and its fantastic groove and drum breaks has provided samples for DJs and mixers for nearly 50 years! I used to dislike the ballad "Doing The Best I Can" – a JB co-write with Charles Bobbit and Fred Wesley – but I’ve mellowed to its charms as the years have passed. Other winners include the slow and sexy cat groove of the give-me-some song "Take Some…Leave Some" followed by the very movie-funky cop-chases-a-baddie speed drive of "Shoot Your Shot". The African bells, drum-whack-rim-shots and Herbsman shouts of "Time Is Running Out" felt like Fela Kuti and Ginger Baker at times and those guitar passages from Jimmy Nolen and Hearion Martin are just so damn cool. And on it goes to the best - "Stone To The Bone" followed by "Mind Power". And throughout his crew simply excel – the tightest band anywhere - Fred Wesley, Maceo Parker, St. Clair Pinckney on Horns with John Starks on Drums and so many more.

JB and his evolving Famous Flames had issued the "Black Caesar" soundtrack in February 1973, the soundtrack to "Slaughter's Big Rip Off" in July, a compilation called "Soul Classics, Volume II" in October and then "The Payback" double-album in December. And when you think about how he issued "Get On The Good Foot" in November 1972 - another double - the man was amazingly prolific. 1973 was a helluva year for The Godfather Of Soul - commercial success again - only marred by the horrible loss of his son Teddy in an automobile accident on the 14th of June. Still he carried on that punishing schedule for years after. My admiration for him and what he achieved is boundless.

Currently selling for just over a fiver and less in some places, this 1992 great-sounding CD Remaster of 1973's "The Payback" is indeed stone to the bone. Increase your mind power with it, right away…

PS:see also my separate in-depth reviews for "The Singles Series..." Volumes 4 to 11...

"The Simmer Dim” [1980 Live Recordings] by JOHN MARTYN (June 2008 UK One World Records CD Compilation) - A Review by Mark Barry...

"...Thanks For Coming Up..."

This is not a new studio album but yet another live set from the UK's "One World Records" Label who are dedicated wholly to JM reissues and new releases. It's a wonderful performance for sure, but the awful news for fans and newcomers alike is that it's only passable sound-wise.

UK released June 2008 - "The Simmer Dim" by JOHN MARTYN on One World OW137CD (Barcode 604388710027) is a new Live 13-Track CD recorded at the Garrison Theatre in Lerwick in Shetland in furthermost Scotland in 1980 (the most Northerly town in Britain).

1. Over The Hill

2. Spencer The Rover

3. One World

4. Anna

5. One Day Without You

6. The Easy Blues

7. Couldn't Love You More

8. Big Muff

9. Certain Surprise

10. Dealer

11. Seven Black Roses

12. Outside In

13. May You Never

The date was 12 August 1980 and Martyn was still riding high on his Island Records "One World" masterpiece from 1977. His audience was now split between the folk output of 1968 to 1975 ("London Conversation" and "Sunday's Child") and the new fans gained through the ethereally, electrified "One World" album. Personally I dug both - and his gigs of the time included music from each camp - making his concerts a superbly rounded experience. But now to bad news...

The rear sleeve rather vaguely states that the 13-tracks are 'A Restored Recording' - but of course offers no further explanation as to where it was 'restored' or from what. It isn't un-listenable by any means, but the best approximation is that it's an audience tape and therefore loaded down with all the inherent crap that accompanies such things - chatter, rumble, noise, the music in the distance, interruptions between songs by people moving about and shuffling things...(somebody's baby crying - literally!). The 8-page John Hilarby liner notes rather conveniently don't mention anything about this...

But the real shame is that the performance is fantastic - exceptionally good. Some songs like the wonderful opener "Over The Hill" and the obvious but sweet finisher "May You Never" are just him on a lone acoustic guitar, while "Big Muff" and "Dealer" feature his famous electrified echoplex-guitar effect. The crowd shout at him and he responds wittily and warmly - including one lady who literally stops the whole gig to thank him for making his way to such an out of the way place in the fog (her words are the title above). In fact the banter between him and the audience adds extraordinary warmth to the proceedings. None of the drunken arrogance that often marred his concerts of the time is evident here - Martyn's in superb form - witty, sharp, and enjoying himself. Vocally he's right up there too - easily imbibing each tune with really sweet vocal work. You would imagine that the punters left that tiny gig that wonderful night feeling they'd just witnessed a little bit of Scottish magic for a pittance (£3 a ticket!).

Two rarities turn up - "Anna" was recorded for the 1978 road movie "In Search Of Anna" and receives a rare airing here. It's a lyric/vocal version of "Small Hours", the 8-minute echoplex instrumental masterpiece that finishes the "One World" album. It's really lovely and has poignant lyrics about a kid in a "...dirty town, where they like to put you down..." The second rarity is "Seven Black Roses", a mid-60's folk instrumental he wrote to impress club owners and Davey Graham fans - it's fast and complicated and receives genuinely impressed reaction from the crowd when it ends on clever harmonic pings. Another highlight is a truly lovely version of "Couldn't Love You More", but towards the end it's unfortunately counter-pointed by a lengthy echoplex version of "Outside In" from the 1975 "Live At Leeds" privately pressed UK-only album. It goes from rocking out to lovely mellow across its near 19-minute course - and as good as it is in places - it seriously overstays its welcome and is self-indulgent.

As I say - the real shame is not that the sound is only passable - the real kicker is that you'd kill to hear this great gig in decent fidelity; then we'd be raving about one of his best live works and not calling on words like 'shoddy' or 'bootleg'...

Released in July 2008 ('before' he so sadly died in January 2009) - there are two ways of looking at this release - it's exploitive and deliberately deceptive or it's magic that deserves to be in the marketplace - it's both really.

The title of the set takes itself from a weather anomaly; that far North there are as little as 6 hours of daylight during Midwinter, which produces a sort of surreal twilight the local Scots like to call "The Simmer Dim”. It's a damn shame that this CD's sound doesn't match such a lovely thought...

In a two-to-three star kind-of-a way and at a very, very, very tight pinch - it's recommended...