"Slayed?" by SLADE – September 1972 UK Fourth LP on Polydor Records and February 1973 in the USA on Polydor Records – featuring Noddy Holder, Dave Hill, Jim Lea and Don Powell (21 August 2006 UK Salvo Expanded Edition CD Reissue with Five Bonus Tracks and Card Slipcase - Tim Turan Remaster) - A Review by Mark Barry...

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TUMBLING DICE - 1972

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"...Rock And Rave!"

Half way through Side 1's "The Whole World's Goin' Crazee" there's a give-it-all-you-got echoed lead vocal passage by Noddy Holder where he let's rip with line-after-line of screamed lyrics ("Rant And Rave!"). Such throat-shredding acrobatics would have made Brian Johnson (once of Geordie and then AC/DC of course) reach for lozenges even then. But it's SLADE and would we old-timer reprobates of the Seventies want it any other way.

In fact at the last count, I think Slade were the only Rock Band in the world that could count the same original line-up for 40 years straight from 1969's debut "Ambrose Slade" to the Naughties (or is it 50 years). There's always been something fun about these Wolverhampton anthem queens and rabble-rousers. Makes me want to don my glitter boots and mirror hat and misspell every song title. Let's get slaughtered and crazee...

UK released 21 August 2006 - "Slayed?" by SLADE on Salvo SALVOCD002 (Barcode 698458810229) is an Expanded Edition CD Reissue and New Remaster with Five Bonus Tracks that plays out as follows (53:41 minutes):

1. How D'you Ride [Side 1]

2. The Whole World's Goin' Crazee

3.  Look At Last Nite

4. I Won't Let It 'Appen Agen

5. Move Over

6. Gudbuy T'Jane [Side 2]

7. Gudbuy Gudbuy

8. Mama Weer All Crazee Now

9. I Don' Mind

10. Let The Good Times Roll/Feel So Fine

Tracks 1 to 10 are their fourth album (third studio set) "Slayed?" - released September 1972 in the UK on Polydor 2383 163 and February 1973 in the USA on Polydor PD 5524. Produced by CHAS CHANDLER – it peaked at No. 2 on the UK LP charts and No. 69 in the USA.

BONUS TRACKS:

11. My Life Is Natural - non-album B-side to "Coz I Luv You", 8 October 1971 UK 7" single on Polydor 2058 155

12. Candidate - non-album B-side to "Look Wot You Dun", 27 January 1972 UK 7" single on Polydor 2058 195

13. Wonderin' Y - non-album B-side to "Take Me Bak 'Ome", 19 May 1972 UK 7" single on Polydor 2058 231

14. Man Who Speeks Evil - non-album B-side to "Mama Weer All Crazee Now", 25 August 1972 UK 7" single on Polydor 2058 274

15. Slade Talk to MELANIE Readers - 8 September 1973 UK 1-Sided 7" Flexi Disc on Lyntone LYN 2645, Melanie Magazine freebie

SLADE was:

NODDY HOLDER - Lead Vocals and Guitar

DAVE HILL - Guitar

JIM LEA - Bass and Violin

DON POWELL - Drums and Percussion

The 12-page booklet sports new liner notes from DAVID LING that is clearly part of an on-going history of the band and they're entertaining and informative – discussing Jim Lea's discomfort with rapid Nationwide fame - ending on Don Powell's near fatal car accident in July 1973 that did take the life of his then 20-year old girlfriend, Angela Morris. There are black and white period photos of the boys looking sometimes bewildered at the sudden fame and Number 1 singles status, shots of 'slayed' fans, memorabilia and a really nice two-page display of rare colour picture sleeves from around the world. TIM TURAN who did the Nazareth and Procol Harum remasters for Salvo has done the master-tape business and made a non-audiophile screamer of a Rock album seem more beefy and alive. For sure the vocals are still that bit distant (a trade mark sound for Slade) but the guitars and rhythm section are (in band parlay) in yer face. And how cool is it to hear those B-sides, especially the Acoustic Rock Swing of the non-album B-side to "Coz I Luv You" – the rather brill "My Life Is Natural". To the music…

Like Chas Chandler had done with Jimi Hendrix and Andrew Loog Oldham with The Rolling Stones – Noddy Holder and Jim Lea in particular were forced by their Manager/Producer Chas Chandler to write their own material – and preferably boys – some hits if you don’t mind. And that they did - "Slayed?" went all the way to the top – No. 1 – capitalizing on the mighty "Slade Alive!" LP that went before it in March of 1972 which had in itself smashed all the way up to the No. 2 position. Their next two vinyl platters, the compilation LP "Sladest" and the studio album "Old New Borrowed And Blue" would do the same in September 1973 and February 1974 – No. 1s. Slade singles became like T.Rex or Beatles releases – an event that saw huge chart highs and triumphant appearances on Thursday’s "Top Of The Boys". All of it culminating in the November 1974 film and soundtrack LP "Slade In Flame" which had to settle for a lowly No. 6 position on the Blighty album charts as the winning streak began to tail off and tastes moved on. But for two to three years there - the girls liked them and the boys lived to boogie by Slade.

The huge so young hits "Gudbuy T'Jane" and "Mama Weer All Crazee Now" both hit their rambunctious No. 1 spots on the British single charts - while other romper-stompers include the sexy almost T.Rex slink of "I Don't Mind" and the shake your tambourine throw me out "I Won't Let It Happen". Amidst the eight originals are only two covers – a superb Noddy Holder like-for-like performance as he does justice to "Move Over" from Janis Joplin's brilliant "Pearl" album of the year prior (1971). The other cover is a double - the Shirley and Lee 1956 and 1955 Aladdin Records classics "Let The Good Times Roll" and "Feel So Good" bringing proceedings to a close nicely. I'd forgotten about "Candidate" – a no-one seems to like him B-side that is equal to anything on the album. Fans will be pleased with the here I am in the same old clothes looking back on my life of "Wonderin' Y" – a sort of lollygagging Faces-type love song.

For sure the Audio is of the hurried kind and not everyone in 2020 will think it the Glam Rock genius we thought Slayed was back in the day – but every time I see that Gerard Mankowitz artwork – I smile. And I likes dat I duz…

"Before My Eyes Go Blind: Complete Recordings" by ZIOR and MONUMENT – Featuring Four Albums and Two Bonus Tracks (one credited as MONUMENT) from May 1971, October 1971, 1973 and 2018 (August 2019 UK Grapefruit Records 4CD Box Set) - A Review by Mark Barry...

1971

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"...Give Me Love..."

Sporting the same luxurious yet doom-obscure gatefold artwork as the Black Sabbath debut album (courtesy of cult artist Keef) - Zior's 1971 debut on the obscure Nepentha Records label waffled on the front cover about Hell and Love and the icky like. Yet talk of the occult and stage shows that apparently scared the living crap of unsuspecting audiences - Zior turned out to be a rather ordinary Hard Rock Band with occasional hooky tunes that really could have done something if they hadn't been mired in such jump-on-the-occult-bandwagon crap.

Typically though, cult British reissue label Grapefruit Records (part of Cherry Red) do the business by our hairy Southend band and deliver a Box Set that may at last give their Atomic Rooster/Black Widow Rock sounds a better airing and understanding. I can't honestly say that all of it is worthy of such lavish attention - but you do get the hugely expensive May 1971 debut on Nepentha Records, an October 1971 album featuring Zior Leading Man Keith Bonsor hiding under the pseudonym of Steve Lowe in a band called Monument (on Beacon Records), a German-only LP from 1973 by Zior on Interchord Records and finally on Disc 4, a privately issued album of new Zior recordings from 2018. The first two even sport bonus tracks in the shape of rare single B-sides. Let's get blinded by the light (and coven clichés)...

UK released 30 August 2019 - "Before My Eyes Go Blind: The Complete Recordings" by ZIOR [including MONUMENT] on Grapefruit Records CRSEGBOX057 (Barcode 5013929185708) is a 4CD Clamshell Box Set of Remasters that plays out as follows:

CD1 (44:10 minutes):

1. I Really Do [Side 1]

2. Za Za Za Zilda

3. Love's Desire

4. New Land

5. Now I'm Sad

6. Give Me Love

7. Quabala [Side 2]

8. Oh Mariya

9. Your Life Will Burn

10. I Was Fooling

11. Before My Eyes Go Blind

12. Rolling Thunder

Tracks 1 to 12 are their debut album "Zior" - released May 1971 in the UK on Nepentha Records 6437 005 (no US issue). Produced by BILL FARLEY - it failed to chart.

BONUS TRACK:

13. She's A Bad, Bad Woman - Non-Album B-side to "Za Za Za Zilda", released 25 June 1971 in the UK on Nepentha 6129 002

CD2 (45:47 minutes):

1. Entrance Of The Devil [Side 1]

2. The Chicago Spine

3. Have You Heard The Wind Speak

4. Time is The Reason

5. She'll Take You Down

6. Dudi Judy

7. Strange Kind Of Magic

8. Ride Me Baby

9. Evolution

10. Every Inch A Man

11. Cat's Eyes 3

12. Suspended Animation

13. Angel Of The Highway

Tracks 1 to 13 are their second studio album as ZIOR called "Every Inch A Man" - released early 1973 in Germany on Global/Interchord Records 26009-1.

CD3 (33:56 minutes):

1. Dog Man [Side 1]

2. Stale Flesh

3. Don't Run Me Down

4. Give Me Life

5. The Metamorphosis Tango

6. Boneyard Bumne

7. First Taste Of Love

8. And She Goes

9. Overture For Limp Piano C

10. I'm Coming Back

Tracks 1 to 10 are the album "The First Monument" by MONUMENT where all tracks are credited to STEVE LOWE as the writer - really KEITH BONSOR of ZIOR - released October 1971 in the UK on Beacon Records BEAS 15

CD4 (61:54 minutes):

1. Welcome To My World Of Darkness

2. The Wicca Maker

3. Crowman Rises

4. Demon Woman

5. Vampire Night

6. Earth Hell & Fire

7. The Spirit Of India

8. Release The Dogs

9. Eastwood Bugsy

10. Sabbat 8

11. Scorpion

12. Storm Chaser

13. Entry Of The Devil Voices

14. Rue Chanoinesse

15. Data Bizzare

Tracks 1 to 16 are the album "Spirit Of The Gods" privately released on Vica Records (with no catalogue number) in 2018

BONUS TRACK:

16. Inner Mind Vision (1971)

The 24-page booklet features a new interview with Zior's principal songwriter Keith Bonsor (all material is licensed from him, no mastering credits) and DAVID WELLS liner notes on their 'colourful' history. There are impossibly rare Euro picture sleeve variants for their two Nepentha Records 45s - "Za Za Za Zilda" (June 1971 on 6129 002) and "Cat's Eyes" (December 1971 on 6129 003 with "I Really Do"on the B-side).

Bonsor also explains that the band may have encapsulated actual witches, but they were never evil-mongers and the Beacon Records album by Monument only did for their rep with its lurid claims on the back cover of Witchfinder General goings on. The audio on each varies from good to great - the superb Flute and Harmony Rock of "New Land" on the debut sounding suitably impressive for instance while the 2018 is actually too in your face. And the debut card sleeve is a gatefold reflecting that original iconic artwork – the others are singles.

You can understand why Nepentha Records tried the Blackfoot Sue "Standing in The Road" sounding "Za Za Za Zilda" track as a 45 that might land Zior on 'Top Of The Pops' - hooky and catchy. It was at least better than its rather dull "She's A Bad, Bad Woman" non-album B-side. But the debut (like much of their stuff) suffers from average songs, a good but never great vocal and a fair-to-middling production. Those expecting the big riffs of Sabbath can look elsewhere - but that doesn't stop stuff like "New Land" being excellent - though you may wonder where the bop Rock 'n' Roll of "Rolling Thunder" fits in with all that doomy artwork. Albums two, three and four feature more badly recorded vocals buried in the mix of Rock riffage ("Strange Kind Of Magic"), Psych Rock ("Boneyard Bumne") and so on. By the time you make it to the final splash, it feels like hard work instead of hard rock.

In the end much of the Zior material is very second rate and feels more dated that dark. For fans it's a treat for sure, but I'd advise anyone else a listen before purchase...

"Original Album Classics" by SOFT MACHINE – Featuring Five Albums From 1970 to 1973 Onto Five CD Remasters With One Bonus Track - "Third" (1970 2LP Set), "Fourth" (1971), "Fifth" (1972 with Bonus Track), "Six" (1973 2LP Set) and "Seven" (1973) (25 October 2010 UK Sony/Legacy 5CD Mini Box Set – 2007 Paschal Byrne Remasters) - A Review by Mark Barry...

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"...Kings And Queens..."

A neat and tasty little number this – five of the 2007 Paschal Byrne Remastered albums from "The CBS Years Series" (1970 to 1973) clumped together into one of Sony/Legacy's dinky "Original Album Classics" Mini Box Sets. Original Master Tapes used in the transfers, an experienced and much praised Audio Engineer at hand, two were originally double-albums and one of the single-album reissues even sports a worthy Alternate Take bonus track.

So at roughly two-quid a go for your fave-rave Jazz Rock, Fusion and Prog Rock band of the Seventies – SOFT MACHINE – this instrumental slugger is cheap and full of (mostly) cheerful insanity. Let's get to those Kings and Queens…

UK released 25 October 2010 - "Original Album Classics" by SOFT MACHINE on Sony/Legacy/Columbia 88697781442 (Barcode 886977814426) is a 5CD Mini Box Set with Five Singular Card Sleeves and Outer Hard Card Slipcase that plays out as follows (2007 Remasters used):

CD1 "Third" (75:21 minutes, 2LP Set onto 1CD):

1. Facelift [Side 1]

2. Slightly All The Time [Side 2]

3. Moon In June [Side 3]

4. Out-Bloody-Rageous [Side 4]

Tracks 1 to 4 are their third studio album, the 2LP set "Third" - released June 1970 in the UK on CBS Records 66246 and in the USA on Columbia G 30339. Featuring Hugh Hopper, Elton Dean, Mike Ratledge, Lyn Dobson, Nick Evans, Rab Spall, Jimmy Hastings and Robert Wyatt - it peaked at No. 18 on the UK LP charts (didn't chart USA).

CD2 "Fourth" (39:14 minutes):

1. Teeth [Side 1]

2. Kings And Queens

3. Fletcher's Blemish

4. Virtually Part 1 [Side 2]

5. Virtually Part 2

6. Virtually Part 3

7. Virtually Part 4

Tracks 1 to 7 are the studio album "Fourth" - released February 1971 in the UK on CBS Records S 64280 and in the USA on Columbia C 30754. Featuring Hugh Hopper, Elton Dean, Mike Ratledge, Alan Skidmore, Nick Evans, Jimmy Hastings and Robert Wyatt - it peaked at No. 32 in the UK LP charts (didn't chart USA)

CD3 "Fifth" (43:51 minutes):

1. All White [Side 1]

2. Drop

3. M C

4. As If [Side 2]

5. L B O

6. Pigling Bland

7. Bone

Tracks 1 to 7 are the studio album "Fifth" (called "5" in the USA) - released June 1972 in the UK on CBS Records S 64806 and as "5 in the USA on Columbia KC 31604. Featuring Hugh Hopper, Elton Dean, Mike Ratledge, Roy Babbington, John Marshall and Phil Howard - it didn't chart in either country.

BONUS TRACK:

8. All White (Take Two) - first appeared as a Bonus Track on the 2007 CD Reissue and Remaster of "Fifth"

CD4 "Six" (76:37 minutes, 2LP Set onto 1CD):

Live Record

1. Fanfare (Live) [Side 1]

2. All White (Live)

3. Between (Live)

4. Riff (Live)

5. 37 1/2 (Live)

6. Gesoireut (Live) [Side 2]

7. E.P.V. (Live)

8. Lefty (Live)

9. Stumble (Live)

10. 5 From 13 (For Phil Seamen With Love And Thanks) (Live)

11. Riff 2 (LIve)

Studio Record

12. The Soft Weed Factor [Side 3]

13. Stanley Stamps Gibbon Album (For B.O.)

14. Chloe And The Pirates [Side 4]

15. 1983

Tracks 1 to 15 are the double-album "Six" - released February 1973 in the UK on CBS Records 68214 and in the USA on Columbia KG 32260. Featuring Hugh Hopper, Mike Ratledge, Karl Jenkins and John Marshall - it didn't chart in either country.

CD5 "Seven" (43:15 minutes):

1. Nettle Bed [Side 1]

2. Carol Ann

3. Day's Eye

4. Bone Fire

5. Tarabos

6. D.I.S.

7. Snodland [Side 2]

8. Penny Hitch

9. Block

10. Down The Road

11. The German Lesson

12. The French Lesson

Tracks 1 to 12 are the studio album "Seven" - released October 1973 in the UK on CBS Records S 65799 and in the USA on Columbia C 32716. Featuring Mike Ratledge, Karl Jenkins, Roy Babbington and John Marshall - it didn't chart in either country.

With two albums for Probe in 1968 and 1969 under their belt but non-charting in the UK (featuring the Kevin Ayers line-up) – it must have heartening to see a four-sided double-album of difficult Jazz Rock imaginatively entitled "Third" make the UK album charts and actually achieve a position of No. 18 – something that would be practically impossible fifty years on in 2020. The opening eighteen and half minutes of "Facelift" was recorded live at the Fairfield Hall in Croydon and sets the musical scene - long pieces of Jazz Rock with a hint of Prog and Avant Garde and (let's be honest here) a lot of difficult listening ahead. Probably the crudest of their recordings, time hasn't been kind to this King Crimson having-a-go live moment - but it does at least sound a lot better than my original orange label CBS double did. 

Things improve immeasurably audio-wise with the Bass harmonic notes and saxes of Side 2's "Slightly All The Time" - those drum whacks and high-hat touches tingling around your speakers as Lyn Dobson and Elton Dean trade horn improvisations (Ratledge underpinning with keyboards). "Moon In June" is another nineteen-minuter - only this time opening with the distinctive vocals of drummer Robert Wyatt duetting with Ratledge on lyrics you actually can't make out. As those huge chunky keyboard chords kick in, the transfer is incredible, as too is that Bass solo that used to always blur a tad on my double LP. Side 4 gives us the slow water-gurgling keyboard lead-in to "Out-Bloody-Rageous" - ominously building into a sort of Tangerine Dream soundscape before in leaps into rapido Prog Rock. Amazing audio for this.

Their "Fourth" installment returned to single-album territory, and with Lyn Dobson departed and new boys Alan Skidmore and Jimmy Hastings adding to the mix. After the excesses of "Three" – this album is so much more controlled and better for it. The opening nine-minute Jazz-Rock of "Teeth" hammers home the Sax and Keyboard battles that dominates the album. Shimmering keys open the strangely ethereal "Kings And Queens" – a very Colosseum moment as those drums and crashing symbols float behind Oboe notes and Crimson-like Guitar moments (the Audio is so good here). Scraped violin notes open the doomy "Fletcher's Blemish" – not one of my faves it has to be said. But I totally dig the Miles Davis moments in Side 2's Four-Part "Virtually" – trumpet fills complimenting expert double bass plucks amidst super-controlled cymbal tapping. I can’t help thinking that "Fourth", their most Jazz-sounding Soft Machine album, perfectly showcases their exceptional playing – Paschal Byrne's remaster make it absolutely shine.

1972's "Fifth" may have seen their British and American chart shelf life evaporate, but it didn't stop the playing from getting better. Opening with "All White" - once again there's that Canterbury Jazz-Rock swirl - echoes of Miles getting warmed up for a Mahavishnu moment. The near eight-minutes of "Drop" not surprisingly sports beautifully recorded water drops that soon melt into shimmering keyboards - Ratledge channeling his inner Phaedra two years before the album's appearance (superb remaster too). The Jazz tingling continues with "MC" - reminding me of "Caravanserai" in its more cymbal-clashing mysterious moments. We almost get commercially soft with the smooth and funky "Pigling Bland" - oboe soloing galore. The 7:13 minute 'Take Two' of "All White" is a nice addition - the group finding its Fusion feet pretty damn quick in this excellent Bonus Track. 

The first LP of 1973's "Six" is Live and the second a Studio set - Sides 1 and 2 mixing new with old to the crowd's clear pleasure and Sides 3 and 4 featuring all new material. "Fanfare" gives us a forty-second musical intro to the opening track of "Six" - "All White" - and immediately the Audio is properly great. The soft shimmering notes that introduce "Between" dance across your speakers like Tomita trying to mimic rain instead of Snowflakes only to morph into a Fusion groove not surprisingly called "Riff". Speaking of pretty and floating, over on Side 2 of the first record "Lefty" throws up a soft shimmer until Fripp like distorted guitar intensifies proceedings. A long keyboard fade-in weaves "The Soft Weed Factor" into play, the first of four lengthy pieces on the studio LP. The band gets into an almost Can groove and the Remaster is excellent - all that percussive stuff audible. ELP type piano initially sets up the mixed-up title "Stanley Stamp Gibbon Album (For B.O.)" before Soft Machine throw fans a curve and go into a very funky Brian Auger's Retaliation groove. I find "1983" hard work, but "Chloe And The Pirates" once again lifts up a very cool double-album installment in their long Canterbury-instrumentals career.

Their second album in 1973 would be their seventh outing, though by this time, I'm not sure who was listening (which on evidence now is a damn shame). Funky Synths greet listeners on a track that sounds like its title "Nettle Bed" - but I like the moody and mellow "Carol Ann" better – an undoubtedly beautiful lady captured in sensual piano chords. I can hear Kevin Ayers and his 1974 Island Records debut album "The Confessions Of Dr. Dream And Other Stories" in the brilliant keyboard soloing that features throughout "Day's Eyes". Over on Side 2 the six and half minutes of "Snodland" is Soft Machine getting in touch with its Soulful Funky instrumental side – for me a highlight on an album overlooked in their catalogue.

I'd admit that in 2020, and to a new set of ears, what we old farts loved and thought wildly innovative back in the day might now seem dated - even be labelled as tuneless noodles best avoided. But like say Colosseum or The Mahavishnu Orchestra or for that matter Seventies Tangerine Dream, Soft Machine and their floating sometimes jagged soundscapes were always an acquired taste. And if you want them, they're here in abundance and sounding, absolutely pucker too…

"Shaft" (Music From The Soundtrack) by ISAAC HAYES – 23 July 1971 US 2LP Set on Enterprise Records and November 1971 UK 2LP set on Stax Records – featuring Backing Bands The Bar-Kays, The Isaac Hayes Movement, The Memphis Strings and Horns with Arrangements by Johnny Allen and J.J. Johnson and backing Singers Pat Lewis, Rose Williams and Telma Hopkins (3 November 2009 USA (25 January 2010 UK) Stax/Concord Music Group Deluxe Edition Reissue – 2LPs onto 1CD with One Bonus Track - Bob Fisher Remaster) - A Review by Mark Barry...

"...Damn Right!"

There was industry discussion in the October 1971 issue of Billboard Magazine as Stax/Enterprise prepped for the release of Isaac Hayes' second double-album "Black Moses" in the same year ("Shaft" had been issued in July 1971) – that they had locked down all promotion of his new opus. This was because some DJ had reputedly been offered $300,000 for his Promo Copy with the aim of bootlegging it.

Why would someone offer an A&R employee such a huge amount of cash in 1971?  Because his previous effort "Shaft" as a Movie, as a 2LP Blaxploitation Soul Music Soundtrack was MASSIVE – an absolute phenomenon and in a way that few had ever seen before. The handsome sex symbol lead actor Richard Roundtree, the bespectacled and impossibly cool musician Isaac Hayes with his beard and bling, the wah wah guitar theme he composed that just slaughtered all in its path worldwide - this bad mother was everywhere. Stax was even then claiming that such was the demand for Isaac’s fourth release, that nearly 40% of copies of "Shaft" in American circulation were bootlegs - gazillions of them.

Few now remember (or even know) that December 1971's "Black Moses" was going to be Isaac Hayes' fifth No. 1 US R&B LP in a row – a feat no one had ever achieved (he would achieve another 2 R&B number ones in 1974 with "Truck Turner" and the 1976 live double "Live At The Sahara Tahoe"). Seven No. 1 R&B albums – wow! But it's "Shaft" that has a special place in fan's hearts - which brings us to this (problematic for some) CD Remaster (issued November 2009 in the USA and January 2010 in The UK and Europe).

I'm going to argue that until 2021 (next year) when a '50th Anniversary Edition' must surely be looming – this 2009/2010 incarnation is about the best way so far to get the double on digital. There have been bitter diatribes about the BOB FISHER sound on this 2009 Concord Music Group Remaster but apart from some lack of punch on the Bass, I'm struggling to hear why anyone is complaining. I love what I'm hearing. The drums are clear and those brass and string parts are mellow and punchy - the organ fills too. The 2009 Mix of the famous title song is a tad superfluous as a supposed bonus - especially when we don't get the way more desirable and important single edits of "Shaft", "Cafe Regio's" or "Do You Thing" - two of which would easily have squeezed on here. Still, time to deal with what we do have. Let's get damn right...

UK released 25 January 2010 (3 November 2009 in the USA) - "Shaft: Deluxe Edition" by ISAAC HAYES on Universal/Stax/Concord Music Group 0888072317512 (Barcode 888072317512) is a Deluxe Edition offering the full 'Music From The Soundtrack' 2LP set Remastered onto 1 CD with One Bonus Track. It plays out as follows (74:33 minutes):

1. Theme From Shaft (Vocal) [Side 1]

2. Bumpy's Lament

3. Walk From Regio's

4. Ellie's Love Theme

5. Shaft's Cab Ride

7. Café Regio's [Side 2]

8. Early Sunday Morning

9. Be Yourself

10. A Friend's Place

11. Soulsville (Vocal) [Side 3]

12. No Name Bar

13. Bumpy's Blues

14. Do Your Thing [Side 4]

15. The End Theme

Tracks 1 to 15 are the double-album "Shaft" - released 23 July 1971 in the USA on Enterprise ENS-2-5002 and November 1971 in the UK on Stax 2659 007. Produced by ISAAC HAYES and featuring THE BAR KAYS and THE MOVEMENT as the backing band – the Music From The Soundtrack 2LP set peaked at No. 1 in both countries.

BONUS TRACK:

16. Theme From Shaft (2009 Mix, 4:45 minutes)

The 20-page booklet is a pleasingly in-depth affair with August 2009 liner notes from ASHLEY KHAN, author of "A Love Supreme: The Story Of John Coltrane's Signature Album". There are photos of rare picture sleeves, Isaac with his Grandmother at the 1972 Academy Awards, him and actor Richard Roundtree looking like the men of the moment, Isaac with backing band The Bar-Kays, members of his own band The Movement and more photos from the Stax archives along with the usual recordings/reissue credits. 

The ROB FISHER Remaster was done at Pacific Multimedia and really lifts the material - shaking tambourine on the instrumental "Cafe Regio's" (an edit of this song was the B-side of the "Shaft" single in September 1971), the slinky Burt Bacharach sounding brass on "Early Sunday Morning" (high-hat taps clear too) and so much more. For sure the Bass feels a tad muffled down but I don't hate it as much as some seem too.  

For an album that's so associated with the chicka-chicka wah-wah guitar of its theme song, "Shaft" the double-album is surprising mellow throughout. The near two-minutes of the sexy instrumental "Bumpy's Lament" is followed by the Funky Brass and Percussion 2:24 minutes of the superb "Walk From Regio's" where you can literally see our hero walking the dude streets with a per in his step and a glide in his stride (oh stop it). There is gorgeous sound on the vibes smooch of "Ellie's Love Theme" - and those brass and strings melting on "Early Sunday Morning" as the high-hat taps time.

The brass pump-and-punch of "Be Yourself" sounds like a 1976 Disco anthem only five years before anyone knew the word (nice clarity on the Sax solo too). Back to yeah baby turn-out-the-lights smooch with "A Friend's Place" - the instrumentation being ever so slightly fragmented in the sound stage (one too up front, the other too far back) - but that's how I remember it was on the original vinyl. Now to one of my faves - the keyboard and vocal "Soulsville" talks about brothers getting high and strung out and finding out that they can get high but never touch the sky. The audio is gorgeous and makes you wish he sang more on the album (a bummer is that the three ladies who add so much to the backing vocals - Pat Lewis, Rose Williams and Telma Hopkins are not credited in the musicians list - a stupid oversight).

There is that big chunky piano that opens up the smooth "Bumpy's Blues" - lovely brass and drums - so clear now. And on it goes to the monster that is the 19:28 minutes of "Do Your Thing" - if the music makes you groove - love on baby. Fantastic to hear it sound this good. Rap On. The 2009 Mix of "Theme from Shaft" is given a drummer's count in before that distinctive wah-wah guitar smacks you. The problem here is that you can 'feel' the manipulation of mix - some of it too far back while the rest is too loud. Like I said, I can't help that NOT including the single edit of the mighty "Do Your Thing" was a mistake.

So this supposed Deluxe Edition of 1971's "Shaft" it's not perfect for sure, but I still think it sounds awesome in so many places, and doesn't come with an aircraft-carrier price tag. Until the next best folks, rap on...