"These 23 Days In September/Stories/Nice Baby And The Angel/Cupid's Arrow" by DAVID BLUE – Four US Albums from April 1968, November 1971, April 1973 and June 1976 on Reprise and Asylum Records – Guest Musicians including Graham Nash, David Lindley, Ry Cooder, Rita Coolidge, Jesse Ed Davis, Dave Mason of Traffic, Glenn Frey of Eagles, Levon Helm of The Band, John Barbata of Jefferson Airplane, Chris Ethridge of The Flying Burrito Bros, Ralph Schuckett of Todd Rundgren's Utopia, Auburn Burrell of The Classics IV and more (June 2020 UK Morello Records Reissue – 4LPs onto 2CDs – Alan Wilson Remasters) - A Review by Mark Barry...

"...For A Window Thief..."

1941 was a good year for the birth of future singer-songwriter heroes – Bob Dylan, Paul Simon, Guy Clark, Tim Hardin and in February of that WW II moment - Stuart David Cohen of Providence, Rhode Island. This was a chap who when gigging with Bob Dylan and Eric Anderson in the early 60ts in Greenwich Village in New York (both in their early 20s) was advised to change his stage name because there was already a Dave Cohen doing the rounds. Fixating on his eye-colour, our hero, the young Jewish troubadour, became DAVID BLUE.

With a voice akin to a deeper Leonard Cohen mumble, the romanticism of bugger-all LP sales allied with rich lyrical tales of waste and woe and the never-ending search for love (his loner personality gave him plenty of mental and physical demons, drugs up the wazoo) – David Blue has been a cult figure for decades now. Always bubbling under in US Sixties and Seventies Folk and Folk-Rock circles as a singer-songwriter of real worth like say Mickey Newbury or Fred Neil or Judee Sill or even Dory Previn – Blue and his self-titled debut album had been issued by Elektra Records in August 1966 – itself egged on after Blue had been featured for three tracks the year previous (August 1965) on a four-artist LP called "The Singer-Songwriter Project" (put out by Rhino in the 00s, there is an Elektra twofer CD Remaster set that deals with both of these albums).

Then signing to Reprise Records – Blue released two albums on Frankie's label - "These 23 Days In September" in April 1968 and a December 1969 effort called "Me" credited for that release to his real name S. David Cohen (it is not featured here). "These 23 Days In September" saw his genius for a hooky tune mature, and that is where this fab little '4 Classic Albums On 2 CDs' offering comes a-dancing in. Giving us a further three whole LPs on David Geffen's Asylum Records - home of Joni Mitchell, Jackson Browne, Tom Waits, Eagles, Linda Ronstadt and in 1974 even Bob Dylan himself - there is a lot to savour here.

With no less than eight albums in his career across three huge record labels and a slew of acting spots when he ditched music after 1976 – David Blue would never reach the dizzying heights of his contemporaries. But with savvy folks like The Eagles, Richie Havens and Neil Young covering/praising his songs – you know you need to investigate what y’all missed first time around. Going back to the those halcyon days, here are the digital details...

UK released 12 June 2020 - "These 23 Days In September/Stories/Nice Baby And The Angel/Cupid's Arrow" by DAVID BLUE on Morello Records QMRLL 96D (Barcode 5013929899636) features Four Albums Remastered onto 2CDs and plays out as follows:

CD1 (73:05 minutes):

1. These 23 Days In September [Side 1]

2. Ambitious Anna

3. You Need A Change

4. The Grand Hotel

5. The Sailor's Lament

6. You Will Come Back Again [Side 2]

7. Scales For A Window Thief

8. Slow And Easy

9. The Fifth One

Tracks 1 to 9 are his second studio album "These 23 Days in September" – released April 1968 in the USA on Reprise Records RS 6296 in Stereo (no UK issue). Produced by GABRIEL MEKLER – it didn’t chart (WB in 2007 CD)

10. Looking For A Friend [Side 1]

11. Sister Rose

12. Another One Like Me

13. House Of Changing Faces

14. Marianne [Side 2]

15. Fire In The Morning

16. Come On John

17. The Blues (All Night Long)

Tracks 10 to 17 are his fourth studio album "Stories" – released November 1971 in the USA on Asylum SD 5052 and March 1972 in the UK on Asylum SYL 9001. Produced by BOB RAFKIN, DAVID BLUE and HENRY LEWY – the album features Ry Cooder on Slide Guitar, Chris Ethridge of The Flying Burrito Bros on Bass (Bob Rafkin also), Rita Coolidge on Backing Vocals, Ralph Schuckett of Jo Mama, Todd Rundgren's Utopia and Clarence Clemens And The Red Bank Rockers on Keyboards, Milt Holland of The Surfmen and Captain Beefheart's Magic Band on Percussion, John Barbata of Jefferson Airplane and Russ Kunkel of The Section on Drums with Strings Arranged by Jack Nitzsche.

CD2 (73:51 minutes):

1. Outlaw Man [Side 1]

2. Lady O' Lady

3. Truth To You

4. On Sunday, Any Sunday

5. Darlin' Jenny

6. Dancing Girl [Side 2]

7. Yesterday's Lady

8. Nice Baby And The Angel

9. Troubadour Song

10. Train To Anaheim

Tracks 1 to 10 are his fifth studio album "Nice Baby And The Angel" – released April 1973 in the USA on Asylum SD 5066 and June 1973 in the UK on Asylum SYL 9009. Produced by GRAHAM NASH – String Arrangements by Graham Nash – Jennifer Warren Backing Vocals on "Lady O' Lady", Dave Mason of Traffic and David Lindley on Guitars, Chris Ethridge of The Flying Burrito Bros on Bass, Backing Vocals by Dave Mason of Traffic, Glenn Frey of Eagles and Graham Nash of The Hollies and Crosby, Stills, Nash & Young – Drums by John Barbata of Jefferson Airplane.

11. Run, Run, Run [Side 1]

12. The Ballad Of Jennifer Lee

13. Tom's Song

14. I Feel Bad

15. Cordelia

16. Maria, Maria [Side 2]

17. Cupid's Arrow

18. Primeval Tune

19. She's Got You

Tracks 11 to 19 are his seventh studio album "Cupid's Arrow" – released June 1976 in the USA on Asylum 7E-1077 (no UK release). Features Levon Helm of The Band on Drums, David Lindley on Guitar and Violin, Barry Goldberg on Keyboards (also Produced the LP) with Auburn Burrell of The Classics IV and Jesse Ed Davis on Guitars.

Produced by Lee Simmonds, this isn't a Deluxe Edition by any means so those expecting 30-page booklets can look elsewhere. But the 8-page inlay for QMRLL 96D does provide a brief two-page history of David Blue's career by SPENCER LEIGH (authoring a Bob Dylan tome that touches on Blue's association with him in New York), the LP credits for all four platters and that's about it. Photos from the original LP artwork are here too and Leigh's dense explanation of what happened is both informational, highly entertaining and ultimately (especially given what happened to Blue later in life) - sad. And with four rare albums for just above a tenner on digital – bloody good value for money. The Audio is care of ALAN WILSON with the Remasters done at Western Star Studios (Warner Brothers licenses for Cherry Red) and it all sounds great to me. To the music...

Afforded the luxury of a gatefold sleeve, the 1968 LP "These 23 Days In September" is a sparse affair musically - acoustic guitars and voice - all songs penned by DB. The title track opens with tales of humour spent, girly discontent politely spoken. The Gabriel Mekler Production values are gorgeous (he did Steppenwolf) - while DB tries to do his best Leonard Cohen vocal impression on the poppy "Ambitious Anna". Tunes like "You Need A Change" introduces Pedal Steel Guitar (doesn't say who) while a strummed zither helps "The Grand Hotel" and piano/keyboards lead the doom in "The Sailor's Lament" - men gone to the bottom of time. The Folk-Rock strum continues on "You Will Come Back Again", a good tune even if his vocals fall a tad flat. We then get nearly six minutes of "Scales For A Window Thief" - a wind that blows into sails of the past pushing them forward into a nothing horizon. "Slow And Easy" could be James Taylor (pretty) while the finisher "The Fifth One" even has a fuzzed-up guitar hoping to stroke that burgeoning Psych-based pop songs market (the first four women were al right but the fifth is just right). Amazing sound for the album, but for me, its strictly three-to-four star material unlike...

Things improve immediately with "Stories" from 1971 - his first platter for Asylum Records. The label provided him with some heavy-hitter musical company - Ry Cooder on Slide Guitar, Milton Holland on Percussion, Bass by Chris Ethridge and Backing Vocals from Rita Coolidge with Strings arranged by Jack Nitzsche (to name but a few). "Looking For A Friend" feels epic - like a really good Fred Neil song - his voice better than in 1968. "Sister Rose" only compounds the feeling that Leonard Cohen had something to worry about in David Blue - a never been warm song - except in your love - a Holy Cross sent from Montreal to act as a protector. The radio played Soul by the garden wall in "Another One Like Me" - as lovely as Seventies ballad as you've ever heard - soulful organ floating over the acoustic picking - only to have Ry Cooder slide in like a pro on the National Steel to seal the deal (gorgeous audio too).

"House Of Changing Faces" begins mellow and thoughtful - before going into over six minutes of acoustic anger on a sometimes clown making movies in some drugs hellhole where DB wanted to die (it's brilliant in a Mickey Newbury way). "Marianne" is an accordion-pretty waltz ala Tom Waits (the legendary Pete Jolly on Accordion). Blue loves that lady in the loft of her favourite lover - comforting her burning eyes filled with fear for the future. Elegant Jack Nitzsche strings accompany a lone piano for "Fire In The Morning" - a feeling weak breakfast song in a cold restaurant. But even better is "Come On John" - an impressive tale of a hungry man who can't help but run to liquid on spoons that he knows will do for him. And with its hooky electric guitar chorus parts - could have been a successful 45. The overlooked/excellent "Stories" album closes with six minutes on a singer that touched him - a fellow traveller on the road singing "The Blues (All Night Long)" - Ry Cooder once again blinding on the Slide. I'm so pleased with the Audio - fantastic - and I'd forgotten how sweet the whole record is.

Disc 2 goes into the Country Rock of "Nice Baby And The Angel" (1973) - produced to buggery by none other than Graham Nash of The Hollies and Americana superstars - Crosby, Stills, Nash & Young. The Eagles famously took the album's opener "Outlaw Man" and put it on their second album "Desperado" - the Royalties for which undoubtedly kept our skint hero in a hot lunches for a few years (Graham Nash can be heard harmonising). Jennifer Warren provides lovely backing vocals on the mandolin pretty "Lady O' Lady" - a used-to-be-a-rambler song where she takes the wayward braggart in hand. Massive production values too for "On Sunday, Any Sunday" - his vocals purposely echoed into the background as the perfectly captured squeaking acoustic strings rattle around your speaker stack. He goes for the Pop Country Rock market with the kicking "Darlin' Jenny" - a high up on this hill looking for tomorrow tale of looking for gold (I think its Dave Mason of Traffic playing the electric guitar parts).

Terry Adams provides the lone Cello on "Yesterdays Lady" - a softly sweet ballad about leaving - gorgeous words and audio. The title song "Nice Baby And The Angel" talks of sharing space with a woman with a twinkle in her eyes (she ain't eyeing the door). "Troubadour Song" sees our man light a smoke and wait for the train - on to a cheap hotel and poor food - waiting alone for a future to show up. It ends with what feels like The Waterboys transported back to 1973 and mated with The Eagles - waiting in London Town with the rain pouring down - sick to his soul - lady up and gone on the "Train To Anaheim".

By the time we reach 1976 (their was an album in 1975 that isn't featured here called "Comin' Back For More" also on Asylum) - Pedal Steel Country Rock dominates tunes like the down-home cowboy song "The Ballad Of Jennifer Lee". But Rawk like "Tom's Song" and "I Feel Bad" comes on like bad Ringo Starr and hasn't aged at all well. The ballad "Cupid's Arrow" just about saves what for me is a so-so album after the highs of "Stories" and "Nice Baby And The Angel". 

"...It's all over now, David Blue!" Bob Dylan reputedly joked to the young buck in 1961 as he changed his name from S. David Cohen. Another legend is that Blue was playing back the guitar melody to Bob as The Zim penned the lyrics to "Blowing In The Wind" right in front of him – a song that would change the world. And on the same spot as he had seen Lightning Hopkins play in the Sixties in Washington Square Park (a moment that inspired him to write) – the Jewish singer-songwriter (free of drugs and happily married) suffered a stroke while jogging in December 1982 and died at the criminally young age of 42.

I know its not all five-star material, but this 2020 David Blue release still feels huge to me. Morello Records have pulled off a wee bit of a coup here. Remember the window thief like this and well done to all involved...

"Unpentangled: The Sixties Albums" by JOHN RENBOURN of Pentangle featuring Duet Albums with DORRIS HENDERSON and BERT JANSCH – Including "There You Go!" with Dorris Henderson (February 1966), "John Renbourn" (November 1965), "Bert And John" with Bert Jansch (September 1966), "Another Monday" (November 1966), "Watch The Stars" with Dorris Henderson (February 1967) and "Sir John Alot Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte" (June 1968). Includes Bonus Album Outtakes and Non-Album Single Sides. Guest Musicians include Jacqui McShee, Danny Thompson and Terry Cox of Pentangle (May 2019 UK Cherry Tree Records 6CD Mini Clamshell Box Set with Six Albums and Eleven Bonus Tracks Featuring Various Remasters from 1999, 2001, 2002 and 2005 Further Mastered In 2019) - A Review by Mark Barry...

This Review And 225 Others Is Available In My AMAZON E-Book 

BOTH SIDES NOW - FOLK & COUNTRY 

And Genres Thereabouts

Your Guide To Exceptional CD Reissues and Remasters

For the 1960s and 1970s

All Reviews In-Depth and from the Discs Themselves

(No Cut And Paste Crap)

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"...The Time Has Come... "

In July 2020, it's easy to be blasé about these British John Renbourn 60ts albums (originally on Transatlantic and Fontana Records) and their digital availability (most of his Solo LPs outside of Pentangle have been in the CD marketplace as Remasters since 2001 and 2002).

But I worked as a Rarities Buyer and Mail Order Manager at Reckless Records in Soho for near 20 years servitude and while you would occasionally see "Bert And John" or "Another Monday" or maybe even "Sir John Alot..." – the two Dorris Henderson album collaborations never ever showed up. Both are listed in the Record Collector Rare Record Price Guide at high three-figure sums – if you can find copies. His first album debut too from March 1966 has always been legendarily hard to find.

So this dinky little mother load from Cherry Tree of the UK (part of the Cherry Red Group of labels - Cherry Tree deals mostly with Folk) that rounds up six-albums plus eleven bonuses is astonishingly good value for money for any newcomer to this giant of British Acoustic Folk. And it sounds the biz-snitz too. So once more ye Grene-horns unto the Merrie Knyghte and his Musyk Thyng...

UK released 31 May 2019 - "Unpentangled: The Sixties Albums" by JOHN RENBOURN (with Bert Jansch of Pentangle and Dorris Henderson) on Cherry Tree CRTREEBOX023 (Barcode 5013929692305) is a 6CD Mini Clamshell Box Set with Six Albums, Eleven Bonus Tracks, Mini LP Card Sleeves and A 24-Page Booklet. Featuring First Generation Master Tape Remasters from 1999, 2001 and 2005 Mastered in 2019 by OLI HEMINGWAY - it plays out as follows:

CD1 (49:42 minutes): Doris Henderson and John Renbourn – "There You Go!"

February 1966 UK LP on Columbia SX 6001 in Mono (Tracks 1 to 17)

1. Sally Free And Easy [Side 1]

2. Single Girl

3. Ribbon Bow

4. Cotton Eyed Joe

5. Mr. Tambourine Man

6. Mist On The Mountain

7. The Lag's Song

8. American Jail Song

9. The Water Is Wide

10. Something Lonesome [Side 2]

11. Song (Falling Star)

12. Winter Is Gone

13. Strange Lullaby

14. You're Gonna Need Somebody On Your Bond

15. One Morning In May

16. A Banjo Tune

17. Going To Memphis

BONUS TRACKS:

18. The Leaves Are Green

19. The Hangman

Tracks 18 and 19 are the non-album A&B-sides of a May 1965 UK 45 Single on Columbia DB 7567. It was first issued digitally January 1999 in the UK for the CD reissue of "There You Go!" on Ace/Big Beat CDWIKD 186 (Barcode 029667418621). The 1999 Remaster for this whole album is licensed from Ace Records.

CD2 (54:20 minutes): John Renbourn – "John Renbourn"

March 1966 UK LP on Transatlantic TRA 135 in Mono (Tracks 1-15)

1. Judy [Side 1]

2. Beth's Blues

3. Song

4. Down On The Barge

5. John Henry

6. Plainsong

7. Louisiana Blues

8. Blue Bones

9. Train Tune [Side 2]

10. Candy Man

11. The Wildest Pig In Captivity

12. National Seven

13. Motherless Children

14. Winter Is Gone

15. Nosh And Rabbit

BONUS TRACKS:

16. The Wildest Pig In Captivity (Alternate Version)

17. Can't Keep From Crying

18. Blues Run The Game

19. Lucky Thirteen

Tracks 16 to 19 first issued November 2001 in the UK as Bonus Tracks for the CD reissue of "John Renbourn" on Castle Music CMRCD 359 (Barcode 5050159135929). Track 19 "Lucky Thirteen" also from the Bert Jansch UK album, "It Don't Bother Me" – December 1965 on Transatlantic TRA 132 in Mono (it's written by Renbourn and he plays second guitar on it too). The Remaster from 2001 is used for this CD.

CD3 (30:15 minutes): Bert Jansch and John Renbourn - "Bert And John"

September 1966 UK LP on Transatlantic TRA 144 in Stereo (Tracks 1-12)

1. East Wind [Side 1]

2. Piano Tune

3. Goodbye Pork Pie Hat

4. Soho

5. Tic-Tocative

6. Orlando

7. Red's Favourite [Side 2]

8. No Exit

9. Along The Way

10. The Time Has Come

11. Stepping Stones

12. After The Dance

BONUS TRACK:

13. The Waggoner's Lad - from the September 1966 Bert Jansch UK LP "Jack Orion" on Transatlantic TRA 143 – John Renbourn plays Second Guitar on this album opener. 

CD4 (27:59 minutes): John Renbourn – "Another Monday"

November 1966 UK LP on Transatlantic TRA 149 (Tracks 1 to 12)

1. Another Monday

2. Ladye Nothinge's Toye Puffe

3. I Know My Babe

4. Waltz

5. Lost Lover Blues

6. One For William

7. Buffalo [Side 2]

8. Sugar Babe

9. Debbie Anne

10. Can't Help From Crying

11. Day At The Seaside

12. Nobody's Fault But Mine

All tracks written by Renbourn except 3, 5, 8, 10 and 12 which are Traditional Songs and Blues covers.

Tracks 1, 2, 4, 6, 7, 9 and 11 are instrumentals

Renbourn sings Lead Vocals on Tracks 3 and 8 and duet vocals with Jacqui McShee [later with Pentangle] on Tracks 5, 10 and 12

CD5 (41:16 minutes): Dorris Henderson with John Renbourn – "Watch The Stars"

February 1967 UK LP on Fontana STL 5385 in Stereo (Tracks 1-15)

1. When You Hear Them Cuckoos Hollerin' [Side 1]

2. It's Been A Long Time

3. 30 Days In Jail

4. No More My Lord

5. Watch The Stars

6. There's Anger In This Land

7. Mosaic Patterns

8. Tomorrow Is A Long Time

9. For Lovin' Me [Side 2]

10. Come Up Horsey

11. God Bless The Child

12. The Time Has Come

13. Poems Of Solitude: Poems Of My Heart/Eighteen Tedious Ways/Magic String

14. Lonely Mood

15. Gonna Tell My Lord

BONUS TRACK:

16. Message To Pretty - March 1967 Non-Album A-side of a UK 45 on Fontana TF 811 ("Watch The Stars" album track was the B-side). "Message To Pretty" first issued as a Bonus Track in September 2005 for the CD reissue of "Watch The Stars" on Fledg'ling Records FLED 3055 (Barcode 5020393305525). The 2005 Remaster is used for all of this CD.

CD6 (37:47 minutes): John Renbourn - "Sir John Alot Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte"

June 1968 UK LP on Transatlantic TRA 167 in Stereo (Tracks 1-10)

1. The Earle Of Salisbury [Side 1]

2. The Trees They Do Grow High

3. Lady Goes To Church

4. Morgana

5. Transfusion [Side 2]

6. Forty-Eight

7. My Dear Boy

8. White Fishes

9. Sweet Potato

10. Seven Up

BONUS TRACKS:

11. The Earle Of Salisbury (Alternative Version)

12. Transfusion (Alternative Version)

13. Forty-Eight (Alternative Version)

Tracks 11 to 13 are Album Outtakes first UK released digitally in November 2002 for the CD reissue of "Sir John Alot..." on Castle Music CMRCD 597 (Barcode 5050159159727). Terry Cox of Pentangle plays percussion instruments on the album and outtakes. The 2002 Remaster is used for this CD.

As you can see from the detailed list provide above – all six have been out on CD before with Remasters licensed from Ace, BMG (who handled Sanctuary) and Fledg'ling Records. Dating from 1999, 2001, 2002 and 2005 – all are newly mastered in 2019 by OLI HEMINGWAY for Cherry Tree. The Sanctuary, Ace and Fledg'ling reissues were all remastered from original Mono and Stereo tapes and as fans will have known for years – the audio is gorgeous – Bill Leader and his original production values shining through. Each of these albums is filled with a mixture of Sixties UK Folk, Acoustic Folk, Acoustic Blues, World Music, Acoustic Old Timey Country, Ancient Instrumentals and Traditionals of all sorts. This is lovely music to listen to on CD and at about four-quid an album – amazing value for money too. 

You know you're in the presence of class when the 24-page booklet features the Royal Festival Hall poster for 27 May 1967 where Marquee Productions invite you to an evening of the Blues with the first appearance from 'The Pentangle' – Bert Jansch and John Renbourn on Guitars, Jacqui McShee on Vocals, Danny Thompson on Bass and Terry Cox on Drums. Many of these band-mate troubadours would of course join Renbourn on these solo albums. With an essay by DAVID WELLS that acknowledges COLIN HARPER (a world authority on Pentangle and Solo releases) – the booklet compliments the text with double-page spreads of period stuff - trade adverts for gigs, the Sir John A lot LP release, pictures of the beautiful Dorris Henderson and a smiling Jacqui McShee, LP labels on Transatlantic and Fontana, demo copies of the rare 45s and so on. The CD label designs reflect the original Transatlantic and Fontana British LP colourings where relevant and the Singular Mini LP sleeves give full track lists (including bonuses) and discography info on the rear. It's all very tasty and thoughtfully done...

It opens on the very Joan Baez meets Judy Henske meets Doris Troy vocals of Dorris Henderson as she goes booms her way through "Sally Free And Easy" - a Cyril Tawney cover accompanied by the quiet Simon & Garfunkel acoustic guitar of Renbourn. They then go after three Traditionals - "Single Girl" (with leaking shoes), "Ribbon Bow" (own true love) and "Cotton Eyed Joe" (came for to show you my diamond ring) - before hitting the American Folk Man of the moment - Dylan and his hey "Mr. Tambourine Man". Other goodies include the beautiful Traditional "The Water Is Wide", a welcome acoustic Blues of Robert Johnson's "You're Need Somebody On Your Bond" while a convict sitting in the buck house playing guitar dreams of "Going To Memphis" - Renbourn's playing fabulous.

Future Pentangle cohort Bert Jansch plays on two tracks of John Renbourn's self-titled solo LP issued in March 1966 - "Blue Bones" and "Noah And Rabbit". Produced by Transatlantic's main man Nathan Joseph – the styles are mixed and genre cool. We go from Blind Boy Fuller's sugar woman in "Beth's Blues" through a John Donne poem put to music in "Song" – the American lonesome cry "John Henry" ballad done in bottleneck style - while Iain Matthews of Matthews Southern Comfort (after he left Fairport Convention) would name his 1972/1973 band after the gorgeous instrumental "Plainsong". The two Jansch collaborations feel so much better for the duelling guitars especially "Noah And Rabbit" and amongst the Bonus cuts is the truly gorgeous early Paul Simon song "Blues Run The Game"  - a tune Jackson C. Frank would cover of his Paul Simon-produced debut album in 1965 on Columbia Records. It never featured on an officially released S&G LP but an outtake of this fab little acoustic roller turned up on the Simon and Garfunkel "Old Friends" and subsequent "The Collection" Box Sets (Frank and S&G are both reviewed in this e-book). Hell even the collaboration instrumental "Lucky Thirteen" from the Bert Jansch December 1965 album "It Doesn't Bother Me" tagged on to Disc 2 as a Bonus is exactly that - an actual worthy extra.

"East Wind" opens with rattling strings as acoustic guitars do battle – the instrumental actually feeling like the ebb and flow of its title. But there is lay a problem. Reviewers had heard this type of short strummers album before and had deemed that neither Jansch nor Renbourn possessed a voice decent enough to carry a tune (I'd disagree). But, despite its mainly instrumental pieces being described at the time as "...a pleasant unmemorable record... " by some such reporter – softly-softly melodies contained within tunes like "Song" and "Along The Way" and their September 1966 simplicity - feels like a breath of acoustic Folk air in the clutter of July 2020. In much the same way, "Stepping Stones" string-pings out of your speakers with a subtle muscularity – great playing that is still musical. I love it. And how cool is it to hear the lovely Anne Briggs ballad "The Time Has Come" be given such a sympathetic rendering. The singular bonus is a genuine gem – "The Waggoner's Lad". The opening cut to the Bert Jansch solo album "Jack Orion" is a banjo-driven strummer like say 1970's "Gallows Pole" that I'm sure Jimmy Page 'borrowed' (instrument and all) for some Zeppelin song somewhere down the line. Simple, sweet and subtle - "Bert And John" is an album worth rediscovering in my book.

At a piddly twenty-eight minutes, Renbourn's official second solo album "Another Monday" is hardly guilty of Prog excess when it comes to playing time, but it does '...throw its arms around you like a circle around the sun...' as the great man sings in "I Know My Babe". Platter no. 2 "Another Monday" is a beautifully even-handed album - a cool breeze listen all the way through and I for one love his voice even though there were those at the time that slagged it off and would have paid him good money to never open his gob again (one went ballistic generous, taking all of his might to describe JR as a 'pleasant enough singer'). That cruel assessment was balls IMO because when you listen to his three duets with future Pentangle leading light Jacqui McShee on "Lost Lover Blues", "Can't Keep From Crying" and "Nobody's Fault But Mine" - the combo of their voices produced magic to my ears. Throw in the instrumental "One For William" where he accompanies himself on Oboe of all things using the ponderous pseudonym 'Jennifer d0e Montforte-Jones' and you get some trippy Acid Folk moments that also touch on a slight Jazz vibe.

It opens with two short instrumental originals - "Another Monday" and "Ladye Nothinge's Toye Puffe" - loveliness that flows over you sweetly (he revisited "Ladye..." on "The Nine Maidens" album in 1985). Renbourn sings "I Know My Babe" - a Blues Traditional that James Taylor based "Circle 'Round The Sun" on when he covered it too on his 1968 Apple Records debut "James Taylor". Renbourn's picking, his warm-toned vocal delivery and the "...sun's gonna shine..." lyrics all combine to make a fast-paced Acoustic mini masterpiece out of "I Know My Babe". But of all the instrumentals on the LP - his own "Waltz" is by far the most hair-raisingly brilliant - feeling like some lost Blues Speeder on some forgotten Folkways LP of the early Fifties (and you can so hear where Page nicked a few licks for Zeppelin). A cover of Blind Boy Fuller's "Lost Lover Blues" becomes the first of three featuring Jacqui McShee on duet vocals with Renbourn - sure ain't got no lovin' baby now. Combined with Renbourn moonlighting as the po-faced pseudonym Jennifer de Montforte-Jones the 'Oboe' player - the Acid Folk instrumental of "One For William" ends Side 1 on a high.

"Watch The Stars" is even harder to locate than their first Henderson & Renbourn LP outing but is a much better album, so consequently listed for more (£200 and higher). Henderson still had the Judy Henske stomping-woman power in her vocal range but had wisely paired it back and the unplugged feel to the songs comes courtesy of Danny Thompson of Pentangle being the only other musician on the LP (playing his Double-Bass). Rod Stewart would cover the gorgeous Bob Dylan song "Tomorrow Is A Long Time" on his 1971 masterpiece "Every Picture Tells A Story" – maybe he heard the delicate Henderson and Renbourn rendition on this February 1967 LP. The pretty continues with Henderson's own "Lonely Mood" – a hugely accomplished ballad (why hasn't someone covered this?). Amongst the covers she tackles Billie Holiday's "God Bless The Child" – her tremulous voice sweetly controlled. She lets it rip a tad with the Gordon Lightfoot cut "For Lovin’ Me" while she slurs drunk and dirty on the incarceration tune "30 Days In Jail". Her beliefs get her most passionate vocal for the Side 2 finisher "Gonna Tell My Lord" – wake the dead – while the stand-alone single "Message To Pretty" sounds like a Mamas & Papas pop-song outtake with harmonica fills from a different time. Don't need you to help me find my way...sounds great too.

Apart from a slew of originals, Renbourn tackles Booker T. & The MG's and their "Sweet Potato" on his wittily titled "Sir John Alot..." - the name of the album actually all run into one word on original Transatlantic LP labels. He co-writes the excellent "Forty-Eight" and "Seven Up" with Drummer Terry Cox of Pentangle while "The Trees They Do Grow High" is a ye-olde Traditional. Amidst the Bonus cuts my fave 'Alternative Version' is that of the Side 1 opener "The Earle Of Salisbury" – clever playing.

Dorris Henderson would join Eclection while both Jansch and Renbourn would enjoy long and prosperous solo careers outside of Pentangle into the Naughties. 

True Renbourn loons will already have all six of the previously issued CDs, but those wanting to know why British Folk created so much excitement back in the day (and dare we say it, was even cool) should look no further than this ample bosom of Merrie Acoustic John-tasticness - one of only a handful of artists to release four albums in one year (1966). Brilliant and then some... 

"Rock Of Age: The Band In Concert" by THE BAND – August 1972 US 2LP Live Set on Capitol Records (November 1972 in the UK) – Featuring Robbie Robertson, Levon Helm, Richard Manuel, Rick Danko and Garth Hudson with guests Bob Dylan, Snooky Young, Howard Johnson, Joe Farrell, Earl McIntyre, J.D. Parson and Horn Arrangements by Allen Toussaint (May 2001 UK Capitol Records Expanded Edition 2CD Reissue – Ron McMaster and Andrew Sandoval Remasters) - A Review by Mark Barry...

This Review And Over 300 More Like It 

Are Available In my e-Book on AMAZON 

TUMBLING DICE - 1972

Your All-Genres Guide To Exceptional 

CD Reissues and Remasters 

Classic Albums, Compilations, 45s...

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"...Sweeter Than Ever..."

You were nowhere in Rock if you hadn't had a double live album by 1972 - and debuted since 1968 - The Band struck on a cool idea to make their first foray into the obligatory 2LP arena circuit souvenir stand out.

Fresh from an invigorating recording experience with New Orleans Soul Man and Brass Arranger Allen Toussaint on their September 1971 "Cahoots" album with the Little Feat-funky "Life Is A Carnival" – the much-respected Toussaint prepped horn charts for their forthcoming end of year concerts in 1971 at the Academy Of Music in New York. The Band did four nights with the shows split in two. So after the intermission, the five-piece group of Robbie Robertson, Levon Helm, Richard Manuel, Rick Danko and Garth Hudson would come back on stage – but this time bolstered up by a five-strong brass section consisting of Snooky Young, Howard Johnson, Joe Farrell, Earl McIntyre and J.D. Parson. And so along with a smattering of cleverly re-arranged cover versions, old tunes and familiar melodies were made new again and that collaborative magic was captured on "Rock Of Ages: The Band In Concert" finally issued August 1972.

This 'Expanded Edition' 2CD Reissue and Remaster only compounds that triumph with 10 Previously Unreleased tracks - the final four of which feature special guest and musical soulmate Bob Dylan. To the lighted candles...

UK released 8 May 2001 - "Rock Of Ages: The Band In Concert" by THE BAND on Capitol Records 530 1812 (Barcode 724353018122) is an Expanded Edition 2CD Reissue and Remaster of the 1972 2LP Live Album with 10 Previously Unreleased Bonus Tracks that plays out as follows:

CD1 (79:53 minutes):

1. Introduction [Side 1]

2. Don't Do It

3. King Harvest (Has Surely Come)

4. Caledonia Mission

5. Get Up Jake

6. The W.S. Walcott Medicine Show

7. Stage Fright [Side 2]

8. The Night They Drove Old Dixie Down

9. Across The Great Divide

10. This Wheel's On Fire

11. Rag Mama Rag

12. The Weight [Side 3]

13. The Shape I'm In

14. Unfaithful Servant

15. Life Is A Carnival

16. The Genetic Method [Side 4]

17. Chest Fever

18. (I Don't Want To) Hang Up My Rock And Roll Shoes

Tracks 1 to 18 are the double-album "Rock Of Ages: The Band In Concert" - released August 1972 in the USA on Capitol SABB 11045 and November 1972 in the UK on Capitol E-STSP 11. Peaked at No. 6 in the US LP charts (didn’t chart UK)

CD2 Previously Unreleased Bonus Tracks (45:14 minutes):

1. Loving You Is Sweeter Than Ever

2. I Shall Be Released

3. Up On Cripple Creek

4. The Rumor

5. Rockin' Chair

6. Time To Kill

7. Down In The Flood - THE BAND with BOB DYLAN

8. When I Paint My Masterpiece - THE BAND with BOB DYLAN

9. Don't Ya Tell Henry - THE BAND with BOB DYLAN

10. Like A Rolling Stone - THE BAND with BOB DYLAN

With liner notes penned by ROB BOWMAN in January 2001 - the 20-page booklet reproduces all the artwork of the original tri-gatefold double album as well as providing new interviews with key players (Toussaint still alive when the reissue was being compiled). It's a superbly detailed read – guest musician backgrounds, song choices discussed etc - and also shows repro promo labels of the two US 45s issued from the 2LP set - September 1972's "Don't Do It" b/w "Rag Mama Rag" on Capitol 3433 and December 1972's "(I Don't Want To Hang Up) My Rock And Roll Shoes" b/w "Caledonia Mission" on Capitol 3500. There is even a Tracking Sheet for "Loving You Is Sweeter Than Ever" as well as the usual in-depth reissue compilation credits (Cheryl Pawelski and Andrew Sandoval). This set of liner notes actually deals with the item in hand and doesn’t fill 75% of its pages with a history of the group.

All Tracks are 24-Bit Digital Remasters by RON McMASTER and ANDREW SANDOVAL - both names familiar Audio Engineers on both The Band and The Kinks catalogues. The Audio is stunning, lifting up material I once thought I knew too well. To the shows and the music...  

"We're gonna try something we've never tried before..." - Robbie Robertson announces as they arrive back on stage and he introduces the pumping newcomers. Horn Section Leader and Flugelhorn player Snooky Young had cut his teeth with some huge big band names – Jimmie Lunceford, Count Basie, Lionel Hampton and Benny Carter – while Baritone Saxophonist Howard Johnson had sessioned and recorded with Ray Charles, Miles Davis, Gil Evans and new kid on the Blues Rock/Americana block - Taj Mahal. So first up is a cover version and what a smart choice it is. Marvin Gaye's barnstorming September 1964 Tamla R&B smash "Baby Don't You Do It" gets reduced in name to "Don't Do It" – the Holland-Dozier-Holland winner (arranged by Allen Toussaint) a standout before we even get to Band material (the single is an edited version). It's clear within seconds that the whole ensemble is tight – Levon Helm whacking the drums and signing with gusto while Rick Danko plucks that Bass with precision. Capitol edited it down for a 45 that made No 34 on the US singles charts.

Next up is a Soulful take on "King Harvest (Has Surely Come)" - the bass lovely in the remaster. Their particular Soul-Rock sound emerges again in Robbie's "Caledonia Mission" - can't get to you through your garden gate - him channelling Otis Redding in this great tune. Both "Get Up Jake" and the rocking Side 1 finisher "The W.S. Walcott Medicine Show" benefit from the oomph the brass section adds them.

Side 2's "Stage Fright" comes from the first half of the show (minus the brass) and acts as perfect lead-in for "The Night They Drove Old Dixie Down" - that trumpet adding a sense of history to an already loaded song. The crowd cheers the lyrics "Standing by your window...a pistol in your hand..." as they launch into "Across The Great Divide". More cheers for the Bob Dylan/Rick Danko written "This Wheel's On Fire" while "Rag Mama Rag" explodes out of familiarity into something exciting and new with the brass boys going all New Orleans on its Americana ass.

Take a load off Fanny, take a load for free, and put the load right on me - "The Weight" feeling epic even in 1971. One of my faves is the Little Feat Funk of "The Shape I'm In" – again filled out by a band cooking and enjoying themselves. Things get plaintive with "Unfaithful Servant" – gotta be sent away – left her key – gone to pack. Back to Soul-Rock with the fantastic "Life Is A Carnival" – the Horn Section elevating The Band sound into Little Feat live. We romp to the end with a church organ vs. synth solo for seven minutes of "The Genetic Method" – then go into a lethal one-two pair of enders – the fantastic "Chest Fever" with stunning Toussaint brass jabs and the crowd pleaser "(I Don't Want To) Hang Up My Rock And Roll Shoes".

For many CD2 will call to them - feel warm and fuzzy like a chance meeting with a friend you haven't seen since collage. Shocking is a word that jumps to mind when you think how good these are. It opens with a cover of the Four Tops Tamla hit penned by Ivy Hunter and Stevie Wonder "Loving You Is Sweeter Than Ever". Things mellow big time with the Soulful "I Shall Be Released" – that squeaky vocal strangely beautiful and drug-haunted in ways. Funky returns with "Up On Cripple Creek" and so misused song "The Rumor" could easily have been on the album or even a B-side of one of the single. Out comes the Harmonica for the whole-life-at-sea song "Rockin' Chair" - take me home to sooth away the rest of my years. Dylan had just released "Greatest Hits Volume II" (a month before the concerts) with five new cuts on it - one of them was the excellent "Down In The Flood" (a Basement Tapes tune) while a second was the now much-loved "When I Paint My Masterpiece" - both versions given throaty versions his Bobness. Levon Helm duets with Dylan on "Don't Ya Tell Henry" - while Robbie Robertson lets rip too. The crowd get a cracking Band/Dylan version of "Like A Rolling Stone" - huge cheers - the tune still fresh to 1971 ears.

A cracking great live double-album bolstered up with ten Bonus Tracks actually worthy of the moniker - no longer a complete unknown. "Loving You Is Sweeter Than Ever" - ain't that the truth...

THE BAND on Capitol Records 1968 to 1977

UK Series of Expanded Edition CD Reissues and Remasters

(September 2000 and May 2001 Release Dates)

1. Songs From Big Pink (July 1968 Debut Album) – Sept 2000 on Capitol 525 3902 (Barcode 724352539024)

2. The Band (September 1969 USA, January 1970 UK) - Sept 2000 on Capitol 525 3892 (Barcode 724352538928)

3. Stage Fright (August 1970) - Sept 2000 UK CD on Capitol 525 3952 (Barcode 724352539529)

4. Cahoots (October 1971) – Sept 2000 UK CD on Capitol 525 3912 (Barcode 724352539123)

5. Rock Of Ages: The Band In Concert (August 1972 2LP Live Set) – May 2001 UK 2CD Set on Capitol 530 1812 (Barcode 724353018122)

6. Moondog Matinee (October 1973) – May 2001 UK CD on Capitol 525 3932 (Barcode 724352539321)

7. Northern Lights-Southern Cross (November 1975) – May 2001 UK CD on Capitol 525 3942 (Barcode 724352539420)

8. Islands (March 1977) – May 2001 UK CD on Capitol 525 3922 (Barcode 724352539222)