"We're An American Band" by GRAND FUNK – July 1973 US Seventh Album (Sixth Studio set) on Capitol Records (October 1973 in the UK) – featuring Mark Farner, Don Brewer, Craig Frost and Mel Schacher (November 2002 UK Capitol Records Expanded Edition CD Reissue with Four Bonus Tracks in the Grand Funk Remasters Series) - A Review by Mark Barry...

This Review and 289 More Like It Can Be Found In My AMAZON e-Book 

US AND THEM - 1973

Your All-Genres Guide To Exceptional 

CD Reissues and Remasters 

Classic Albums, Compilations, 45's...

All In-Depth Reviews From The Discs Themselves - Over 2,200 E-Pages

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"…Loneliest Rider…"

With album chart-numbers like No. 6 for both July 1970's "Closer To Home" and April 1971's well-received "Survival" – on top of November 1971's "E Pluribus Funk" at No. 5 and November 1972's "Phoenix" at No. 7 – it seems odd now to think that the American press had written off Grand Funk Railroad in late 1972 and early 1973 as 'finished' – or worse – just not that good. 

This is a band that has always had vitriol thrown at them. But a smart decision to employ Drummer and Singer Don Brewer and Keyboardist Craig Frost into their ranks permanently – and an even smarter decision to get ace zeitgeist master Todd Rundgren on board as Producer – Grand Funk Railroad would shorten their name and shorten that distance in the charts. 

Because with July 1973's "We're An American Band" – Grand Funk went all the way up to No. 2 on the US Billboard LP charts, despite the naysayers. It invigorated the group and even spawned two 45-smashes in the shape of "We're An American Band" and "Walk Like A Man" - the title track achieving a rapid numero uno slot - not something every group in the world could manage in the busy listings of summer 1973. Which brings us here... 

This deftly-handled 2002 CD Reissue in their 'Grand Funk Remasters' series doesn't quite have the gold-effect cover impact of the original vinyl LP (does at least have a gold first page to ape that) – but it does sport four cracking bonus tracks actually worthy of inclusion - while new STEVE ROESER liner notes give this much-maligned American institution their proper due. And it's cheap-as-chips too in 2021. Let's point the big gold finger; here are the details…

UK released November 2002 – "We're An American Band" by GRAND FUNK on Capitol 5417262 (Barcode 724354172625) is an Expanded Edition CD Reissue in their 'Grand Funk Remasters' Series with Four Bonus Tracks and breaks down as follows (55:13 minutes):

1. We're An American Band [Side 1]

2. Stop Lookin' Back

3. Creepin'

4. Black Licorice

5. The Railroad [Side 2]

6. Ain't Got Nobody

7. Walk Like A Man 

8. Loneliest Rider

Tracks 1 to 8 are their 7th studio album "We're An American Band" – released July 1973 in the USA on Capitol SMAS-11207 and October 1973 in the UK on Capitol EA-ST 11207. Their first album credited to just GRAND FUNK – it was produced by TODD RUNDGREN and peaked at No. 2 in the US album charts (didn't chart UK). Mark Farner wrote Tracks 3 and 5, Don Brewer wrote Track 1 with the remainder written by both Farner and Brewer 

BONUS TRACKS:

9. Hooray 

10. The End

Tracks 9 and 10 were studio outtakes from the June 1973 album sessions first issued in June 1999 as part of the UK 3CD Box Set "Thirty Years Of Funk 1969-1999: The Anthology" on Capitol Records 72434-99523-2-4

11. Stop Lookin' Back (Acoustic Mix) – PREVIOUSLY UNRELEASED 

12. We're An American Band (2002 Mix) – PREVIOUSLY UNRELEASED

Tracks 9, 10 and 11 written by Brewer and Farner - Track 12 by Brewer

GRAND FUNK was:

MARK FARNER – Lead Vocals on Tracks 3, 5 and 6 with duet vocals on Track 9 with Don Brewer, Electric and Acoustic Guitars, Conga and Electric Piano on "Creepin'" only

DON BREWER – Lead Vocals on Tracks 1, 2, 4, 7, 10, 11 and 12 with duet vocals on Track 9 with Don Farner, Drums and Percussion

MEL SCHACHER – Bass 

CRAIG FROST – Organ, Clavinet, Electric Piano and Moog 

While their earlier albums were notoriously recorded with no sense of audiophile, Rundgren was at the helm in 1973 and you have to wonder why. Rundgren explains in the new liner notes that he heard the new songs - not Rock rambles and jams - but more accomplished tunes with actual verses and choruses. And they were rehearsed. The title track was recorded in one day, completed and mixed on the second and by day three on its way to pressing plants. In fact by album's end, the single was already climbing the 45-charts to Number 1 as they mopped up the LP. The 12-page booklet repro's the original 'pointing finger' artwork as well as the gold sleeve - that awful naked photo in some barn somewhere and a better black and white snap showing the four-piece alive and kicking on stage. There are track-by-track recording details and of course extensive reissue credits. 

Still pumping out down 'n' dirty American Rock when they boogied, but now with flourishes of Acoustic beauty too, Rundgren brought a polish to GF and their material that both clearly needed (and according to the liner notes, wanted). Audio Engineer EVREN GOKNAR has 24-bit remastered this from original tapes - giving each Brewer vocal, Farner riff and Frost keyboard flourish more muscle. These tracks come at you with renewed power – not dampened down – but allowed to breath (like the other remasters in this series). Very well done. To the music and the cool bonuses...

Released in early July 1973 when the boys were still putting the LP together, Capitol rushed out the title track "We're An American Band" on Capitol 3660 with a 6:28-minute edit of "Creepin'" on the flipside. They gave it a picture sleeve and coloured vinyl and while some maintain the A-side was 'so' rushed in release that the mix is in fact an unpolished Rundgren version - his recollections put a damper on this hoped-for 'rare single version'. Rundgren remembers final mixing and mastering "We're An American Band" at Criteria before it was sent off to the pressing plants ("Creepin'" was also recorded on 12 June 1973 although originally entitled "I Don't Want To Be Their Fool"). The drum-start and guitar-funk come roaring out of the speakers - forty days on the road - come into your town - help you party down. 

"Stop Lookin' Back" feels like Grand Funk have suddenly discovered Funk-Rock via a Clavinet and Organ. Stuck in a county jail, our hero is hearing a turnkey and a voice calling him 'a dirty punk'. I'd forgotten how strong the Funk is with this one - Frost and Farner trading Guitar and Organ solos to fantastic effect. That's neatly followed by the seven-minute keyboard-slink of "Creepin'" where Frost gets to shine with big chunky notes. I love this - so Steppenwolf and John Kay - and in a good way. A love affair with a lady of colour infuses "Black Licorice" with a Stevie Wonder rapido Funk-Rock mania. And again, you can hear why Rundgren liked this - a hooky tune, that dances like a goodun (although I find it hard to hear those bullish lyrics amidst his screaming vocals). 

Side 2 opens with six-minutes of "The Railroad" - a brooding treated guitar snaking its way out into your loving room with tales of hard work and punch cards and sweat running down your back. Time for a quick but commercial rocker, so we get "Ain't Got Nobody" - a I-don't-why-I'm-crying boo hoo moment (huge audio on this when they go into that break). Capitol paired the big choruses of "Walk Like A Man" with "The Railroad" in October 1973 to produce the LP's second single release - Capitol 3760 rising to No. 19. Far better in my eyes is the Side 2 finisher "Loneliest Rider" - another Rock-Funk chugger that has Mark Farner talking about his Cherokee roots and meaning it. Grand Funk had a driving intensity and its here in "Loneliest Rider". 

And stripped of its bombast, the Bonus Mix for "Stop Lookin' Back" features just two acoustic guitars, Don Farner vocals and some percussion moments towards the end – a very clever bare-naked version that makes you feel the song anew. The excellent rocker "Hooray" (so Steppenwolf) was recorded 14 June, while four-minutes of "The End" was done on the 15th. Both have been smartly added on here as extras - once only available on the 1999 3CD Box set that in 2021 is long deleted. Accomplished, finished, it's surprising they remained in the can for so long. The extensively remixed new cut of the title track is 'guitar heavy' - a looser live-in-the-studio vibe than the more polished LP final. Nicely done...

For sure there will always be those who knock Grand Funk and neither Farner nor Brewer were ever going to be in the greatest singers ever in Rock lists any time soon. But I'd forgotten the good parts on this album and I'm glad I've renewed acquaintances with "We're An American Band", beefed up good and raring to go...

"In A Glass House" by GENTLE GIANT – October 1973 Fifth UK Studio LP on WWA Records - featuring Derek and Ray Shulman, Gary Green, Kerry Minnear and John Weathers (January 2010 UK Alucard CD Reissue with a Fred Kervorkian Remaster) - A Review by Mark Barry...

This Review and 289 More Like It Can Be Found In My AMAZON e-Book 

US AND THEM - 1973

Your All-Genres Guide To Exceptional 

CD Reissues and Remasters 

Classic Albums, Compilations, 45's...

All In-Depth Reviews From The Discs Themselves - Over 2,200 E-Pages

(No Cut And Paste Crap)

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"...An Inmates Lullaby..."

Rarely seen except outside of Prog and Hard Rock circles – the British label World Wide Artists with their distinctive black and white WWA logo managed only 12 album releases in one year (October 1973 to October 1974, see list below). And four of those were re-issues of Black Sabbath product. 

WWA's opening salvo however consisted of two sassily packaged platters – now both held in very high regard - the Groundhogs guitarist Tony McPhee and his first solo outing "The Two Sides Of Tony (T.S.) McPhee" on WWA 001 (had a die-cut tear-drop sleeve) and this – Gentle Giant's fifth studio album "In A Glass House" on WWA 002 (sported a plastic Perspex die-cut front sleeve with a lyric inner). 

Both October 1973 UK albums have always been rare – especially the Gentle Giant issue – which like say Captain Beefheart's "Clear Spot" LP on Reprise Records in its flip-top plastic envelope sleeve - is 'so' difficult to find in anything like Near Mint condition. 

So while this Alucard Publishing Limited CD Reissue and Remaster loses the impact of that original packaging with its disappointingly basic three-leaf foldout double-sided inlay (lyrics, credits and naught else) - at least the album is available to us again - and this time in real quality Hi-Def sound taken off the original quarter-inch tapes ("Alucard" is a song on their self-titled November 1970 debut album). 

And highly regarded it is too, if not a trifle unloved and forgotten, languishing in Proggy prison cell No. 5 behind its more illustrious predecessors that were all on the mucho-revered Vertigo label. Time to bring "In A Glass House" out of the dingy infirmary into the light of the exercise yard over by the Soprano Saxophone/Recorder work shed. Here is the inmate's lullaby in six parts...

UK released 26 January 2010 - "In A Glass House" by GENTLE GIANT on Alucard ALU-GG-010 (Barcode 804471000022) is a straightforward CD Reissue and Remaster that plays out as follows (37:57 minutes): 

1. The Runaway [Side 1]

2. An Inmates Lullaby

3. Way of Life 

4. Experience [Side 2]

5. A Reunion 

6. In A Glass House 

GENTLE GIANT were:

DEREK SHULMAN - Vocals, Alto and Soprano Saxophones, Recorder 

GARY GREEN – 6 & 12-String Guitars, Mandolin, Percussion and Alto Recorder 

KERRY MINNEAR – All Keyboards, Tune Percussion, Recorder and Vocals

RAY SHULMAN – Bass Guitar, Violin, Acoustic Guitar, Percussion, Backing Vocals

JOHN WEATHERS – Drums and Percussion 

The FRED KERVORKIAN Remaster was done from original master tapes at Avatar Studios in NYC – a high-resolution 24-bit 96k Remaster - and it is really excellent. The band were multi-instrumentalists so the layers pile up on each other over lengthy tracks - this remaster deftly bringing out the details whilst keeping a cohesive whole. The lyrics are spread across one side of the three-leaf inlay with their famous 'bearded man' logo behind the text. But on the other side there is naught of any consequence, which is a huge let down. To the complex music...

Recorded in London's Advision Studios in July 1973, Gentle Giant already had four album Production outings under their sophisticated five-piece belt - so they knew what they wanted on "In The Glass House". Again the Shulman brothers and Minnear did the writing whilst Engineer Gary Martin got it all down on tape. 

Things open with seven and half-minutes of "The Runaway" - a low-life sick of four walls busts free. For sure there will be those who will scrunch up their eyes and avert their ears at the complicated rhythms and constant changes - but this is Prog Rock unapologetic - and you need to invest time in it. Treated vocals usher in "An Inmates Lullaby" that quickly doubles up the lyrics by a voice sung in tandem (a trick Yes used on "Close To The Edge"). Vibes then ping while drums and various percussive instruments dip in and out like a Rock Jazz opera. "An Inmates Lullaby" may only be three and half minutes, but feels longer. Speaking of longer (and stronger), Side 1 ends with the almost piano-funky "Way Of Life" - just short of eight-minutes. "Way Of Life" sports brilliant guitar and keyboard breaks that feel at times like Greenslade having a whig-out - a genuine highlight on this obscure LP.

Side 2 opens with the very-difficult to like "Experience" - eight minutes of fret chasing - vocals leaping up and down. I'd admit that even with the obvious playing dexterity on display, it's not one of my faves and is for hardcore GG nuts only. The two-minutes of "A Reunion" is an Acoustic Guitar and Strings sort of Strawbs ballad moment and I love it. The muso musings come to an end with eight and half minutes of clavinet and guitar Rock - the album's titular track probably being the best this rare album gets for me. 

For sure this kind of deep-level Seventies Prog Rock will set some people's underpants on fire with excitement whilst making others will want to go to a gun range and use the album artwork as a target sheet (as many bullet holes in its dense musical heart as possible). And that mediocre inlay presentation should really be upgraded. But if you're a fan and a lover of Gentle Giant, then the Audio will be the big draw and (in some respects) the fact that you can get access to the music at all. 

"Inspiration waits for your call..." they sang on the title track to "In A Glass House". Half of you out there will probably want to answer that complicated ring tone in time...

A WWA Records LP Discography from 1973 to 1974 (with release dates) Including two LPs by GENTLE GIANT

1. WWA 001 – TONY McPHEE – "The Two Sides Of Tony (T.S.) McPhee" (October 1973) - Groundhogs Guitarist and Singer, debut solo album

2. WWA 002 – GENTLE GIANT – "In A Glass House" (October 1973)

3. WWA 003 – SNAFU – "Snafu" (January 1974)

4. WWA 004 – GROUNDHOGS – "Solid" (June 1974)

5. WWA 005 – BLACK SABBATH – "Sabbath Bloody Sabbath" (November 1973, original album) 

6. WWA 006 – BLACK SABBATH – "Black Sabbath" (January 1974, Reissue of their February 1970 debut UK album originally on Vertigo Records)

7. WWA 007 – BLACK SABBATH – "Paranoid" (January 1974, Reissue of their October 1970 second UK album originally on Vertigo Records)

8. WWA 008 – BLACK SABBATH – "Master Of Reality" (January 1974, Reissue of their August 1971 third UK album originally on Vertigo Records)

9. WWA 009 – BLACK SABBATH – "Vol.4" (January 1974, Reissue of their October 1972 fourth UK studio album originally on Vertigo Records)

10. WWA 010 – GENTLE GIANT – "The Power And The Glory" (October 1974)

WWA 011 – (Unissued)

11. WWA 012 – JACKIE LYNTON – "The Jackie Lynton Album" (September 1974) - ex Savoy Brown Blues Band, debut solo album

12. WWA 013 – SNAFU – "Situation Normal" (October 1974)

There are two Black Sabbath compilation LPs "Attention!" Volumes 1 and 2 but these were Dutch compilations possibly with the vinyl pressed in the UK in late 1974 or early 1975...

"Aerosmith" by AEROSMITH – Debut Album from January 1973 on Columbia Records (USA) and September 1974 in the UK on CBS Records - Featuring Steve Tyler, Joe Perry, Tom Hamilton, Brad Whitford and Joey Kramer (November 1993 UK Columbia CD Reissue with Vic Anesini SBM Remaster) - A Review by Mark Barry...

This Review and 289 More Like It Can Be Found In My AMAZON e-Book 

US AND THEM - 1973

Your All-Genres Guide To Exceptional 

CD Reissues and Remasters 

Classic Albums, Compilations, 45's...

All In-Depth Reviews From The Discs Themselves - Over 2,200 E-Pages

(No Cut And Paste Crap)

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"...Dream On..."

Boston's juvenile delinquent rockers AEROSMITH had been around – the hard-hitting five-piece gigging constantly in an effort to get noticed (what do you do after being chucked out of school, form a Rock 'n' Roll band is what). 

Columbia Records USA finally signed up the quintessentially American Hell-raisers, recording their first in October 1972 at the famed Intermedia Sound Studios in their hometown. And as Stu Werbin's original liner notes quite rightly said, Aerosmith was a young band and their music was for the young. So Columbia signed them up and hoped for the best - or at least the promise to be realised that the enthusiastic Stu clearly saw in them...

But their self-titled snarling-debut arrived with 'interest' in January 1973 rather than a bang. The album's one and only single "Dream On" with Side 1's "Somebody" on the flipside made radio waves and a No. 59 chart position, but the LP didn't break the top 200. It would take until April 1975 and their 3rd album "Toys In The Attic" for them to become vinyl monsters Stateside – that album clocking up over 8-million LP sales and a near two and half year chart reign (128 weeks in total). Their fourth album "Rocks" in 1976 cemented Aerosmith and it was only then that back-catalogue interest began. So in March 1976, the debut re-entered the US LP charts and made an impressive No. 21 placing (the band meant naught in Blighty and would have to wait until 1987 on Geffen to see chart action). 

But back in early 1973, Aerosmith still had some more pavements to pound and this is where all that big-haired mayhem started. And truth be-told (re-hearing it in spring 2021) – "Aerosmith" is far better than I remember it. And although this 1993 Columbia CD reissue/remaster is in desperate need of a packaging upgrade and some decent Bonus Tracks (original artwork of the boys centred in the sky is paraded here as a gift from the Gods) - it still boasts a stunning Don De Vito/Vic Anesini Super Bit Mapping Remaster. So once again, let's go Walkin' The Dog with Mama Kin down an American One Way Street...

UK released 8 November 1993 (reissued several times since including September 2011) - "Aerosmith" by AEROSMITH on Columbia 474962 2 (Barcode 5099747496226) is a straightforward CD Remaster of the 1973 debut album and plays out as follows (35:51 minutes):

1. Dream On [Side 1]

2. Somebody

3. Dream On

4. One Way Street

5. Mama Kin [Side 2]

6. Write Me A Letter

7. Movin' Out

8. Walkin' The Dog

Tracks 1 to 8 are their debut album "Aerosmith" - released January 1973 in the USA on Columbia KC 32005 (reissued 1976) and September 1974 in the UK on CBS Records S 65486. Produced by ARTHUR BARBER – all songs written by Steve Tyler except "Somebody" which is co-written with Steven Emspack, "Movin' Out" co-written with Joe Perry and "Walkin' The Dog" is a Rufus Thomas cover version. 

AEROSMITH was:

STEVE TYLER – Lead Vocals, Harmonica and Wood Flute

JOE PERRY - Lead Guitar and Backing Vocals

BRAD WHITFORD - Rhythm Guitar

TOM HAMILTON - Bass

JOEY KRAMER - Drums and Percussion

Guests:

David Woodford – Saxophone on "Mama Kin" and "Write Me A Letter"

Like the other CD reissues in this Columbia 'Nice Price' series - the double-sided four-leaf foldout inlay is hardly the stuff of legends. They repro four original master tape boxes – two trade newspaper reviews (suitably enthusiastic) – front and rear LP artwork - some period shots of the band – a photo of a signed original American LP - a British A-label demo single for "Dream On" - the cover art for the Rufus Thomas Stax LP "Walking The Dog" (their cover version ends Side 2) and a foreign picture sleeve, etc. But there's no liner notes, no history, appreciation, band involvement (and of course no aural extras either). Not the sexiest inlay in the world for sure...

What we do get by way of compensation however is a stunning new 24-bit digital remaster from original tapes by DON DeVITO and Mastering Engineer supremo VIC ANESINI - an Audio transfer name I actively seek out when looking for exceptional CD Remasters. Anesini has had a long association with Sony and all things Columbia - Santana, Simon & Garfunkel, Elvis Presley, Mott The Hoople, Janis Joplin, Carole King, The Jayhawks, Stevie Ray Vaughan, Mountain, Nilsson and many more – including Aerosmith. Bringing out the power of those riffs was always the priority and the team behind this transfer have achieved that.

Coming at you like Montrose in 1973 (though nowhere near as good yet) - the Aerosmith debut is a roadmap offering several glimpses into the Hard Rock template to come. What is immediately weird is that with the June 1973 relative success of the "Dream On" 45-single hitting No. 59 on the US Adult Rock charts (Columbia 4-45894) – why oh why didn't Columbia seize on the monster riffage of "Mama Kin" as single number two? Perhaps with the debut having only eight songs, they didn't want half the album out in the marketplace on two cheap 45s? But you can't help thinking now that someone at the musical monolith missed a serious trick there. 

Speaking on 45-genius, England's CBS Records tried the very 1973-Zeppelin sounding "Dream On" with "Somebody" on the B-side in November 1973 before the album would arrive in 1974 (CBS Records S CBS 1898 is a genuine rarity in Demo form in 2021). Not quite Rock – not quite Prog – but a path somewhere in-between - "Dream On" has a lead-in build up - Perry slowly adding guitar layers that eventually culminate in Tyler's screeches. I would in fact maintain that it's a bit of a forgotten power-house single and given the dominance of Sabbath, Zeppelin, Deep Purple and hell even Status Quo ("Hello!" with "Roll Over Lay Down" had just gone to No. 1 on the LP charts in September 1973) – it seems odd that Blighty never took to the drunken swagger of Aerosmith back in the day when Hard Rock and Prog was all we seemed able to think about. 

Although a long way from a Supertramp audiophile recording – the Remaster captures the band in raw if not a tad amateur raring-to-go form. It's not a great album – really it isn't - but I love a Rock band that feels like the Allmans mated with Bad Co. And never is this more evident than on the excellent Side 1 finisher "One Way Street" – a Bluesy piano-rolling Harmonica warbling bar-tab of a tune. Down and dirty and gritty exudes from "Mama Kin" – the Black Crowes two whole decades earlier. You might have to forgive the boys-done-bad-by-gals lyrics, but it boogies along like a goodun and I bet it's a go-to tune when fans return to this album. Great swagger and clear drums on "Write Me" or "Write Me A Letter" as it was called on first pressings. And on it goes to their butt-strut cover version of "Walking The Dog" – a Rufus Thomas Soul anthem turned into a prowler of a Rock song (love those guitar flicks on the scratch plate to mimic a dog - must have slayed 'em live). 

I was surprised at how much I liked this album again and at less than four quid new and delivered to your front door – "Aerosmith" is a wee bit of a Seventies Rock bargain that has gone largely unnoticed. 

After the monster success of "Toys In The Attic" - Boston's Aerosmith would tear it up with their 4th platter "Rocks" in 1976 too - another winner that went as high as No. 3. But this is where their locker-room legend and guitar mayhem really started. It may be pushing 30-years old as a CD Remaster, but it's still a goody. Dude looks like a lady...winner...again...

PS: see also my reviews for "Toys In The Attic" and "Rocks"

"Bursting At The Seams" by STRAWBS – February 1973 UK Sixth Album on A&M Records featuring Dave Cousins, Dave Lambert, Blue Weaver, Richard Hudson and John Ford (later of Hudson-Ford) with Arrangements by Richard Kirby (July 1998 UK A&M ReMasterPieces Expanded Edition CD Reissue – Roger Wake Remasters) - A Review by Mark Barry...

This Review and 289 More Like It Can Be Found In My AMAZON e-Book 

US AND THEM - 1973

Your All-Genres Guide To Exceptional 

CD Reissues and Remasters 

Classic Albums, Compilations, 45's...

All In-Depth Reviews From The Discs Themselves - Over 2,200 E-Pages

(No Cut And Paste Crap)

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"...To Be Free Again..."

After four albums of wavering brilliance and shifting line-ups (ace keyboard-man Rick Wakeman had departed for Yes), STRAWBS (shortened from Strawberry Hill Boys) finally rewarded the patience of A&M Records A&R men with a big fat hit long-playing record hit. The fondly remembered "Grave New World" from February 1972 finally made everyone sit-up and notice The Strawbs. Even without a seven-inch single to plug it, but armed with a tri-gatefold sleeve and natty booklet within original copies – it absolutely looked the 1972 part too and "Grave New World" climbed up to No. 11 in the UK LP charts. 

That success paved the path towards this – their sixth album (fifth studio) and their 'Rock' record breakthrough - "Bursting At The Seams" from February 1973. Hell, "Bursting At The Seams" even sported an annoyingly catchy - and dare we suggest such an abomination in the presence of Prog Rock cognoscenti – a commercially winning 45-single in the shape of the knees-up-Mother-Brown party-swagger of "Part Of The Union" (penned by the combo Hudson-Ford). 

That somewhat unintentional sing-a-long seven-inch single (that hardly represented Strawbs music) was launched by A&M only four days into January 1973 on AMS 7047 - a month prior to the LP. With the Non-album cover version of an old Celtic air "Will You Go" on the flipside (Bonus Track No.1 here) – British radio loved it and A&M Records were rewarded with a No. 2 placing on the singles charts – spots on Top Of The Pops etc. 

When the LP arrived next month (February 1973), the public wanted more and bought the thing in serious numbers resulting in their highest LP placing (it peaked at No. 2) and the band’s genuine arrival on the Rock scene. And that’s where this dinky little Re-Remaster-Piece reissue comes a lollygagging in. Here are the sagging waistlines...

UK released July 1998 - "Bursting At The Seams" by STRAWBS on A&M Records 540 936-2 (Barcode 731454093620) is an A&M ReMasterPieces Expanded Edition CD Reissue with Three Bonus Tracks and plays out as follows (52:11 minutes):

1. Flying [Side 1]

2. Lady Fuschia

3. Stormy Down

4. The River

5. Down By The Sea

6. Part Of The Union [Side 2]

7. Tears And Pavan

8. The Winter And The Summer

9. Lay Down

10. Thank You

Tracks 1 to 10 are their 6th album "Bursting At The Seams" (fifth studio LP) - released February 1973 in the UK on A&M Records AMLH 68144 and April 1973 in the USA on A&M Records SP-4383. Produced by THE STRAWBS with Engineer TOM ALLOM – it peaked at No. 2 in the British LP charts and No. 121 in the USA. 

All songs written by Dave Cousins except "Lady Fuschia" and "Part Of The Union" by Richard Hudson and John Ford, "Pavan" by Hudson, Ford and Cousins, "The Winter And The Summer" by Dave Lambert and "Thank You" by Blue Weaver and Dave Cousins. 

NOTE: on the original 1973 album, Side 1 placed "The River" as Track 5 and "Down By The Sea" as Track 4. It was done so because the vinyl LP had difficulty with heavy bass at the centre of the format. However this CD reissue puts the songs in the order the band wanted them in originally - "The River" at No. 4 and "Down By The Sea" at No.5. Those who want to hear the original running order can of course program their CD players to play it that way. Also the correct spelling for the flower is fuchsia, but the Hudson-Ford track is presented as Fuschia – possibly in error. 

BONUS TRACKS:

11. Will You Go

January 1973 UK 45-single on A&M Records AMS 7047, Non-LP B-side to "Part Of The Union" – it is a variant of the Scottish Folk song "Wild Mountain Thyme" by the McPeake Family that has the lyrics "...will ye go lassie go..."

12. Backside

13. Lay Down (Single Version)

Tracks 13 and 12 (note playing order) are the A&B-sides of an October 1972 UK 45-single on A&M Records AMS 7035 (A-side differs from the LP version, B-side is Non-LP). "Backside" is credited on the single as by Ciggy Barlust & The Whales From Venus – a tongue-in-cheek tribute to David Bowie and his Ziggy Stardust persona enjoying huge commercial success in 1972. It was reputedly going to be The Tits From Venus but A&M intervened on the grounds of good taste (or the law). 

STRAWBS was:

DAVE COUSINS – Lead and Backing Vocals, Acoustic, 12-String and Electric Guitars and Electric and Acoustic Banjo

DAVE LAMBERT – Lead and Backing Vocals, Acoustic and Electric Guitar

BLUE WEAVER – Organ, Piano and Mellotron

JOHN FORD – Lead and Backing Vocals and Bass

RICHARD HUDSON – Backing Vocals, Drums and Sitar

GUESTS:

Robert Kirby (of Nick Drake fame) did the String Arrangements (with most of The London Symphony Orchestra) on "The River" and "Down By The Sea" (Tristan Fry from Sky plays an uncredited Timpani on  "Down By The Sea")

JOHN TOBLER provides the new liner notes in the admittedly skimpy 8-page booklet. However, what it lacks in pictures and memorabilia (where are the 45s, trade adverts, American tours etc) – it makes up for with a DAVE COUSINS interview that throws light and affection on the album and how the songs were written and made. Fans will know that the original British LP sported a silver inner sleeve and the Dave Cousins liner notes (complete with the Robert Kirby arrangements acknowledgment in the PS) are reproduced on the last page. But disappointingly there is no sign of the lyrics on the other side of the inner sleeve or that rare advert for the LP that came with some copies. It’s good rather than being great. 

But at least Cousins provides cool and illuminating details – the Hudson-Ford song "Lady Fuschia" being based on Mervyn Peake's gothic castle horror novel "Gormenghast" – Cousins own "Flying" featured a Rickenbacker Ban-Tar Electric Banjo that is now owned by Elvis Costello (he regrets that sale) – that his daughter Joelle can be heard in the corridors of her Hounslow school on "Thank You" (where the head teacher allowed Strawbs to record it) or that A&M nervously stepped in when the boys wanted to credit the "Lay Down" B-side "Backside" to Ciggy Barlust & The Tits Of Venus - a tongue-in-cheek tribute to Bowie and his Ziggy Stardust phase - and changed the offensive bosoms word to the entirely less dreadful whales word (wow, really). 

Mostly recorded at Morgan Studios, Willesden in late 1972 with prior work at Sound Techniques in Chelsea - the tapes are clearly in great shape because the ROGER WAKE Remaster (done at Bourbery-Wake Studios) is gorgeous to listen too - all that great original production shining through. For sure there is a wee bit of hiss here and there, but none too bad to distract. This album is great and you have to say that the three bonuses actually do add to the listen – rounding up thing nicely. Lets get to the music...

Tony Hopper leaves and is replaced by Lead Guitarist Dave Lambert and a new era for the STRAWBS begins. But what hasn’t changed is the musicality – so evidenced by "Flying" – pinging guitar notes fading in to a young girl flying away melody – flying to be free again - gorgeous stuff. And don’t you just love that acoustic and banjo break that is accompanied by a wave of Mellotron – Prog Folk at its Rock best. There is even a touch of Horslips in this or is it the other way around. The Rock guitar arrives in "Lady Fuschia" – a sort of Moody Blues meets Mellow Candle meets Acoustic Yes song – a gem in their impressive catalogue. 

I kind of understand the re-placing of the Marillion-rocking "Down By The Sea" at the end of Side 1 instead of "The River" – it actually works (love that riffage and those distant vocals). Over on Side 2 the two-part six-and-a-half minute "Tears & Pavan" is probably the most Prog the album gets. But I love those delicate guitar and triangle bell moments even if the Mellotron does threaten to drown out everything. There is something so melodic in the acoustic playing on "The Winter And The Summer" – a sort of mellow Yes vibe that once again has echoes of The Moody Blues. And it ends on the school halls of "Thank You" where Cousins leads a group of schoolkids in glorious and silly disharmony. But there is still a gorgeous cover of "Wild Mountain Thyme" masquerading as "Will You Go" to savour – a great B-side rather than filler (check out The Silencers sublime cover of this song in 1995 – the one they used in the Scotland tourist ads). 

For sure this 1973 album and its slightly fay sound is showing its near 50-year age, but for me (and I suspect many more) – there is a beauty to this Prog-Folk-Rock that is so alluring and frankly reminds me of a time when albums were magical things. I used to always feel like I was a lucky lad to just have one in my hand – turn it over – again and again. 

"...Feels deep down inside, flying to be free again..." – Cousins sang on the lovely and hopeful opener "Flying". Free up some time of your own to re-hear this time capsule – fill your boots right here...

10cc – "10cc" – July 1973 Debut Album on UK Records featuring Kevin Godley, Lol Crème, Eric Stewart and Graham Gouldman (April 2007 UK Cherry Red/7T's Records Expanded Edition CD Reissue and Remaster with Five Bonus Tracks) - A Review by Mark Barry...

This Review and 289 More Like It Can Be Found In My AMAZON e-Book 

US AND THEM - 1973

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"...200lbs Of Surf Board Hercules..."

Like most 70ts teenagers and young adults - I loved 10cc. 

At their best, this super-talented foursome produced Pop and Art Rock genius. And even at their most ordinary, 10cc tunes displayed more clever hooks than a hundred cloakrooms. Besides, any rock group that took its name from a percentage point of ejaculated male sperm gets my vote.

But in truth, their 1973 self-titled debut "10cc" on England's UK Records was an album I admired rather than actually liked. "Sheet Music" – their second platter from 1974 – was always so much more accomplished to me and has always engendered my affection. Still, this '7T's Records' Expanded Edition CD Reissue and Remaster from 2007 of "10cc" is a tidily presented cracker (7T's Records are a Cherry Red label imprint that mostly deals with Glam Rock and the poppier side of that decade – Mud, Hello, Mungo Jerry, Showaddywaddy etc). 

Kevin Godley, Lol Crème, Graham Gouldman and Eric Stewart already had nearly a decade of Pop-making experience between them and two great lead vocalists out front into the bargain. In fact I remember we music-junkies would await their singles with a sense of excitement – a vibe The Beatles used to elicit and a supergroup 10cc were often compared with as hit-making successors. So, having a tear-gas of a time, let's trip on down to a party at the local country jail...

UK released 9 April 2007 - "10cc" by 10cc on Cherry Red/7T's Records GLAM CD 25 (Barcode 5013929042520) is an Expanded Edition CD Reissue and Remaster with Five Bonus Tracks that plays out as follows (51:47 minutes):

1. Johnny Don't Do It [Side 1]

2. Sand In My Face 

3. Donna 

4. The Dean And I 

5. Headline Hustler 

6. Speed Kills [Side 2]

7. Rubber Bullets 

8. The Hospital Song 

9. Ships Don't Disappear (Do They?)

10. Fresh Air For My Mama

Tracks 1 to 10 are their debut album "10cc" - released July 1973 in the UK on UK Records UKAL 1005 and November 1973 in the USA on UK Records/London UKS 53105. Produced by 10cc - it peaked at No. 36 on the British LP charts - bubbled under at No. 201 in the USA 

BONUS TRACKS: 

11. Hot Sun Rock 

August 1972 UK debut 45-single on UK Records UK 6, Instrumental Non-LP B-side of "Donna"

12. 4% Of Something 

December 1972 UK second 45-single on UK Records UK 22, Non-LP B-side of "Johnny Don't Do It" 

13. Waterfall 

March 1973 UK third 45-single on UK Records UK 36, Non-LP B-side of "Rubber Bullets" (Single Edit)

A-side is Track 15

14. Bee In My Bonnet

August 1973 UK fourth 45-single on UK Records UK 48, Non-LP B-side of "The Dean And I"

15. Rubber Bullets (Single Version) 

March 1973 UK third 45-single on UK Records UK 36, Non-LP B-side of "Rubber Bullets" (Single Edit) 

B-side is Track 13

The 16-page booklet has new liner notes from MICHAEL HEATLEY itself supplemented by an impressive few pages of foreign picture sleeves for the albums four singles - "Donna", "Johnny Don't Do It", "The Dean And I" and of course the British Number One "Rubber Bullets". Rather smartly as well as the 10 LP songs, the lyric-pages that follow feature the words to the three NON-LP B-sides too - "4% Of Something", "Waterfall" and "Bee In My Bonnet" ("Hot Sun Rock" is an instrumental). 

It doesn't say anywhere who mastered what but the Cherry Red website says it's Remastered - and it sounds it too – punchy and powerful without ever dipping out the details. 

45-collectors will also love that this CD will allow them to sequence the band's first four 7" singles with those sought-after Non-LP B-sides (their second album "Sheet Music" on 7T's GLAM CD 26 - Barcode 5013929042629, also remastered and reissued in April 2007, does the same for their next three singles - "The Wall Street Shuffle", "The Worst Band In The World" and "Silly Love"). Of the B-sides surrounding the 1973 debut, I thought the instrumental "Hot Rock Sun" little more than filler – but the lovely "Waterfall" and the kicking "Bee In My Bonnet" are flips any fan would jump at having on digital. To the LP itself and those Art Rock chunes...

I have to admit that I've harboured a bugbear hatred for "Rubber Bullets" since its release and if I never hear the irritating roll-up, roll-up, thing ever again, that'll be fine by me. The absolute polar-opposite applies to "Donna" and "The Dean And I" - little 70ts masterclasses in Pop hook-dom (and great lyrics that seemed to celebrate growing up). Both the debut LP and their second album "Sheet Music" produced what I felt were obvious turkey singles - "Johnny Don't Do It" and "The Worst Band In The World". But that aside, this remaster allows you to hear LP gems undiscovered for decades like "The Hospital Song" (lyrics from it title this review) and what I felt should have been the next 45 - "Headline Hustler" (maybe it was too dangerous to issue it for fear of actual tabloid wrath). Clever pace-changes too in "Ships Don't Disappear (Do They?)" – people really don't die of fright – but they might be surprised to find out how good this one is at getting their blood pumping. 

The next album "Sheet Music" in 1974 and of course the stunning 1975 LP "The Original Soundtrack" upped the quality output even more and would cement their legend. But this slightly unwieldy start saw 10cc open their hit-account with a sufficient wallop and considering it's over 48 years old in July 2021 - they really did arrive with more of a bang than a percentage squirt.

Rolling in kisses - Milton's "Paradise Lost" has been found - they weren't really hum-drum days because of band's like 10cc and albums like this...