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Tuesday, 10 May 2022

"Kick Out The Jams" by MC5 – February 1969 US Debut Album on Elektra Records in Mono and Stereo (May 1969 in the UK) featuring Rob Tyner, Wayne Kramer, Fred "Sonic" Smith, Michael Davis and Dennis Thompson (November 1991 UK Elektra CD Reissue and Remaster – Stereo Mix Used - The 1991 Variant Itself Reissued September 1995 and 2000) - A Review by Mark Barry...



 

 
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"...The Sobbing of Tortured Souls..."

I don't know about the Trans Love Energies name-checked on the poster of their Grande Ballroom Concert for the two nights of 30 and 31 October in 1968 (Free Admission too) - but I can guarantee you ear-bleedin' louden-boomer where's my-mufflers-a-go-go when you listen to the genuinely extraordinary "Kick Out The Jams" - a 60ts LP that has entered legend with good cause.

In his equally wild and enthusiastic new liner notes for the original November 1991 CD reissue and remaster - Lead Singer Rob Tyner gives it some welly with the adjectives and comparisons. Part hilarious, part braggart, part hindsight true - Detroit's MC5 rocked so hard that the words Punk before there was Punk have been constantly thrown at their explosive debut - and they would be right. I can only imagine what kind of sonic assault both they and The Stooges made at the Union Ballroom on Monday, 23 October 1968 (another benefit-gig poster reproduced on the six-leaf fold-out poster inlay). To the music...while we still have eardrums...
 
UK released November 1991 (reissued September 1995 and May 2000) - "Kick Out The Jams" by MC5 on Elektra 7559-74042-2 (Barcode 075597404227) is a straightforward CD reissue and remaster of their debut album from 1969 that plays out as follows (40:07 minutes): 
 
1. Compare Intro/Ramblin' Rose [Side 1]
2. Kick Out The Jams (Including The MF Intro) 
3. Come Together 
4. Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)
5. Borderline [Side 1]
6. Motor City Is Burning 
7. I Want You Right Now 
8. Starship 
Tracks 1 to 8 are their debut album "Kick Out The Jams" - released February 1969 in the USA on Elektra Records EKL 4042 (Mono) and Elektra EKS 74042 (Stereo), May 1969 in the UK on Elektra EKL 4042 (Mono) and Elektra EKS 74042 (Stereo) - The STEREO MIX only is used. The album was recorded live at Russ Gibb's Grande Ballroom in Detroit across two nights - 30 and 31 October 1968. Produced by JAC HOLZMAN and BRUCE BOTNICK  - it peaked at No. 30. 
 
Along with The Stooges - the MC5 were the original counter-hippies - the first proper punks. But kudos due or not, if I'm truthful, this nut-him-in-the-privates-regardless-of-the-cost controversial starter makes for hard work and a somewhat dated listen in 2022. I doubt I could make it through the 8:26 minutes of "Starship" ever again no matter what the enticement may be - a co-write with Sun Ra and therefore suitably out there man
 
While the "Kick Out The Jams Mother Fuckers!" scream on original issues of the opening track has been thankfully reinstated for this 1991 CD Remaster (Elektra had to change subsequent LP pressings with the more neutral "Kick Out The Jams Brothers and Sisters!" rant instead) - the equally controversial liner notes across the inner gatefold sleeve by John Sinclair of The White Panthers have not made the transition. 
 
Sinclair encouraged us to "...go wild, take on the world..." and indeed kick out those jams Mother F-r's. That diatribe has been replaced by just as mouthy Rob Tyner liner notes penned mere months before he died that year aged only 46. The release is in fact dedicated to him (1944 to 1991). There are great posters repro'd on one side with period stuff on the other (see the two photos above)
 
For such a notoriously full-on album, the remaster has done its job in vamping up what was already there - the sheer sonic velocity of the MC5 on stage. Both Wayne Kramer and Fred "Sonic" Smith trash their guitars with monster riffs, feedback and sheer abandon - while the Rhythm Section of Michael Davis on Bass with Dennis Thompson on Drums sound like John Paul Jones and John Bonham on Bad Speed - ready to hurt dearest Mummy and her suburban socialite friends. Tracks like the 4:30 minutes of "Motor City Is Burning" or "Come Together" are so Rawk it hurts. And I have always wondered would it have been better to do studio versions - but it some respects - they were right - in your face is the point. Let the spirit be our guide.
 
You can buy this CD for about a fiver and join these insolent brats at the beer trough - brutal - slogging it out with the man - but be warned, you may never look at Hawkwind or Motorhead or Iron Maiden as being hardcore ever again...

Monday, 9 May 2022

"The Arista Columbia Recordings 1980-1991" by WILLIE NILE - February 1980 and April 1981 US Debut and Second Albums on Arista Records Plus His Third Studio Album from March 1991 on Columbia Records - Guests Include Roger McGuinn, Richard Thompson and Loudon Wainwright III (June 2013 UK Floating World Records Compilation - 3LPs Remastered onto 2CDs) - A Review by Mark Barry...




 
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This Review And Many More Like It 
Available In my Kindle e-Book (June 2022 Version)
 
LOOKING AFTER NO. 1 
Volume 2 of 2 - M to Z...
 
Your All-Genres Guide To
Exceptional CD Reissues and Remasters 
For Music from 1956 to 1986
Over 1,760 E-Pages of In-Depth Information
240 Reviews From The Discs Themselves
No Cut and Paste Crap...

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"...Vagabond Moon..."
 
Forever sandwiched between being a poor man's John Cougar Mellencamp sans Bruce Springsteen wannabe - I (however) have always held a big fat aromatherapy candle for New York's singer-songwriter WILLIE NILE. I loved his stuff - especially at the outset of his career. 
 
I can vividly remember playing his self-titled debut "Willie Nile" and next-year follow-up LP "Golden Down" from 1980 and 1981 (both on Arista Records) till I wore them out - enthralled with his dual attack of Rock and Rollers sporting caustic city-living lyrics on the one hand, sided by romantic ballads of street urchins and doomed five-and-dime lovers on the other. 
 
Searing personals like "Across The River" and "I Like The Way" from those first two black-grooved platters are gorgeous songs that often made me blurb in lesser moments - the first would even be on my Baz-Is-Brown-Bread CD-R compilation to be played as legions of admirers from all corners of the earth descend on my passing ceremony, fighting in unbecoming manners to get tickets (it says here).
 
So for years, I have pined in my Irish stew loins for their love on CD, along with whatever else I could get my grubby paws on. And to the diddly-daddy delight of my liberally abused heartstrings, along comes England's Floating World Records to answer my geriatric Nile-ish needs. Let's get to the Champ Elysees Grenades, Bowery Vagabond Moons and Memphis Hammer Renegades (the music in other words)...

UK released June 2013 - "The Arista Columbia Recordings 1980-1991" by WILLIE NILE on Floating World Records FLOATM6192 (Barcode 0805772619227) is a Compilation of Remasters that offers 3LPs onto 2CDs and plays out as follows:
 
CD1 (58:09 minutes):
1. Vagabond Moon [Side 1]
2. Dear Lord 
3. It's All Over 
4. Across The River  
5. She's So Cold 
6. I'm Not Waiting [Side 2]
7. That's The Reason
8. They'll Build A Statue Of You 
9. Old Men Sleeping On The Bowery 
10. Behind The Cathedral 
11. Sing Me A Song 
Tracks 1 to 11 are his debut album "Willie Nile" - released February 1980 in the USA on Arista Records AB 4260 and May 1980 in the UK on Arista Records SPARTY 1126. Produced by ROY HALEE - it charted in April 1980 peaking at No. 145 on the US Billboard Rock LP charts (didn't chart UK)
 
12. Sing Me A Song [Side 1]
13. Shine Your Light 
14. Grenade 
15. I Can't Get You Off My Mind 
16. I Like The Way 
Tracks 12 to 16 are Side 1 of his second studio album "Golden Down" - released late March 1981 in the USA on Arista Records AB 4284 and April 1981 in the Uk on Arista Records SPARTY 1165. Produced by JIMMY IOVINE - it peaked at No. 158 on the US Billboard LP charts (didn't chart UK). For Side 2 see Tracks 1 to 4 on CD2
 
CD2 (68:27 minutes):
1. Golden Down [Side 2]
2. Hide Your Love 
3. Les Champs Elysees 
4. Shoulders
Tracks 1 to 4 are Side 2 of his second studio album "Golden Down" - released late March 1981 in the USA on Arista Records AB 4284 and April 1981 in the Uk on Arista Records SPARTY 1165. Produced by JIMMY IOVINE - it peaked at No. 158 on the US Billboard LP charts (didn't chart UK). For Side 1 see Tracks 12 to 16 on CD1
 
5. Places I Have Never Been [Side 1]
6. Rite Of Spring 
7. Heaven Help The Lonely
8. Cafe Memphis 
9. Yesterday's Dream 
10. Everybody Needs A Hammer 
11. Renegades 
12. Don't Die 
13. Breakdown 
14. Children Of Paradise 
15. That's Enough For Me
16. Places I Have Never Been (Reprise) 
Tracks 5 to 16 are his third studio album "Places I Have Never Been" - released March 1991 in the USA on Columbia Records CK 44434 (CD and MC only) and April 1991 in the UK on Columbia 467855 1 (LP), 4 (MC) and 2 (CD). 

Licensed from Sony, the audio on all of it is superb (there are no mastering credits) - the second album featuring huge Tom Petty-type production values may force you to lower the volume. All of it is in yer face, but for all the right reasons. The neat 12-page booklet features in-depth and decent liner notes on Niles by noted writer ALAN ROBINSON. It goes into his upbringing, living in a home steeped in music especially Rock 'n' Roll and his lucky start with Arista where he and his debut album benefited enormously from touring as the support act with The Who all across America (he remains friends with Pete Townshend and Roger Daltrey to this day). All three albums are given full recording credits on the final pages, all three LPs pictured and even an Arista black and white promo photo. To the tunes... 

The debut opens with a Romantic Rock 'n' Roller winner in the shape of the very Bruce-on-a-roll "Vagabond Moon" - a song that turn up on compilations as a representation of US New Wave at the time. But his record company went with "It's All Over" as the lead-off 45-single for the album - Arista AS 0508 issued in April 1980 with "Old Men Sleeping On The Bowery" as its equally cool flip-side. The UK branch of Arista clearly figured the more Petty-type Rock 'n' Roll of "Vagabond Moon" would appeal to Blighty fans instead and so in June 1980 gave ARIST 352 a picture sleeve (same flip-side as the USA), but neither troubled charts. 

"Dear Lord" has witty lyrics about currency in New York being king and not love or redemption (make it twenty-dollar bills if you please) while the Bop Rock of "I'm Not Waiting" could easily have been 45 number two, but alas. There is a very Mark Knopfler Making Movies widescreen romance to "Behind The Cathedral" where a girl undoes her tunic button for a boy her heart is taken with. It's the kind of song Nile excels at, real, touching, heart-on-the-sleeve - even a little naive but never afraid to be so. While "Old Men Sleeping On The Bowery" shows his anger at citizens freezing on park benches while limousines pull up outside Studio 54. The debut album "Willie Nile" has always been a winner in my eyes - forgotten now - but one that I feel deserves your vagabond heart and ears. 

Jimmy Iovine went all "Long After Dark" (Tom Petty) loud on the second album's production giving it a stallion-kicking-in-the-stable-doors assault on your ears. But with only nine songs - it didn't capitalize on the debut's positive reception - limping in at No. 158 on the Top 200. They tried the not-very-good title track "Golden Down" as the only 45-single for the album - Arista AS 0599 hitting the shops in April 1981 (a few weeks after the LP's release in late March) with "Les Champ Elysees" on the B-side. In August 1981 they clumped the catchier "Shine A Light" with the rocker "Grenade" on the flipside - but Arista AS 0620 didn't set any charts alight either. My two craves are the blindingly great Bop-Rocker "Hide Your Love" and the LP's two big ballads each ending a side - "I Like The Way" and "Shoulders" over on Side 2. Both ooze with his knack of finding a simple groove (say on an acoustic guitar) and imbibing them with such pathos that they stay with you - make you want to replay. 
 
The relative failure of the two Arista outings meant a long wait until 1991's signing to Columbia Records for platter number three "Places I Have Never Been". It opens on the very Willie Nile guitar-strumming upbeat title track - our hero waxing on about streets in Rome, Chinese walls and a great big world out there for you and me. "Rite Of Spring" continues the positivity - a Byrds jangling likeable that reminds of driving in cars with the wind in your hair. "Heaven Help The Lonely" is another looking for adventure tune, aching hearts in the city by the ocean bopping through the pain. 
 
We get a bit of slide guitar and drum-kit tapping in "Cafe Memphis" - young men surviving on coffee and the gal dancing over by the jukebox breaking hearts in the process. Big romance comes shuffling in Huey Lewis & The News style with "Yesterday's Dream" - his voice rasping as the guitars and keys keep it on the up. Stunning audio for the count-in to "Everybody Needs A Hammer" - another bopper but with an Eddie Cochran lightness. "Renegades" is a piano-ballad - elevated dreams, choirs in the night, youth lost, replaced by secrets made out of snow. Beautifully produced - the album floats by with tunes like "Children Of Paradise" - prayers for the kids navigating the river of life. 
 
Even with stellar help like Roger McGuinn of The Byrds (Vocals on Track 5 with Guitar on Track 6), Fairport Convention's Richard Thompson (Guitars on Tracks 8, 14 and 15 - Vocals also on Track 8) and Loudon Wainwright III (Vocals on Track 15) - for sure, the third album has the audio polish and top musicianship expected, but there is a feeling that the chunes like "That's Enough For Me" are struggling and that initial magic has either moved on or is just plain missing. 
 
Presently selling for under nine-quid - 2013's "The Arista Columbia Recordings 1980-1991" by Willie Nile is a forgotten curio now in May 2022 - but I say give it a whirl - especially for those first flushes with their truly inspired feel...

Sunday, 8 May 2022

"Curtis" by CURTIS MAYFIELD – September 1970 US Debut Solo Album on Curtom Records, February 1971 in the UK on Buddah Records – featuring One Song in the Bonuses co-written with Donny Hathaway (September 2000 US Rhino Expanded Edition CD Reissue and Remaster with Nine Bonus Tracks – Dan Hersch and Bill Inglot Remasters) - A Review by Mark Barry...

 


 
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This Review And Many More Like It 
Available In my Kindle e-Book (June 2022 Version)
 
LOOKING AFTER NO. 1 
Volume 2 of 2 - M to Z...
 
Your All-Genres Guide To
Exceptional CD Reissues and Remasters 
For Music from 1956 to 1986
Over 1,760 E-Pages of In-Depth Information
240 Reviews From The Discs Themselves
No Cut and Paste Crap...

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"...Move On Up..."

American reissue specialists Rhino are one of my favourite classic catalogue reissue labels in the world and they have repeatedly done the legacy of Chicago’s mighty Curtis Mayfield and his socially conscious brand of Soul and Funk proud.
 
They started out with the fabulous "People Get Ready! The Curtis Mayfield Story" Long Box Set in February 1996 – a 3CD overhaul of his entire career from 1961 with The Impressions to solo 1990 material before his horrible demise in late 1999 – its 51-Tracks covering vinyl outings on ABC-Parkway, Curtom, Boardwalk, CRC and RSO Records.
 
They followed that in March 1997 with a 2CD Deluxe Edition 25th Anniversary Edition of his most famous and popular record – the Blaxsploitation "Superfly: The Original Motion Picture Soundtrack" LP from July 1972 (USA) on Curtom Records and March 1973 (UK) on Buddah Records.
 
This dinky little CD Remaster from September 2000 of his "Curtis" album from late 1970 marked the exploration of his solo catalogue proper. There’s a plethora of goodness to wade into, so lets get to the wild and free...
 
US released September 2000 - "Curtis" by CURTIS MAYFIELD on Rhino R2 79932 (Barcode 081227993221) is an Expanded Edition CD Reissue and Remaster of his Debut Solo Album with Nine Bonus Tracks (the September 2000 UK CD is catalogue number Rhino 8122-79932 (Barcode 081227993221) with the same tracks and annotation – they play out as follows (77:54 minutes):
 
1. (Don't Worry) If There's A Hell Below We're All Going To Go (7:51) – Side 1
2. The Other Side Of Town (4:01)
3. The Makings Of You (3:43)
4. We The People Who Are Darker Than Blue (6:06)
5. Move On up (8:54) – Side 2
6. Miss Black America (2:58)
7. Wild And Free (3:16)
8. Give It Up (3:49)
Tracks 1 to 8 are his debut solo LP "Curtis" – released September 1970 in the USA on Curtom Records CRS 8005 and February 1971 in the UK on Buddah Records 2318 015. Produced by CURTIS MAYFIELD (all songs written by him) – it peaked at No. 19 on the US Billboard charts (didn’t chart UK)
 
ALBUM NOTES: The Full-Length Version "(Don't Worry) If There's A Hell Below We're All Going To Go" at 7:51 minutes was edited down to 3:26 minutes for a 45-single release in November 1970 on Curtom CR-1955 with the LP cut of "The Makings Of You" on the flipside. The "People Get Ready! The Curtis Mayfield Story" Long Box Set from February 1996 offered the full-length LP cut – this September 2000 CD also offers the rare single edit (see Bonus Track 17).
 
BONUS TRACKS:
9. Power To The People
10. Underground
11. Ghetto Child
12. Readings in Astrology
13. Suffer
14. Miss Black America
Tracks 9 to 14 are 1970 and 1971 publishing demos
15. The Makings Of You (Tracking Session, Take 32)
16. (Don't Worry) If There's A Hell Below We're All Going To Go (Track Session, Takes 1 & 2)
17. (Don't Worry) If There's A Hell Below We're All Going To Go (Single Edit – see NOTE above)
 
BONUS NOTES:
Tracks 9, 11 to 14 are Previously Unissued in the USA
Track 13 is a co-write with Donny Hathaway
Tracks 15 and 16 are Previously Unissued 
 
The 16-page booklet is pleasingly in-depth, British Ambassador of Soul DAVID NATHAN being truthful in his top-class new liner notes about Curtis' debut and not just reverential for the sake of it. The text is accompanied by some gorgeous photos of the great man with his family - his daughter on Daddy's shoulders - live shots and so on. The see-through CD tray lets you see a rear inlay that advertise six other CM-related reissues including the "Superfly" 2CD set, "Roots" and "Curtis/Live!". 

Longstanding Audio Engineers for Rhino DAN HERSCH and BILL INGLOT have handled the Remasters using first generation tapes and wow-city comes to mind. I can only imagine they employed loving attention to these important transfers - taking for instance Track 15 where the Backing Tracks (Take 32) of "The Makings Of You" might quite possibly be the prettiest Soul Instrumental you've ever heard - and in sparkling audio too. To the record and beyond...
 
After a monologue about the Book of Revelations and people not paying enough attention to the good book, Curtis shouts Sisters, Brothers, Whities and of course the dreaded n-word. It still comes as an uncomfortable shock to me to listen to it. But as an opening statement to your debut solo LP, "(Don't Worry) If There's A Hell Below We're All Going To Go" was such a powerful statement and a way of clearly parking his Impressions Soft-Soul career once and for all. The Side 1 opener is almost eight-minutes long, funky as the subject matter in its title, has a weird almost Psych swirling ending and makes no bones about difficult and contentious subject matters. This is a conscientious diatribe that works and makes you think – name checking drug-peddling crackers amidst his own neighbourhood running alongside Police and Political corruption fuelling the misery. What are we going to do, he asks? It appears in 2022, we’re still getting to grips with it.
 
But that is whomped in my book by the gorgeously effective "The Other Side Of Town" – a brother regaling how it feels to be depressed about the area you are restricted to – little sister hungry – hand-me-down shoes on his even younger brother – no jobs – hard to stay on the straight and narrow with so much easy-money temptation. Following that comes the equally sweet very Donny Hathaway strings, vibes and brass of "The Makings Of You" - the song on the album that probably most resembles his old Impressions style of beauty-and-message combined. And ending Side 1, not for the first time does CM appeal for smarts on the part of his community in "We The People Who Are Darker Than Blue" (stop killing each other and thereby falling into Jim Crow's sick patterns of thought) - the Remaster really kicking in when the song goes into that tambourine and tabla section about two minutes in - fantastic audio. I personally think it's one of the album's forgotten nuggets as he asks of the listener to 'get yourself together' and 'let me love in my own way'... Great stuff. 
 
Side 2 opens up with the joy of "Move On Up". My God - when I think about how many young white kids in Ireland and England heard this and hit the dancefloor - getting down to its multiracial message and killer funky rhythms - those flicking guitars and sexy brass charts (over eight minutes of them) - all combining in one of those rare moments when Soul Music got both the head vs. heart so damn right. Even now in May 2022 - 52 years after it hit the shops - it makes me weepy and glad to be alive. And was that his daughter who delivers the killer spoken dialogue at the beginning of "Miss Black America" when Daddy asks his little girl what she wants to be when she grows up and whomps Pops with that line that spoke so much of Black Pride and celebrating Womanhood.
 
Bringing in the brand new, embracing the changes and respect for everybody's right (could really be outa-site) is what CM wants in the chipper and lovely "Wild And Free" - the Remaster almost too in yer face when those brass punches hit home.  

A genius move to start the nine bonus tracks with the demo of "Power To The People" which feels exactly like its title sounds - a stripped down version of a socially conscious song that fits in with the depth of the recorded album (the remastered audio is staggeringly good too). Fans have known and loved the echoed funky-funky cool of "Underground" in its finished form - here we get the demo - sinister in its fuzzed-up guitar and his growling vocals as he hammers "Underground". 
 
And again you're taken back by the finished quality of "Ghetto Child" in Demo form - great Bass and shimmering guitar - another sexy Funky winner that could easily be mistaken for Donny Hathaway - and when is that ever a bad thing. Curtis can see some relationship-trouble coming in the dangerously edgy "Readings In Astrology" - a far darker guitar-driven mean streak in Demo form - I'm your man and I'm just trying to do right - he pleads with just a little frustrated anger in his delivery.  And what a blast to hear the Engineer recording Takes 1 and 2 of "(Don't Worry) If There's A Hell Below We're All Going To Go" and saying "...that's a Hell of a statement!" before the band gets super-tight into the Funky Groove (almost as if to spite him?). It stops at 2:26 when Curtis cuts it - only to restart almost immediately. Brilliant...
 
You could of course argue that like Margin Gaye, Aretha Franklin, Al Green, Bobby Womack and Donny Hathaway - you buy everything they ever did in the first three of four years of the Seventies where all seemed to be reaching musical heights that still leave us breathless fifty years on. 
 
1970's "Curtis" on Curtom Records is a masterpiece only made better by a great Rhino Expanded Edition CD Reissue that socks-it-to-ya on Audio and Extras too. We're all going to go to Funky Chicago for the Soul-Conscience Show. Oh how I miss him...

Saturday, 7 May 2022

"Blues Breakers" by JOHN MAYALL with ERIC CLAPTON - July 1966 UK Debut Album on Decca Records in Mono (December 1969 UK in Stereo) - featuring Bassist John McVie later with Fleetwood Mac and Drummer Hughie Flint later with McGuinness Flint and The Blues Band with Guests Johnny Almond, Alan Skidmore and Dennis Healey on Horns (July 1998 UK Deram CD Reissue with Both Mono (Tracks 1 to 12) and Stereo (Tracks 13 to 24) Mixes of the Album Remastered by Jon Astley) - A Review by Mark Barry...



 
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This Review And Many More Like It 
Available In my Kindle e-Book (June 2022 Version)
 
LOOKING AFTER NO. 1 
Volume 2 of 2 - M to Z...
 
Your All-Genres Guide To
Exceptional CD Reissues and Remasters 
For Music from 1956 to 1986
Over 1,760 E-Pages of In-Depth Information
240 Reviews From The Discs Themselves
No Cut and Paste Crap...

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"All Your Love..." 
 
You have to love the stories and legend that surround this (well) legendary album. 
 
July 1966's "Blues Breakers" on Decca Records is what many believe to be the true starting point for the genre Blues Rock. And not just in the UK either, but in America too where none other than James Marshall Jimi Hendrix was a huge fan and cited it as the influence on him and so many of his contemporaries. 
 
"Blues Breakers" turned gee-tar-players into axe-wielding Guitar Heroes and Rock Gods (and that's just the tremolo arm). Stories like the Mayall and Clapton original "Double Crossing Time" on Side 1 originally being called "Double Crossing Mann" because it was about Cream's Bass Player Jack Bruce walking out on Mayall's new band to join (well) Manfred Mann! Eric Clapton reluctantly stepping up to the microphone (on Mayall's insistence) to cover his Blues obsession of the day - Robert Johnson and "Ramblin' On My Mind" - and thereby kick-starting a career in both Blues and Rock that stills shines now in 2022 with the passion he had for it back in the day. Let's get stuck into the Beano of albums...
 
UK released July 1998 (reissued 2006) - "Blues Breakers" by JOHN MAYALL with ERIC CLAPTON on Deram 844 827-2 (Barcode 042284482721) is a Reissue that offers both the 1966 Mono and 1969 Stereo mixes of the album Remastered onto 1CD that plays out as follows (75:20 minutes):
 
MONO Version 
1. All Your Love [Side 1]
2. Hideaway 
3. Little Girl 
4. Another Man 
5. Double Crossing Time 
6. What'd I Say 
7. Key To Love [Side 2]
8. Parchman Farm 
9. Have You Heard 
10. Ramblin' On My Mind 
11. Steppin' Out 
12. It Ain't Right 
Tracks 1 to 12 are the debut album "Blues Breakers" - released 22 July 1966 in the UK on Decca Records LK 4804 in MONO 
 
Tracks 13 to 24 
As per Tracks 1 to 12, only the whole album in STEREO, first released in the UK December 1969 on Decca SKL 4804. 
 
Bluesbreakers Band:
JOHN MAYALL - Lead Vocals, Piano, Organ and Harmonica
ERIC CLAPTON - Lead Guitar and Vocals 
JOHN McVIE - Bass
HUGHIE FLINT - Drums (Tracks 1, 2, 3, 6 and 12) 
 
Guests: 
JOHNNY ALMOND - Baritone Sax (Tracks 7, 9 and 11)
ALAN SKIDMORE - Tenor Sax (Tracks 7, 9 and 11)
DENNIS HEALEY - Trumpet (Tracks 7, 9 & 11)
 
Having had this Mono album on vinyl for more decades than I care to contemplate, my battered copy (like everyone else's) never sounded this clean I can tell you, or in your face (and for all the right reasons too).
 
But I will readily admit that every time I play the album in the digital age, I start at Track 13 for the STEREO version – why – it absolutely rocks! I love the JON ASTLEY Remaster on both variants yes, but even if the Stereo separation is crude on say the likes of "Key To Love" - brass buried in the left channel while guitars do battle over on the right - I keep playing the STEREO run first. Check out the eerie Stereo imaging on "Another Man" where Mayall goes alone on the Harmonica with only handclaps and air - stirring up his best Sonny Boy Williamson - fantastic audio.
 
The Otis Rush classic "All Your Love" opens Side 1 and sets the tone – great Blues with a smidge of Rock and not too po-faced about either. And who could resist that comic-reading artwork – earnest men on an earnest mission and hoping to have a few highs along the way too. The album includes several so-cool instrumentals – Freddie King’s signature tune "Hideaway" and the Memphis Slim track "Steppin' Out" – while the sheer passion of Mayall’s playing alongside EC for the closer "It Ain't Right" makes you wonder what lucky sods got to see this band in its live prime – wow!
 
The 8-page inlay with new lner notes from PAUL TRYNKA of Mojo Magazine does just about enough work to explain its history and influence and there are period photos too of the four in the studio with Mike Vernon and Gus Dudgeon - Vernon thinking about Blue Horzion Records and Dudgeon dreaming of Reg Dwight (Elton John). But the bully beef is the short-but-sweet track-by-track commentary by John Mayall – fleshing out why for instance he chose "It Ain't Right" to close the LP (his passion for Little Walter of Chess Records fame, Walter's Harmonica style and range suiting JM).
 
Many albums that followed "Blues Breakers" would explore the genre even more and morph into that stunning Blues Rock hybrid of 1967 to 1969 when Paul Butterfield's Blues Band, Chicken Shack, Savoy Brown, Peter Green's Fleetwood Mac, Johnny Winter and Led Zeppelin all took the core music rhythms to another level. 
 
But this wee gem is where they all dipped their liquorice stick into the Sherbet Fountain bag first – the kind of platter the phrase ahead of its time was invented for. Dennis The Menace come on down...

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