"Boogie Woogie: The Warner Bros. Recordings" by (LONG) JOHN BALDRY - Includes Two Albums "It Ain't Easy" (June 1971) and "Everything Stops For Tea" (May 1972) on Warner Brothers Records (US and UK) Plus Thirteen Rarities (10 Previously Unreleased Outtakes and Three Radio Spots). His band featured Rod Stewart, Elton John, Members of Hookfoot (Caleb Quaye and Joshua M'bopo) and Elton John's Band (Davey Johnstone, Ray Cooper and Nigel Olsson), Klaus Voorman of Beatles fame, Mick Waller of Steampacket, Ian Armit of Argent, Ray Jackson of Lindisfarne, Maggie Bell of Stone The Crows with Singers Leslie Duncan, Doris Troy, Barry St. John, Madeline Bell, Liza Strike and more (December 2005 USA-Only Rhino Handmade 2CD Compilation with Thirteen Bonus Tracks and Dan Hersch Remasters) - A Review by Mark Barry...

 The Rhino Handmade 2005 Original (Top Two) 

"Boogie Woogie: The Warner Bros. Recordings"

- The 2013 Wounded Bird Reissue (third Photo)

The Two Albums Issued as Stand-Alone Expanded CD Remasters 

"It Ain't Easy" (1971) and "Everything Stops For Tea" (1972)

CD Re-issued August 2005 by Warner Brothers in the UK

This Review and 317 Others Like It 

Are Available in My Amazon e-Book

GOODY TWO SHOES

2CD Deluxe Editions (Occasional Threesome), Expanded Reissues and Compilations 

All Info From The Discs Themselves 

No Cut and Paste Crap

Amazon Hall of Fame Reviewer 6 Times

 

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"…It Ain't Easy...When You're Going Down…"

 

Timing is the thing here. After mid-60ts stints with United Artists and Pye Records in the UK where Baldry tried to go for the Pop Star market (and succeeded in many ways – he had a UK No.1 hit with "Let The Heartaches Begin" in October 1967), beloved British singer Long John Baldry went back to his Blues-Rock first love (combined with R&B and Soul influences) and promptly pumped out two affectionately remembered albums as just plain John Baldry for his new signing to Warner Brothers.

 

"It Ain't Easy" and "Everything Stops For Tea" hit record shops in June 1971 and May 1972 (John hit the touring road) – both with heavy personal/band involvement from Elton John and Rod Stewart – the pair literally on the cusp of international album stardom with "Every Picture Tells A Story" from Rodders in May 1971 (USA) and July 1971 (UK) and "Madman Across The Water" from our Reggie Dwight in November 1971 (neither no longer tiny dancers thereafter).

 

Both John and Stewart were simply repaying an old mucker for his belief in them in the early years and trying to help launch a new phase in his piecemeal recording career that had stalled as he entered the Seventies. And that is where this 2005 2CD roundup doozy from the US's Rhino Handmade comes a rollicking in (later reissued by Wounded Bird as is in 2013). A lot to discuss and splinters off it too – to the details...

 

US released December 2005 (reissued February 2007) - "Boogie Woogie: The Warner Bros. Recordings" by JOHN BALDRY on Rhino Handmade RHM2 7896 (Barcode 603497789627) is a 2CD 34-Track Compilation where initial copies were limited to 2,500 copies worldwide.

 

"Boogie Woogie: The Warner Bros. Recordings" was not given a UK release, but both the albums it contained - "It Ain't Easy" (CD1) and "Everything Stops For Tea" (CD2) - were reissued 27 August 2005 in the UK as individual Expanded Edition Remastered CDs on Warner Brothers (no mention of Rhino on either disc) – track lists exactly the same (CD1 with 18 tracks, CD2 with 16 tracks). However, the original Rhino Handmade December 2005 configuration (using the same artwork and Remasters) was reissued 16 Nov 2013 in the USA as a 2CD set on Wounded Bird WOU 1921 (Barcode 664140192126). Details...

 

CD1 "It Ain't Easy" (69:11 minutes):

1. Intro: Conditional Discharge – Side 1

2. Don't Try To Lay No Boogie-Woogie On The King Of Rock And Roll [Jeff Thomas song]

3. Black Girl [Huddie Ledbetter aka Leadbelly cover]

4. It Ain't Easy [Ron Davies song]

5. Morning, Morning [Fugs cover]

6. I'm Ready [Willie Dixon song/Muddy Waters cover]

7. Let's Burn Down The Cornfield [Randy Newman cover] – Side 2

8. Mr. Robin [Leslie Duncan cover]

9. Rock Me When He's Gone [Elton John/Bernie Taupin song - Exclusive Track]

10. Flying [Ronnie Lane-Rod Stewart-Ronnie Wood song/Faces cover]

Tracks 1 to 10 are his debut album for Warner Brothers "It Ain't Easy" – released June 1971 in the USA on Warner Brothers WS 1921 and Warner Brothers K 46088 in the UK.

 

CD1 BONUS TRACKS

11. Going Down Slow [a St. Louis Jimmy cover - 1941 Blues track - real name Jimmy Burke Oden]

12. Blues (Cornbread, Meat And Molasses) [Sonny Terry/Brownie McGhee cover]

13. Love In Vain [Robert Johnson cover]

14. Midnight Hour Blues [Leroy Carr cover]

15. Black Girl [Alternate Take]

16. It Ain't Easy [Alternate Take]

17. I'm Ready [Alternate Take]

18. Radio Spot [30-Second Spoken Advert for the US Market made in 1971 - it talks about LBJ and Fleetwood Mac leaving the UK to tour and "...storm America"]

 

The Band for the ROD STEWART sessions was:

Lead Vocals - LONG JOHN BALDRY (12-String Guitar on "Black Girl")

Guitars - RON WOOD (of Faces, Rolling Stones) [Tracks 2, 4, 5, 6, 16 and 17]

Guitars and Pedal Steel Guitar - SAM MITCHELL [Tracks 1 to 5, 15 and 16]

Piano - IAN ARMIT (of Argent)

Mandolin - RAY JACKSON (of Lindisfarne) on "Black Girl" and "Morning Morning"

Tenor Sax Solo - ALAN SKIDMORE on "Don't Try To Lay No Boogie Woogie..."

Bass - RICK BROWN

Drums - MICKIE WALLER (of Steampacket)

Backing Vocals - MAGGIE BELL (of Stone The Crows) on "Black Girl" and "It Ain't Easy"

 

The band for the ELTON JOHN sessions was:

Guitars - CALEB QUAYE and JOSHUA M'BOPO (of Hookfoot)

Piano - ELTON JOHN

Bass - DAVE GLOVER

Drums - ROGER POPE

Backing Vocals - Leslie Duncan, Madelene Bell, Doris Troy, Kay Garner, Liza Strike, Tony Burrows, Tony Hazzard & Roger Cook

 

CD2 "Everything Stops For Tea" (54:19 minutes):

1. Intro: Come Back Again [Ross Wilson cover] – Side 1

2. Seventh Son [Willie Dixon song – Willie Mabon cover]

3. Wild Mountain Thyme [Traditional Air, McPeake Family]

4. Iko Iko [The Dixie Cups cover]

5. Jubilee Cloud [John Kongos cover]

6. Everything Stops For Tea [Jack Buchanan cover of a 1935 song] - Side 2

7. You Can't Judge A Book [Willie Dixon Song – Muddy Waters cover]

8. Mother Ain't Dead [Traditional]

9. Hambone [Sam Mitchell cover]

10. Lord Remember Me

11. Armit's Trousers [Ian Armit of The Hoochie Coochie Men song]

Tracks 1 to 11 are his album "Everything Stops For Tea" – released May 1972 in the UK on Warner Brothers K 46160 and Warner Brothers BS-2614 in the USA. Tracks 1 to 5 (Side 1) produced by ELTON JOHN in February 1972 with Tracks 6 to 11 (Side 2) produced by ROD STEWART between January and February 1972.

 

CD2 BONUS TRACKS:

12. Radio Spot No. 1 (advertising the album)

13. Bring My Baby Back To Me (Live Mar-Y Sol Festival, Puerto Rico, April 1972) – first appeared on the 2LP set "Mar Y Sol" in 1972 on Atco SD 2-705 – Previously Unreleased on CD

14. Only Love Can Break Your Heart (album outtake, duet vocals with Joyce Eversion, a Neil Young cover) – Previously Unreleased

15. I'm Just A Rake & Ramblin' Boy (album outtake, duet vocals with Joyce Eversion, a Ron Davies cover) – Previously Unreleased

16. Radio Spot No. 2 (advertising Joyce Everson's "Crazy Lady" album, 1972)

 

The band for the ELTON JOHN sessions was (Side 1 – Track 1 to 5):

Lead Vocals - JOHN BALDRY

Vocal Accompaniment - ELTON JOHN (Tracks 1, 3, 4 and 5)

Guitars – DAVEY JOHNSTONE

Bass – KLAUS VOORMAN

Percussion – RAY COOPER

Drums – NIGEL OLSSON

Piano – IAN ARMIT of Argent (on "Jubilee Cloud")

Viola – STEFAN DELFT (on "Wild Mountain Thyme")

 

The band for the ROD STEWART sessions was (Side 2 – Tracks 6 to 11):

Lead Vocals - JOHN BALDRY (Guitar on "Mother Ain't Dead")

Duet Vocals – ROD STEWART (on "Mother Ain't Dead", Rod also plays Banjo)

Guitars – JAMES LITHERLAND and ROBERT WESTON (on "You Can't Judge A Book" and "Lord Remember Me")

Guitars – SAM MITCHELL (on "Hambone")

Piano - IAN ARMIT of Argent (on "You Can't Judge A Book", "Lord Remember Me" and "Armit's Trousers")

Bass – BILL SMITH (on "You Can't Judge A Book" and "Lord Remember Me")

Bass – JOHN PORTER (on "Hambone")

Drums – JOHN DENTITH (on "You Can't Judge A Book" and "Lord Remember Me")

Drums – JOHN PORTER (on "Hambone")

Percussion - MICKIE WALLER of Steampacket (on "You Can't Judge A Book")

Backing Vocals – MADELINE BELL, LIZA STRIKE and DORIS TROY (on "You Can't Judge A Book")

Backing Vocals – MADELINE BELL, LIZA STRIKE and BARRY ST. JOHN (on "Lord Remember Me")

 

The great news here is expert remastering carried out by Rhino's long-time tape associate DAN HERSCH; these CDs sounds just brilliant - analogue warm and in your face for all the right reasons. At times in fact it feels like the FACES unleashed - both acoustically and in full-on band mode. Music wise - this is pre "Every Picture Tells A Story" and "Madman Across The Water" - I mention these albums again because proceedings come on like "Picture" (produced by Rod and featuring his backing band), while Side 2 sounds like a more rockier version of "Madman" (produced by Elton etc). Couple this with great song selections (fast and folky alike) and Baldry's British toff speaking voice sounding like a guttural fired-up Eric Burden when he sings and the effect is magical. Let's do each...

 

The "It Ain't Easy" album...

 

When Nashville songwriter Ron Davies wrote "It Ain't Easy" for his 1970 LP "Silent Song Through The Land" (A&M SP-4264) - he probably had no idea that huge rock acts would then take his unknown song and name TWO entire albums after it – THREE DOG NIGHT in 1970 and (LONG) JOHN BALDRY in 1971.

 

Many will also be aware of the song through David Bowie's cover on Side 1 of 1972's "Ziggy Stardust". Even Dave Edmunds had a go at the tune for his debut album "Rockpile" on Regal Zonophone also in 1972 (see separate review). "It Ain't Easy" was just one of those cool rock tracks that lent itself to other artists who then somehow made it 'their' song. Baldry (who loved bluesy based acoustic tunes) was also clearly partial to its charms (lyrics from it title this review).

 

After a witty introduction, we get the first Side 1 song "Don't Try To Lay No Boogie-Woogie On The King Of Rock And Roll" (Ron Wood on Guitar) which Warner Bros tried as a US 45-single in July 1971 with the album cut "Mr. Rubin" on the flipside (penned by the lovely female singer Lesley Duncan) – but Warner Brothers 7506 did little chart business. In England, WB waited until 20 August 1971 for a British 45-single and used "Rock Me When He's Gone" on the A-side with the Faces tune "Flying" on the B-side. The thinking was probably that "Rock Me When He's Gone" was an exclusive Elton John and Bernie Taupin song not on any of Elt's LPs at the time and would therefore be a collector's draw – but again it stalled. Other corkers include a fab cover of the Randy Newman menace-inducing "Let's Burn Down The Cornfield" and the so cool near seven-minutes of "Flying" (they put the full album cut on the British 45 and not an edit). The stunning pipes of Maggie Bell bring huge bellows to both "Black Girl" (don't you lie to me - where did you sleep last night) and the aforementioned "It Ain't Easy". She seemed like the perfect foil for Baldry who call-and-responses with her as they both let rip with those Bluesy - just check out on Spotify how they belt it out on "It Ain't Easy" - fab!

 

But the real fireworks for me come in the blistering bonus tracks. Faces and Mercury-years Rod Stewart fans will flip for these - 4 are acoustic (11, 12, 14 and 15), while the other 2 are band orientated (16 and 17). In fact it almost sounds like these tracks represent the true spirit of the sessions - an unplugged pure blues album trying desperately to get out - get past all that production.

 

Infuriatingly, it doesn't say who plays the harmonica and acoustic guitar on the fabulous version of "Going Down Slow" or the weird cello intro on the Alternate "Black Girl" There is also the Robert Johnson classic "Love In Vain" which will be of interest to those who want their Baldry all Bluesy and how. By way of splinters, Warners decided to issue both albums as individual CDs in the UK - "It Ain't Easy" being released 29 August 2005 on Warner Brothers 8122784642 (Barcode 081227846428) complete with the 7 bonus outtakes and 1 Radio Spot.

 

The "Everything Stops For Tea" album...

 

"Everything Stops For Tea" opens well with an R&B one-two of "Come Back Again" and "Seventh Son" where the album feels like "It Ain't Easy" Part 2 (the LP that preceded it in 1971). But then Baldry attempts a Scottish air – the McPeake Family's beautiful traditional "Wild Mountain Thyme" and along with a wishy-washy take on the Dixie Cups classic "Iko Iko" kills any real momentum the side might have had. In fact, Warner Bros. UK tried what they presumed was the catchy "Iko Iko" as a pre-LP British 45-single - 27 April 1972 on Warner Brothers K 16175 with the Bluesy Traditional song "Mother Ain't Dead" on the B-side (presumably to catch both sides of his core audience) – but it did not take.

 

Things recover big time with his rocking cover of "Jubilee Cloud" – a track from the 1971 "Kongos" album on Fly Records by South African John Kongos. With the band rocking it out – you really wish the whole side was filled with these smart choices. But Side 2 makes the same mistake of including too many styles when really it would have been better to Rock or even Funk.

 

Pre-ambled by some very silly dialogue about fans seeking signatures as he types a reluctant letter of apology – a hassled Baldry plays up his terribly aristocratic British accent on the intro to "Everything Stops For Tea". Written by Al Goodhart, Al Hoffman and Maurice Sigler – this ode to England's favourite tipple was first a witty vocal vehicle for Jack Buchanan alongside Fay Wray in the 1935 movie "Come Out Of The Pantry". Baldry keeps his version firmly in the music hall shuffle tradition – "...you remember Cleopatra...she had a date to meet Mark Anthony at three...but he came an hour late...she said you'll have to wait...because everything stops for tea..." – you get the audio picture.

 

There are tongue-in-cheek jabs at the outlandish garbs of Rod Stewart and Elton John in the lyrics of the superb cover of Willie Dixon's "You Can't Judge A Book" where the band finally rocks out – Jimmy Horowitz giving in some chunky Hammond chords while Madeline Bell, Liza Strike and Doris Troy give it some Soulful backing vocals. Baldry opens "Mother Ain't Dead" with a spoken intro about how he hadn't sung with Rod sing the Steampacket days back in 1965. They then duet on this rather lovely version of the Blues Traditional with Baldry playing Guitar and Rod doing an impressive Banjo backing. "Hambone" – a very funky drum-shuffler - turned up on a Warner Brothers CD compilation called "Right On! Volume 4" in 2002 - Soul Boys and Rock-Soul Funksters alike digging its sexy groove. Written by guitarist Sam Mitchell – he also plays all guitars on the fantastically catchy "Hambone" (definitely one of the album's highlights). 

 

Written by Myrtle Jackson in the Forties and famously covered by Country Music star Hank Snow in 1966 - "But This I Pray, Oh Lord Remember Me" is reduced to "Lord Remember Me" - a slow Soulful Gospel rap that builds into a frantic preacher 'piano and ladies' chant. The album then fizzles out with Ian Armit's "Armit's Trousers" – a two-minute instrumental ditty with him on a lone piano (he was one of The Hoochie Coochie Men back in the 60ts day with Baldry).

 

The Bonus Tracks on "Everything..." are a mixed bag. After a one-minute Radio Spot (No. 1) that uses the dialogue/typewriter gag at the beginning of "Everything Stops For Tea" (not a very convincing sales pitch I'd have to say) – we get something worth celebrating in a hard-hitting Blues Boogie similar to Muddy Waters/Johnny Winter. The self-penned Slow-Blues of "Bring My Baby Back To Me" was first released by Baldry as a British 45 on United Artists UP 1158 in 1966 – the B-side of "Cuckoo". The fantastic 6:25 minute live version of "Bring My Baby Back To Me" presented on this CD first appeared on Side 4 of the vinyl double-album "Mar Y Sol – The First International Puerto Rico Pop Festival" in 1972 on Atco SD 2-705. I don't know who's playing guitar – but it's a barnstormer (and first time on CD here too). This is followed by two album outtakes – covers of Neil Young's sorrowful "After The Gold Rush" classic "Only Love Can Break Your Heart" and Ron Davies' lesser-known "I'm Just A Rake & Ramblin' Boy". Both feature the vocals of Joyce Everson whose album "Crazy Lady" appeared in 1972 on Warner Brothers BS 2604 (the Radio Spot No. 2 advertises it using Baldry's voice). Although she's a good voice – her high pitch doesn't suit him and the Neil Young track comes across as mawkish rather than tuneful. The largely acoustic "I'm Just A Rake & Ramblin' Boy" is far better - but in truth you can see why both were left off an already confusing album.

 

Although the 2nd LP isn't as good as the first (too many conflicting styles and a couple of choices that simmered rather than sizzled) – I still see "Everything Stops For Tea" as a must have for me. Warner Brothers UK and Europe released it 29 August 2005 as a single CD on Warner Brothers 8122784652 (Barcode 081227846527) complete with bonus tracks and new liner notes from Sid Griffin that were clearly written before Baldry passed in June 2005. That "Everything Stops For Tea" and its "It Ain't Easy" companion release are also unfortunately deleted, but available (at a price) on auction sites and second hand hubs.

 

In June 1964, Long John Baldry & The Hoochie Coochie Men released an obscure UK 7" single on United Artists UP 1056. Its B-side - a raucous cover of Sister Rosetta Tharpe's gospel tune "Up Above My Head" - featured an uncredited duet vocal with a sensational new singer (it was Rod Stewart's first vinyl appearance). You have to say that Rod The Mod and Elton certainly repaid the gallant Englishman for that launching pad, when they put together this wicked twosome at the behest of Joe Smith - President of Warners.

 

With Baldry lost to us since July 2005 after a long battle with cancer (aged 64 and living in Canada), this and/or its splinter releases is a lovely way to remember that most Blighty of male singers.

 

And well done to all those involved for finally seeing the whole kit and caboodle reissued in such stomping audio. Rest in Peace you British beauty...

"Buena Vista Social Club: Edición 25 Anniversario (25th Anniversary Edition)" by BUENA VISTA SOCIAL CLUB – June 1997 (UK) September 1997 (USA) Album of Cuban Music on World Circuit Records with Ry Cooder and The Afro-Cuban All Stars featuring Ibrahim Ferrer, Eliades Ochoa, Compay Segundo, Rubén González, Omara Portmundo, Manual Mirabal and many more (September 2021 UK World Circuit/BMG 2CD Anniversary Reissue with Twelve Previously Unreleased Tracks and Bernie Grundman Remasters) - A Review by Mark Barry...

 

 

 

 

 

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This Review and 317 Others Like It 

Are Available in My Amazon e-Book

GOODY TWO SHOES

2CD Deluxe Editions (Occasional Threesome), Expanded Reissues and Compilations 

All Info From The Discs Themselves 

No Cut and Paste Crap

Amazon Hall of Fame Reviewer 6 Times

 

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"...Ediciones Musicales... "

 

There have been only a handful of genuinely mind-blowing world-conquering musical discoveries in my 65-year search for genre enlightenment (mainline those rhythms to my soul baby).

 

I suppose it started for me (and most everyone else) with Paul Simon's September 1986 African/World Music album "Graceland" that received a 25^th Anniversary Edition multiple-format reissue in June 2012 (see review). Then we got the Coen Brothers re-educating us all on old timey papa-biscuits music with their devastatingly funny and beautifully filmed "O, Brother Where Are Thou?" movie parable in September 2000. The CD was a hit, Americana and Traditionals and Country Music had a full-on resurgence and concerts followed in which much of the entire world joined up for the hootenanny rediscovery - all of this heady mix breaking old barriers down towards music considered by many to be the very definition of hick (run a hundred miles boy lest you and your progeny get infected).

 

The lads at reissue specialist Light In The Attic Records of America gave us the stunning "Cold Fact" and "Coming From Reality" albums from Rodriguez in August 2008 and May 2009 (originally issued in 1970 and 1971 on Sussex Records and thereafter descended into virtual unsold obscurity) that was followed by the movie-story of his life "Searching For The Sugar Man" - another joyous discovery. These new frontiers - along with Peter Gabriel and his Real World Records label - blew everyone away.

 

But in between all of that came 23 June 1997 in the UK (17 September 1997 in the USA) and the self-titled one-off album sensation that was/is Buena Vista Social Club – a collection recorded across three days at the end of March 1996 in Havana, Cuba by the then virtually unknown World Circuit Records. Helping hand and cool conduit came via Americana guitarist and Warner Brothers recording star Ry Cooder who had invited the cream of Traditional South American Music practitioners to a studio to go for it. The sideways aim/result was to bring music genres like Trova, Son, Tumbao, Danzón, Guajira, Canción and of course all manner of Afro-Cuban Bolero numbers and ballads to a new audience. The resultant album was and still is a joy – a lightning in a bottle moment captured and celebrated ever since (hell, even the artwork has become famous).

 

That Buena Vista Social Club was always going to receive a celebrationary reissue goes with saying. But man oh man and boys oh boys – the Remastered AUDIO on this sucker by Bernie Grundman is off the charts good. Culled from the original master tapes and featuring 12 new Previously Unreleased session outtakes on CD2 (including new songs, mostly rehearsals)  – both the CD and VINYL variants for this 25^th Anniversary hit next level audiophile. Even the obvious loose nature of "Chan Chan" that opens CD2 with a Monitor Mix where Cooder announces that prep is over and "...Cats, we're up!" sounds utterly amazing and alive in your living room. A warmth and feel that is at times hair-raising. Enough 5-star praise, to the details...

 

UK released 17 September 2021 - "Buena Vista Social Club: Edición 25 Anniversario (25^th Anniversary Edition)" by BUENA VISTA SOCIAL CLUB on World Circuit/BMG WCD05025S (Barcode 4050538672206) is a 2CD Reissue and Remaster that plays outs as follows:

 

CD1 (60:10 minutes):

1. Chan Chan

2. De Camino a La Vereda

3. El Cuarto de Tula

4. Pueblo Nuevo

5. Das Gardenias

6. ?Y Tú Qué Has Hecho?

7. Veinta Años

8. El Carretero

9. Candela

10. Amor de Loca Juventud

11. Orgullecida

12. Murmullo

13. Buena Vista Social Club

14. La Bayamesa

Tracks 1 to 14 are the CD album (double-vinyl) "Buena Vista Social Club" – released 23 June 1997 in the UK on World Circuit WCD 050 and 16 September 1997 in the USA on World Circuit/Nonesuch 79478-2. Produced by NICK GOLD – it peaked at No. 44 in the UK and No. 80 on the US charts (hit No. 1 in Germany). This 25^th Anniversary Edition reissue charted and peaked at No. 100 in America and is Remastered by BERNIE GRUNDMAN

 

There is also a VINYL 2LP Remastered Set of this 25^th Anniversary Edition Reissue on World Circuit/BMG WCV05025 (Barcode 4050538629996). It adds five of the outtakes as Bonuses, comes on 180grams Vinyl and has an expanded 20-page booklet. The five bonuses included on the 2LP VINYL Set are Tracks 2, 3, 7, 10 and 12 on CD2)

 

CD2 (40:15 minutes):

1. Chan Chan (Monitor Mix)

2. Vicenta

3. La Pluma

4. Dos Gardenias (Alternate Take)

5. Mandinga

6. Siboney

7. A Tus Pies

8. El Carretero (Alternate Take)

9. Ensayo

10. La Cleptómana

11. Descarga Rubén

12. Orgullecida (Alternate Trio Take)

Tracks 1 to 12 are all PREVIOUSLY UNRELEASED

 

The 65-page Hardback Digibook for "Buena Vista Social Club: Edición 25 Anniversario" is a beautiful thing to look at and behold. The cream pages separate out every song including the new ones and even produce both Native language lyrics and English translations. There is a lead-in note from Cooder about the genesis of the project – a long list of musicians that is complimented by a further track-by-track player-by-player list at the rear (featuring artists include The Afro-Cuban All Stars - Ibrahim Ferrer, Eliades Ochoa, Compay Segundo, Rubén González, Omara Portmundo, Manual Mirabal, Alberto Valdés and many more). There is a colour photo of the joyous group towards the rear and a sense that pride has been taken in this celebrationary release. But the big news is a BERNIE GRUNDMAN Remaster that is simply glorious (as already outlined). Time to Bolero my friends...

 

Playing the album even from the opening number and you instantly realize how utterly locked into each other’s rhythms the band is – swaying and shuffling with big-room perfection while Ry underpins the Acoustics, Trumpets, Bongos and Shakers with a mean-as-a-rattle-snake Electric Slide Guitar. And a musically smart Cooder hovers with his guitar - never gets showy or in the way of Lead Vocalist Eliades Ochoa whose vocals are aged-in-brine gorgeous. When they do go into the initial Piano waltz that is "Pueblo Nuevo" and then up the pace half way through to a sexy dance of piano and guitars – you can imagine Angelina Jolie sashaying around some Taverna in lace making all the sweaty patrons drink deep and fan harder (sunny weather indeed).

 

Legendary South American vocalist Ibrahim Ferrer sings an emotional blinder with "Das Gardenias" – a lovely Bolero that makes you want to slow dance with your baby. And again truly gobsmacking audio comes roaring in with "?Y Tú Qué Has Hecho?" – Ry Cooder and Compay Segundo doing Acoustic Guitar battle on this 1920s Bolero. The all-male-ensemble is joined by the only woman to grace the album – Omara Portmundo (pictured in the booklet) - who duets in perfect subdued beauty with Compay Segundo on "Veinta Años" (beautiful Bouzouki-type guitars too). That lovely almost calming Bolero moment is followed by a gorgeous groove in "El Carretero" where Eliades Ochoa takes Lead Vocals. Next up the boys have some swaying and aye-aye-aye singing fun with a Son & Tumbao style song called "Candello" which at 5:27 minutes probably outstays its welcome just a tad.

 

Ry and Joachim Cooder join the muchachos guitarist fray with subtle contributions to the short but deeply lovely "Amor De Loca Juventud" – a cellulite-reducing Americana shuffle with Gospel and Acoustic Blues influences. Old timey pre-war trombone and even Hawaiian steel convergences make "Orgullecida" a giggle and delight. But they pale when the voices and piano of "Murmullo" show up – Ibrahim Ferrer swooning and humming in a Romantic Casablanca kind of style while Rubén González plinks on a grand piano with a beautifully captured tone. A Danzon-style instrumental shuffles like a cheeky sea fog into view for the cha-cha-cha of the title track "Buena Vista Social Club" (wowser for the audio again). And it all comes to a sort of early-hours-cantina-on-the-brink-of-stupor moment – a Criolla-style sung ballad where the men are nearly weeping or too drunk to explain – whichever arrives first.

 

I suppose the only tiny complaint would be that it easy to hear why large numbers of the outtakes were left on the cutting room floor – they are good – but they are not the great stuff on the album. Having said that the up mood of "Vicenta" is damn cool while the Alternate of an album fave "Das Gardenias" is lovely even if the vocals go awry towards its end. Piano and Bongo chill-out fun comes in the shape of "Mandinga" where Rubén González gets the boys to stop talking and even join in the melody. Another lovely moment of acoustic sweetness comes with the song called Ensayo which is upended when piano rudely interrupts – it’s a segment more than a tune. But again – others have loved "La Cleptómana" – a Trova song about a Kleptomaniac who likes to burn pretty things (nice).

 

Buena Vista Social Club was and still is a beautiful thing and this 25^th Anniversary reminder has done its legend proud. And I got my copy in 2023 for under a tenner shrink-wrapped with its display sticker and looking perky. Time for me to re-join the waist-train as its shimmies across the retirement home – aye aye aye...

"Buddy Miles Live/A Message To The People" by BUDDY MILES - 2LP Live Set from October 1971 USA (February 1972 UK) Combined With An April 1971 USA Single Studio LP (June 1971 UK) both on Mercury Records - Buddy Miles, Stemsey Hunter and Herbie Rich all ex The Electric Flag, Buddy Miles also ex Jimi Hendrix's Band Of Gypsies. Also featuring Hank Redd, David Hull, Charlie Karp (Karp later with White Chocolate and Dirty Angels), Donnie Beck (later with B & G Rhythm) and more (April 2023 UK Beat Goes On Records (BGO) Compilation - 3LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...

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"...Feelin' Alright This Evening..."

 

After decades in the digital wilderness, we of a Rhythm 'n' Blues meets Brassy Rock meets Soul and Funk persuasion finally get the last two pieces of the Buddy Miles Discography put out onto a quality CD reissue - and it's a twofer doozy. The ex Electric Flag and Hendrix's Band Of Gypsies Drummer and Singer has never sounded so good.

 

I have already reviewed the compilation "Expressway To Your Skull/Electric Church/Them Changes/We Got To Live Together" that England's Beat Goes On Records reissued onto 2CDs in January 2022 (Beat Goes On Records BGOCD1468 - Barcode 5017261214683). That Andrew Thompson remastered release contained four studio albums originally issued November 1968, June 1969, July and November 1970 in the USA on Mercury Records featuring Production by Jimi Hendrix on LP No. 2 ("Electric Church"). The first two were credited to Buddy Miles Express and everything after that to plain old Buddy Miles. 

 

Extra info: his 1968 American debut solo album "Expressway To The Skull" (1969 in the UK) is also on a rare mail-order only CD reissue out of the USA. Released December 2006 - "Expressway To The Skull" on Hip-O Select B0002976-2 came in an Oversized Mini LP Repro Artwork Hard Card Gatefold Sleeve and was limited to only 5000 copies worldwide (no Barcode, numbered on the rear - Hip-O Select was the mail-order wing of Universal). That gorgeous sounding version has been deleted years now but costs far more than its worth. I mention this by way of info, because you are frankly going to get far better value for money out of the superb BGO 2CD set highlighted above. Buy that first - then come to door number two...

 

Which brings us in 2023 to this - another 2CD compilation from BGO that rounds up the remainder of his six-album discography for Mercury Records. Lots to yak on about ye pirates of the groove; so once more my Right On Funkadelics to the groin-gyrating details...

 

UK released Friday, 7 April 2023 - "Buddy Miles Live/A Message To The People" by BUDDY MILES on Beat Goes on Records BGOCD1493 (Barcode 5017261214935) offers 3LPs Remastered onto 2CDs. The first is a live double-album spread across two CDs (Sides 1 and 2 on CD1 etc), the second a single studio LP entirely on the end of CD2. It plays out as follows:

 

CD1 (43:03 minutes):

1. Introduction (0:42 minutes) [Side 1]

2. Joe Tex  (4:32 minutes)

3. Take It Off Him And Put It On Me (4:54 minutes)

4. Down By The River (12:55 minutes)

5. Wrap It Up (19:03 minutes) [Side 2]

Tracks 1 to 5 are the first LP (Sides 1 and 2) of the double-album "Buddy Miles Live" - released October 1971 in the USA on Mercury Records SRM-2-7500 and February 1972 in the UK on Mercury Records 6641 033. It peaked at No. 10 on the American R&B LP charts in the USA (No. 50 on Pop & Rock) - didn't chart UK.

 

CD2 (77:18 minutes)

1. Place Over There (5:03 minutes) [Side 3]

2. The Segment (12:18 minutes)

3. Them Changes (12:44 minutes) [Side 4]

4. Applause (1:00 minutes)

5. We Got To Live Together (12:18 minutes)

Tracks 1 to 5 are the second LP (Sides 3 and 4) of the double-album "Buddy Miles Live" - released October 1971 in the USA on Mercury Records SRM-2-7500 and February 1972 in the UK on Mercury Records 6641 033. It peaked at No. 10 on the American R&B LP charts in the USA (No. 50 on Pop & Rock) - didn't chart UK. 

 

The BUDDY MILES Live Band was:

BUDDY MILES – Drums and Lead Vocals

CHARLIE KARP – Lead Guitar and Vocals

DAVID HULL – Bass and Vocals

DONNIE BECK – Organ

HANK REDD – Tenor Saxophone

STEMSY HUNTER – Alto Saxophone

TOM HALL – Trumpet

BOB HOGINS – Trombone & Organ

 

6. Joe Tex [Side 1]

7. The Way I Feel Tonight

8. Place Over There

9. The Segment

10. Don't Keep Wondering [Side 2]

11. Midnight Rider

12. Sudden Stop

13. Wholesale Love

14. That's The Way Life Is

Tracks 6 to 13 are his fifth studio album "A Message To The People" – released April 1971 in the USA on Mercury SRM-1 608 and June 1971 in the UK on Mercury 6338 028. It peaked at No. 12 on the American R&B LP charts (No. 60 in the Pop & Rock LP charts) - didn't chart UK.

 

The BUDDY MILES Band for the Studio LP was:

BUDDY MILES – Lead and background Vocals, Guitar, Organ and Drums

ANDRE LEWIS – Organ, Clavinet, Piano and Background Vocals

CHARLIE KARP – Lead Rhythm Guitar, Acoustic Guitar and Backing Vocals

MARLO HENDERSON – Lead & Rhythm Guitars, Uni-Vibe, Backing Vocals

DAVID HULL – Bass and Backing Vocals

FRED ALLEN – Drums and Percussion

MICHAEL FUGATE – Lead Trumpet and Flugelhorn

TOM HALL – Second Trumpet and Flugelhorn

HANK REDD – Tenor and Baritone Saxophones

STEMSY HUNTER – Alto Saxophone and Backing Vocals

 

The card slipcase is classy (as always), the original artwork for both LPs reproduced in the 16-page booklet with new liner notes from noted Music Historian and Regular Mojo Magazine contributor CHARLES WARING – whilst the Remasters are by BGO's resident Audio Engineer – ANDREW THOMPSON. You will probably have noticed that the order of the albums is reversed for this CD – the studio set should be first and the live double second. But probably because of timing issues, they are the other way around.

 

Audio-wise, they are a tale of two cities. The live set is good, at times great, but at other times showing its age and crudity of recording. The studio album just leaps out of your speakers and sounds frankly Funkily amazing. Live is 3 to 4-stars – Studio is five-alive. Waring does his usual thorough exploratory when it comes to the history of the songs and notes, that although forgotten now – back in the Seventies day, Buddy Miles was a voice and a chart presence to be reckoned with. After the funky one-two sucker-punch of the "Them Changes" and "A Message To My People" studio sets – it was time to give the public the incendiary live performances he had become rather well known for. In late 1971 his double "Buddy Miles Live" went up to No. 10 on the US R&B LP charts and had a 22-week run – impressive for such a release. The audio on the studio LP is HUGE (all that instrumentation going on) but in a good way. There are tracks on this album (those two Allmans covers especially) that I've been after for Funky-Funky Cover Version CD compilations for years. Good job done - to the big guns...

 

Side 1 offers a devastating live trio that must have pretty much knocked the crowd for six. He urges the gang to boogie in their seats, then the band launches into a sort of Manic Blues Brothers Brass-Band assault that segues from Track 2 into Track 3. "Take It Off Him And Put It On Me" had been a January 1970 US 45-single for American Soul Singer Clarence Carter on Atlantic 2702 (A-side). For his live-and-in-yer-face take, Buddy Miles takes the tune's inherent funkiness and throws in loads more brass and hip-shakin' mama-ness to a point where you can feel the audience getting lewd with the row of seats in front of them.

 

Quieting down the pace and mellowing out the mood comes with "Down By The River" - the Neil Young classic from his debut solo album "Everybody Knows This Is Nowhere" after leaving Buffalo Springfield. Miles smartly hooks into its deeply adaptable nature by turning what was a Guitar-Rock workout on the Young Reprise LP into a Soulful church organ and brass soloing showcase. Slow at first, the band cleverly melts its harmony vocals and begins building to a place where varying horn instruments do battle with a Church Organ (Donnie Beck) like a cool Miles Davis workout. Charles Warring quite rightly praises its astonishing transformation from Rock murder creep into a Soul Aria. Tom Hall on Trumpet and Bob Hogins on Trombone blow the thing out of the water while Donnie Beck gets all testifying Georgie Fame on the organ. Overall it is a fantastic near-thirteen minute crowd-winner and is the first tune on Live to cement the double's greatness in your mind.

 

Miles seriously funks things it with a cover of the Isaac Hayes and David Porter penned "Wrap It Up". About 7:40 minutes in after what seems like the Guitarist going all Hendrix on the night – the band stops – only to have a incessant beat return only this allowing Donnie Beck to go nuts on the organ – soon joined by Brass. Then of course you have to get through the obligatory drum solo. This is the whole Brass-Soul-Rock genre in a live nutshell and even if it does overstay its endless boogie stay at nineteen minutes – hard not to be impressed with the virtuosity of a band this hot whipping the crowd up into frenzy with their sheer showmanship.

 

The studio LP "A Message To The People" was an R&B album smash on release in April 1971 - certainly in the USA where it hit No. 12 before the live double came on the back of that tour in October 1971 and went two chart places further to No. 10 (neither album barely made any headway in the UK - in fact the live 2LP set wasn't released in Blighty until February of 1972 where it promptly died). As Buddy Miles did with the 1970 "Them Changes" LP and The Allman Brothers Band song "Dreams" from their "Idlewild South" album of 1969 - Miles tapped two more from the same platter for his "A Message To The People" set - the fabulous "Midnight Rider" and "Don't Keep Me Wondering". I don't quite know why such a marriage works - but Buddy Miles rearranging and doing Allman Brothers Southern Rock songs with a Soul-Funk twist worked - like say Leon Russell doing a Tony Joe White tune. 

 

The 'Message' album also worked that other Funky-Funky seam - Stax stalwart Otis Redding for his "Wholesale Love" - all those Brass and guitars. The instrumental (which turned up on the live set) "The Segment" is a co-write between Miles and his Saxophone player Hank Redd. Even the Bobby Russell-penned "Sudden Stop" which had been a hit for Percy Sledge on Atlantic Records in July 1968 gets a good old working over. All in all - a very cool album with huge audio from the Remaster.

 

It seems unfair in 2023 that Buddy Miles is such a footnote in Soul and Funk Music History. Because this crossover dude with his great hair, his soulful voice, his hammer-down sticks and even his knack for penning a tune or picking the greats of others - should be remembered with more genuine respect for bringing crossover music to his peeps. 

 

Fans will absolutely have to have to it and newcomers are eagerly advised to give the rather cool double-header (Beat Goes On BGOCD1493) a whirl - immerse yourself in the heady 1971 of it all - all over again. "Feelin' alright this evening..." Indeed I am...