"Spanky And Our Gang/Like To Get To Know You/Anything You Choose b/w Without Rhyme Or Reason/Live" by SPANKY AND OUR GANG – August 1967 USA Debut Album [March 1968 UK], April 1968 US Second Studio LP [August 1968 UK], January 1969 US Third Studio Album [August 1969 UK], December 1970 US Fourth Album and First Live Set – All in Stereo (April 2024 UK Beat Goes On Records (BGO) Compilation – 4LPs onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Spanky-Gang-Like-Anything-Choose/dp/B0CS9QX66G?crid=BX4H14RKK9R3&dib=eyJ2IjoiMSJ9.Z1TN2FoB-QLGFqxruiFl1Q.jKXZfEpScM8nyjJr3UajtbnlNVpwp_NZ3aBC1CPLS-8&dib_tag=se&keywords=5017261215147&qid=1714142377&sprefix=5017261215147%2Caps%2C87&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=df1884c3c43179a11de999e7c889ec5d&language=en_GB&ref_=as_li_ss_tl

This Review and Over 394 More Like It

Are Available In My E-Book 

 

GIMME SHELTER!

CLASSIC 1960s ROCK ON CD 

And Other Genres Thereabouts 

 

Your All-Genres Guide To 

Exceptional Reissues and Remasters 

All Reviews From The Discs 

No Need To be Nervous!

(No Cut and Paste Crap)

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RATINGS: 

*** to **** Material 

***** Remasters 

***** Presentation

"…Icecream Daydreams…"

Universal's now defunct US Mail-Order label Hip-O Select had a well-won reputation for excellence in Audio. And bam – here is (somewhat belated) proof of that.

Back in February 2005 they released "The Complete Mercury Recordings" by Spanky & Our Gang on their US website as a supposed Limited Edition of some 3,000 copies. Hip-O Select B0003620-02 (no Barcode) had 4CDs containing all three studio albums by the Sunshine Pop American band (1967, 1968 and 1969) and their one posthumous Live Set from late 1970, a whole disc of Mono Singles and some Previously Unreleased (mostly 60ts tracks). Difficult to find even then, Universal gave it a Digital Download in August 2011 – but since then – bupkis – and not surprisingly that original hard copy on Hip-O Select has amassed price tags north of £250 in 2024. ELLEN FITTON – who did every one of the magnificent Motown Singles Books for Hip-O Select – is a Remaster Engineer I seek out – and it was she who did the Spanky And Our Gang set in 2005. 

So, I mention all of this by way of history because England's Beat Goes On Records (aka BGO Records) has done the smart thing and licensed the same from Universal – albeit minus the Singles and Unreleased – allocated it a chunky booklet and colourful card slipcase - and all of it Remastered in stonking STEREO too. What a day for picking daisies and lots of bread balloons and holding hands and being with you. To the Icecream Daydream details…

UK released Friday, 19 April 2024 - "Spanky And Our Gang/Like To Get To Know You/Anything You Choose b/w Without Rhyme Or Reason/Live" by SPANKY AND OUR GANG on Beat Goes On Records BGOCD1514 (Barcode 5017261215147) offers 4 Stereo LPs Remastered onto 2CDs and plays out as follows:

CD1 (67:50 minutes):
1. Lazy Day [Side 1]
2. (It Ain't Necessarily) Byrd Avenue
3. Ya Got Trouble
4. Sunday Will Never Be The Same
5. Commercial
6. If You Could Only See Me
7. Making Every Minute Count [Side 2]
8. 5 Definitions Of Love
9. Brother, Can You Spare A Dime
10. Distance
11. Leaving on A Jet Plane
12. Come And Open Your Eyes (Take A Look)
Tracks 1 to 12 are their debut studio album "Spanky And Our Gang" – released August 1967 in the USA on Mercury Records MG 21124 (Mono) and Mercury SR 61124 (Stereo) and March 1968 in the UK on Mercury Records 20114 MCL (Mono) and Mercury 20114 SMCL (Stereo) – the STEREO MIX only is used. Produced by JERRY ROSS - it peaked at No. 77 on the US Billboard Rock LP charts (didn't chart in the UK)

13. The Swingin' Gate [Side 1]
14. Prescription For The Blues
15. Three Ways From Tomorrow
16. My Bill
17. Sunday Mornin'
18. Echoes (Everybody's Talkin') [Side 2]
19. Suzanne
20. Stuperflabbergasted
21. Like To Get To Know You
22. Chick-A-Ding-Ding
23. Stardust/Coda (Like To Get To Know You)
Tracks 13 to 23 are their second studio album "Like To Get To Know You" – released April 1968 in the USA on Mercury Records SR 61161 (Stereo only) and August 1968 in the UK on Mercury Records 20121 SMCL (Stereo only) – STEREO MIX used. Produced by STUART SCHARF and ROBERT DOROUGH - it peaked at No.56 on the US Billboard Rock LP charts (didn't chart in the UK)

CD2 (78:11 minutes):
1. Anything You Choose [Side 1]
2. And She's Mine
3. Yesterday's Rain
4. Hong Kong Blues
5. Nowhere To Go
6. Give A Damn
7. Leopard Skin Phones
8. But Back Then
9. Mecca Flat Blues
10. Without Rhyme Or Reason
11. 1-3-5-8
12. Jane
13. Since You're Gone
Tracks 1 to 13 are their third studio album "Anything You Choose b/w Without Rhyme Or Reason" – released January 1969 in the USA on Mercury Records SR 61183 (Stereo) and June 1969 in the UK on Mercury Records 20150 SMCL (Stereo) – STEREO MIX Used. Produced by STUART SCHARF and ROBERT DOROUGH - it peaked at No.101 on the US Billboard Rock LP charts (didn't chart in the UK)

14. Anything You Choose [Side 1]
15. Amelia Earhart's Last Flight
16. Waltzing Matilda
17. Brother, Can You Spare A Dime
18. Steel Rail Blues
19. Oh Daddy
20. Dirty Old Man [Side 2]
21. The Klan
22. That's What You Get For Lovin' Me
23. Blues My Naughty Sweetie Gives To Me
24. Wasn't It You
25. You Got Trouble
Tracks 14 to 25 are their fourth album (first live) "Live" – released December 1970 in the USA on Mercury Records SR-61326 in Stereo (no UK issue). Produced by RICHARD KUNC – it was recorded at The Gaslight Club South, Coconut Grove in Florida - no dates advised other than most likely 1969 (it didn't chart).

(Debut Album) SPANKY AND OUR GANG was:
ELAINE "Spanky" McFARLANE – Lead Vocals
NIGEL PICKERING – Rhythm Guitar, Vocals
MALCOLM HALE – Lead Guitar, Trombone, Vocals
PAUL "Oz" BACH – Bass Guitar, Vocals
JOHN SELTER – Drums 

(Second LP onwards) SPANKY AND OUR GANG was:
ELAINE "Spanky" McFARLANE – Lead Vocals
NIGEL PICKERING – Rhythm Guitar, Vocals
MALCOLM HALE – Lead Guitar, Vocals
LEFTY BAKER – Lead Guitar
KENNY HODGES – Bass Guitar
JOHN (Chief) SELTER – Drums 
Guests:
Little Brother Montgormery and the Blues Band, Red Rhodes, Artie Schroeck, Lee Katzman, Mike Deasy, Larry Knechtel

The outer card slipcase and substantial 24-page booklet with new liner notes from CHARLES WARING (dated 2024) give an extraordinarily detailed overview not just of the four albums presented here – but how their short-lived career also included a Greatest Hits LP in October 1969 (before the Live set) and what happened to Elaine "Spanky" McFarlane, the sad loss of Lead guitarist Malcolm Hale during their hit-years – their sunshine Pop music and witty lyrics – how the public lumped them in with The Mamas & The Papas and The Association. And those walls of layered vocals – check out "Sunday Will Never Be The Same" – sunshine and you were mine - gorgeous stuff even if it comes across as a tad twee in 2024. 

The artwork for all four albums front and rear is here as are any liner notes – even the poster that came with original copies of the "Like To Get To Know You" LP is reproduced on Page 19. Other pages have sheet music for various singles like "Lazy Day" and "Making Every Minute Count" and so on. Long-time contributor to the Mojo Magazine – Charles Waring taps Net references and credits them too – tales of Republican Presidential-candidate Richard Nixon being outraged at the anti-Vietnam references in their lyrically brave "Give A Damn" (not so squeaky-clean US politics highlighted amidst a youth call-to-arms). It makes for a hugely entertaining read and a microcosm of the wild-ride that was the late Sixties.

But all of that is kicked into touch once you get a lugful of the Remastered Stereo – ANDREW THOMPSON doing transfer justice to the ELLEN FITTON transfers. These CDs sound AMAZING – gorgeous clarity. However, it will not take fans long to notice that the "Greatest Hits" set is not here which contained longer versions of songs like "Sunday Mornin'" (6:15 minutes compared to 3:54 on the original LP) and "Like To Get To Know You" (3:18 minutes compared to 2:15 minutes on the original LP). And as there was room at the end of CD1 – it's a shame they're not Bonuses – but perhaps such rarities have been kept only to the Hip-O Select release. To the tunes…

Spanky And Our Gang had all the wit, sass, and vocal musical chops of The Mamas & The Papas – Sixties Sunshine Pop with loved-up prescription-induced attitudes – and all of it with a lady out front Spanky McFarlane while her five male cohorts brought up the Young Rascals meets The Association meets The 5th Dimension rear. The self-titled 1967 Summer of Love debut opens with a seriously hippy-happy moment in "Lazy Day" – a daisies and dancing-in-the-park upper Mercury Records paired with "(It Ain't Necessarily) Byrd Avenue" on the flipside of Mercury 72732 in October 1967. Far better is the seriously clever and funny "Commercial" where a garbage man discovers weed – given him by one of his with-it colleagues – and suddenly the flies and the smell don’t seem to matter anymore. And while their covers of "Brother, Can you Spare A Dime" and "Leaving On A Jet Plain" are cleverly worked versions that still sound pleasing - "Sunday Will Never Be The Same Again" and the wake-up-and-see there are no differences "Come And Open Your Eyes" are standouts.

The second LP saw a line-up change and produced a far more sophisticated and commercially accessible album - "Like To Get To Know You". The opening Side 1 track "The Swingin' Gate" throws in Guitars, Trombones and seriously layered melodies and words – and in glorious STEREO too. Talked in intro like a distant oldie from the radio "Prescription For The Blues" sees Elaine get a chance to go all Vaudeville and let rips with the vocals – all misery and a lover who went away. Lead Guitarist Lefty Baker penned "Three Ways From Tomorrow" – an attempt at a single that is filled with abba-dabba vocals. Witty returns with the unpaid final bill song – remittance needed – mail a cheque pretty please (even if you don’t have a job). "Sunday Mornin'" is Spanky And The Gang in all their vocal Beach Boys pomp – the Margo Guryan song hitting No.30 on the US Billboard singles charts. 

Personally, I am more enamoured with their seriously great (almost Beefheart slinky) cover version of the Nilsson song "Everybody's Talkin'" used for the John Schlesinger movie "Midnight Cowboy" which they title "Echoes (Everybody's Talkin')". Spanky does counter-vocals while guitar and strings and a very cool shuffling beat make the cover both new and familiar. Another fab re-working follows with their version of the Leonard Cohen song "Suzanne". Vaudeville tuba kicks in with "Stuperflabbergasted" where our heroes go at it for one minute. The two-minutes of "Like To Get To Know You" is gorgeous but feels too short and that once witty spoken intro now a tad waring. The acoustic guitar beginning of "Chick-A-Ding-Ding" is immaculate as are the so-in-love-with-you vocals where Elaine and Hale play off each other. The same astonishing audio ends their second LP with bop-boo-ya bouncing vocals of Stardust.

After a twenty-five-week chart run for "Like To Get To Know You" and a healthy Billboard LP position of No.56 – it must have come as a disappointment when platter number three "Anything You Choose b/w Without Rhyme Or Reason" – started the New Year of 1969 with a peak of almost half - No.101 and only seven weeks on the Rock LP charts. As it opens with the big and brassy "Anything You Choose" – the audio is once again in yer face. That segues into the very Beach Boys "And She's Mine" – she gives me everything and no other girl comes close – a great song from Bassist Kenny Hodges. Like many of the tracks - "Yesterday's Rain" suffers instead of gains from an arrangement that is too busy – too eager to impress production-wise. After a misstep into cod-wit with "Hong Kong Blues" – Producer and Arranger Richard Scharf gives Spanky and her Crew a gem in the brilliant "Give A Damn" – fear lying beside most ordinary folks in Vietnam 1969 – few of them though thinking about stifling air in the ghetto. 

A Stereo Show on Headphones is the theme of "Leopard Skin Phones" – another misplaced too-clever tune. Two Montgomery men discuss playing bars and dives in the old days which then segues into Spanky singing like Judy Henske on the old-timey for "Mecca Flat Blues". The title track for Side 2 "Without Rhyme Or Reason" sings of how the world goes round – a sort-of Salsa shuffler with their trademark harmony vocals – a Sixties Manhattan Transfer. Sophisticated love hits again with "Jane" and the final Side 2 Nico-sounding moment "Since You've Gone" (gorgeous audio on both). But while the album "Anything You Choose b/w Without Rhyme Or Reason" was undoubtedly better technically than its second studio album predecessor – it somehow lacked the charm or clear winning singles. 

The "Live" set has no recording date (presuming 1969) but has the band tight and well-rehearsed. "Live" also introduced five or six new songs for fans starved of material - but in December 1970 – it must have felt like an artifact from a long-ago time that was not far away enough. There is no doubt about their vocal prowess when they do an Acapella cover of "Waltzing Matilda" and the audio is far better than it had any right to be. But stuff like "Brother, Can You Spare A Dime" and covers of the Gordon Lightfoot songs "Steel Rail Blues" and "That's What You Get For Loving Me" feel like a Bar Band just about justifying their existence. "Live" is well recorded but it lacks any real magic and no wonder it bombed as a seller. Worse – it did not do their three-studio-album legacy the reappraisal it deserved.

Spanky And Our Gang have always been an acquired taste and a band completely tied to their time and sound – the Sixties and Sunshine Pop. But with the fab audio, professional presentation, and availability once again – fans should dive in if they missed out first time – and the curious can understand why BGO is rated by music lovers – giving us ageing hippies audio flowers to put in hair we no longer have. 

"Give A Damn!" about music and legacy - Beat Goes On does...

"Born To Be/Melanie/Candles In The Rain/Leftover Wine" by MELANIE – November 1968 USA Debut Album [February 1969 UK], October 1969 US Second Studio LP as "Melanie" in the USA but Issued December 1969 in the UK as "Affectionately Melanie", May 1970 US Third Studio Album [August 1970 in the UK] and September 1970 Live Album "Leftover Wine" [December 1970 in the UK] (June 2022 UK Beat Goes On Records (BGO) Compilation – 4LP Plus One Bonus Track onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Born-Affectionately-Melanie-Candles-Leftover/dp/B09QJ4C4TK?crid=3H6WY3HXJCVV7&dib=eyJ2IjoiMSJ9.ptpIEqiyzrHG6N22PLJOJw.i3I_x4R2n9MwaA1qZPHwXIXS4Pr0cI2sbEpEC9eq0UA&dib_tag=se&keywords=5017261214799&qid=1713885486&sprefix=5017261214799%2Caps%2C83&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=22137d94e016cd8baeba8f3778000b5b&language=en_GB&ref_=as_li_ss_tl

This Review and 364 More Like It

Are Available In My E-Book 

 

GIMME SHELTER!

CLASSIC 1960s ROCK ON CD 

And Other Genres Thereabouts 

 

Your All-Genres Guide To 

Exceptional Reissues and Remasters 

All Reviews From The Discs 

No Need To be Nervous!

(No Cut and Paste Crap)

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RATINGS: 

*** to **** Material

**** Audio

***** Presentation

"…If The People Are Buying Tears...I'll Be Rich Someday…"

Hippy warbler and all-round cutie-pie and decent human being Melanie was not for everyone at the time - and some five and half decades later here in the spring of 2024 – even more so. Her voice is fab to some – Marmite to others. But New Yorker songwriter Ms. Safka's popularity and chart successes were not without reason.

This superbly annotated and brilliant-sounding twofer from England's Beat Goes On Records (aka BGO Records) shows why fans like this reissue label so much. As you can see from Total Playing Times of 83:05 for CD1 and 81:32 for CD2 – you are not short of serious value for money. In a nutshell you get her first four albums in full – three studio starters and then a Live Show recorded at Carnegie Hall as platter number Four (all releases originally on Buddah Records and stretching from November 1968 in the USA to December 1970 in the UK) plus a Bonus 45-Single Mix on CD2. As I say, plenty on offer. 

The "Candles In The Rain" set (probably her most popular album) even gets a Single Version of that title song as a lone Bonus. One of only three ladies on the day (Janis Joplin and Joan Baez were the others) Melanie debuted her epic tune "Lay Down (Candles In The Rain)" at the legendary July 1969 Woodstock Festival in the USA where she won over the crowd after filling in for a cancelled Incredible String Band slot (it broke her to a worldwide audience). The LP "Candles In The Rain" followed May 1970 in the USA (August 1970 in the UK) to capitalise on her popularity and the festival's growing influence and legend.

And as much of the female singer-songwriter material across these four long-players (not all but most) is a young woman with a warble and powerhouse set of lungs (once she lets rip) accompanied by only an Acoustic Guitar – the clarity of the Remasters is starkly powerful and moving and very much in the listeners favour (if you can take that voice – Marmite - love it, loathe it). Lot to talk about – to the facts…

UK released Friday, 3 June 2022 - "Born To Be/Melanie/Candles In The Rain/Leftover Wine" by MELANIE on Beat Goes On Records BGOCD1479 (Barcode 5017261214799) offers 4LPs Plus 1 Bonus Track Remastered onto 2CDs that plays out as follows:

CD1 (83:05 minutes):
1. In The Hour [Side 1]
2. I'm Back In Town
3. Bo Bo's Party
4. Mr. Tambourine Man
5. Momma Momma
6. I Really Loved Harold [Side 2]
7. Animal Crackers
8. Christopher Robin
9. Close To it All
10. Merry Christmas
Tracks 1 to 10 are his debut studio album "Born To Be" – released November 1968 in the USA on Buddah Records BDS 5024 and February 1969 in the UK on Buddah Records 203 019. Produced by PETER SCHEKERYK (her husband) - it didn't chart in either country, but the 45-single for "Bo Bo's Party" on Buddah 610 022 was a No.1 hit in France. All songs on the debut written by Melanie Safka except "Mr. Tambourine Man" by Bob Dylan and "Christopher Robin" has lyrical references to A.A. Milne

11. I'm Back In Town [Side 1]
12. Tuning My Guitar
13. Soul Sister Annie
14. Any Guy 
15. Uptown Down
16. Again 
17. Beautiful People [Side 2]
18. Johnny Boy
19. Baby Guitar
20. Deep Down Love
21. For My Father
22. Take Me Home
Tracks 11 to 22 is her second studio album "Melanie" (USA) – released October 1969 in the USA on Buddah Records BDS 5041 and December 1969 in the UK credited as "Affectionately Melanie" on Buddah Records 203 028. Produced by PETER SCHEKERYK (her husband) - it didn't chart in the UK but peaked at No.196 on the US Billboard charts in November 1969. All songs written by Melanie Safka except "Soul Sister Annie" by Thomas Jefferson Kaye

23. Candles In The Rain (1:42 minutes) [Side 1]
24. Lay Down (Candles In The Rain) (Long Version, 7:37 minutes)
25. Carolina In My Mind
26. Citiest People
Tracks 23 to 26 are the first four of five songs on Side 1 of her third studio album "Candles In The Rain" (US Version) – released May 1970 in the USA on Buddah Records BDS 5060 and August 1970 in the UK on Buddah Records 2318 009. Produced by PETER SCHEKERYK (her husband) – it peaked at No.17 on the US Billboard charts and No.5 in the UK. All songs written by Melanie Safka except "Carolina In My Mind" and "Ruby Tuesday" which are James Taylor and Rolling Stones cover versions. "Lay Down (Candles In The Rain)" features Edwin Hawkins on Piano accompanied by The Edwin Hawkins Singers. For the last song on Side 1 and the rest of Side 2 of "Candles In The Rain" – see CD2.

CD2 (81:32 minutes):
1. What Have They Done To My Song, Ma [Last Song on Side 1]
2. Alexander Beetle [Side 2 of the US LP - see below]
3. The Good Guys
4. Lovin' Baby Girl
5. Ruby Tuesday
6. Leftover Wine
Tracks 1 to 6 are the last song on Side 1 of her third studio album "Candles In The Rain" and the whole of Side 2. However, the UK LP used the song "Close To It All" from the debut album as the opener for Side 2 instead of "Alexander Beetle" which was only ever on the US album version of "Candles In The Rain". To avoid duplication of the song "Close To It All" – BGO has used the US configuration of the LP. Release details etc – see Tracks 23 to 26 on CD1

BONUS TRACK:
7. Lay Down (Candles In The Rain) – Single Version
Track 7 is the Edited to 3:49 minutes UK 45-single version issued 17 April 1970 on Buddah 2011 013, A-side – credited to Melanie with The Edwin Hawkins Singers. It used Track 23 on CD1 as its B-side. It was issued March 1970 in the USA on Buddah BDA 167 with the same flipside

8. Close To It All [Side 1]
9. Uptown and Down
10. Momma Momma
11. The Saddest Thing
12. Beautiful People
13. Animal Crackers
14. I Don't Eat Animals [Side 2]
15. Happy Birthday
16. Tuning My Guitar
17. Psychotherapy
18. Leftover Wine
19. Peace Will Come (According To Plan)
Tracks 8 to 19 are her fourth album (first live) "Leftover Wine" – released September 1970 in the USA on Buddah Records BDS 5066 and December 1970 in the UK on Buddah Records 2318 011. Produced by PETER SCHEKERYK (her husband) – it was recorded in one night at Carnegie Hall, New York with Melanie on Acoustic Guitar only. It peaked at No.33 on the US Billboard charts and No.22 in the UK.

The outer card slipcase and substantial 24-page booklet with new liner notes from JOHN O'REGAN (dated January 2022) give an extraordinarily detailed overview not just of the four albums presented here – but her entire career past the No.1 single "Brand New Key" on her own Neighborhood Records (and those who later covered it) right up to inductions in Halls Of Fame in 2015 and 2019. It's impartial and yet affectionate and quite rightly gives a congratulatory nod to her successes and popularity. The front and rear artwork for all the LPs is here too along with any original liner notes like say Margie Joseph for the Carnegie Hall live set "Leftover Wine" (Page 1 to10) - while fans will recognise other photos from the inner sleeves punctuating the remainder of the text.

The New Remasters from licenced tapes are by BGO's resident Audio Engineer and a veteran of such vintage material – ANDREW THOMPSON. These albums were well recorded – there is shockingly little hiss yet enough air and warmth around the songs as they play to keep a personal touch coming out of your speakers. She was young too, full of passion and vim and when Melanie let rip on say "Bo Bo's Party" – the impact is amazing. Coming across like a more manic Bobbie Gentry or even Julie Felix – for her second UK 45 off the debut album in February 1969 – Buddah paired it with another album cut "I'm Back In Town" on the flipside of Buddah 201 028 and the audio on both is warm and everything you would hope for. That great clear sound continues throughout. To the music…

A very Paris-by-the-Seine accordion plays in "In The Hour" soon to be accompanied by an acoustic guitar and her highly affected warble. As other reviewers of the time noted – song-wise Buddah seemed to pitch the music at anything goes – vaudeville at times – hippy upbeat ditties the next – all styles - Nilsson meets Randy Newman in tights. Unfortunately, this means that stuff like "I'm Back In Town" and the ha-ha yuck "Animal Crackers" sound terribly dated – but simple songs like "Bo Bo's Party" and "I Really Loved Harold" feel powerhouse by contrast (like a female Fred Neil at times).  "Bo Bo's Party" even made inroads on European 45-singles charts. Buddah UK made her British debut 45-single "Christopher Robin" b/w her brilliant stripped-back almost-spoken cover of the Dylan Sixties classic "Mr. Tambourine Man" – the A-side all about A.A. Milne and the Hundred Acre Wood (Buddah 201 027, December 1968). Melanie talks to her mother in "Momma Momma" – fears she reared her daughter wrong – longing for something – a place to belong – a huge performance and announcement of a major Folk-Rock talent. 

Opening platter number two is a snippet Acapella re-record of "I'm Back In Town" from the debut that is a dismissible – far better is "Tuning My Guitar" – her true aching personality coming through even if it is a tad hissy in places before the strings kick in. Thomas Jefferson Kaye would release his own solo albums in 1973 and 1974 on Dunhill USA (Probe Records in the UK) and even secure the talents of Steely Dan as musicians on the self-titled debut (Donald Fagan, Walter Becker, David Palmer and Jeff Baxter are all on there – along with Engineer and Producer Roger Nicholls and Gary Katz). But before all that Thomas Kaye was a songwriter for hire – and Melanie uses his lone contribution "Soul Sister Annie" as a cool rocker that works as it breaks up the Folkie overload. 

Coming on very much like a female Labi Siffre – her "Uptown Down" is brilliant. Buddah used it as the flipside to "Beautiful People" (a more commercial pitter-pattering A-side) for Buddah 201 066 in December 1969 – a British 45-single - but it did no business (maybe they should have flipped it). Accomplished is how the quiet loveliness of "Again" comes over – a lyrical pain too as she searches for meaning and even friends in a business that offers few. The acoustic guitar and voice theme continues with "Johnny Boy" while her pal is gonna be a big star according to those in the know in "Baby Guitar" – a great 60ts groove and lyrically up there too. "Deep Down Low" and "For My Father" show how far her songwriting had gone while the peaceful and simple "Take Me Home" ends platter number two on a lovely note. "Melanie" or "Affectionately Melanie" as it was known in the UK was a big step forward after the style-tentative debut and it sounds gorgeous here. 

Door No.3 "Candles In The Rain" was her "Mud Slide Slim" LP – the album that broke her out into the mainstream. In fact, Melanie covers James Taylor's "Caroline In My Mind" on Side 1 perhaps aligning herself with US singer-songwriters who were smashing down doors everywhere in 1970 and 1971 and 1972. Her choir-version and almost hymnal take for "Lay Down (Candle In The Rain)" may make 2024 ears bleed a little - but back in the day it had that Hair and Jesus Christ Superstar vibe that captured audiences and listeners in their droves. The in-yer-face album cut of "Lay Down (Candle In The Rain)" hammers on with handclaps and walls of choir voices (Edwin Hawkins singers) and tambourines for a full 7:39 minutes (the single is an edit at 3:49 minutes – a Bonus Track on CD2). Her soft and sweet feel-the-sunshine cover of James Taylor's "Caroline In My Mind" fits – while she ends Side 1 with a gem - "Citiest People" – her gentle ballad telling of a harsh tale of a man who was unkind to an un-city girl – turned a maid ugly when there was no need. Lovely audio too.

"…If the people are buying tears...I'll be rich someday…" - Melanie sang on her other famously self deprecating song "What Have They Done To My Song, Ma" - the 45-single B-side of "Ruby Tuesday" in the UK (August 1970, Buddah 2011 038). Her stunning cover version of The Stones' classic "Ruby Tuesday" deconstructs the song and reveals its inherent menace. Can't say that the childish "Alexander Beetle" is something I ever want to hear again (USA-LP exclusive or no) - but both "The Good Guys" and "Lovin' Baby Girl" save the day with their whacking acoustic passion. Melanie brings her "Candles In The Rain" LP to a close with a song she would use to name her next LP by - the live "Leftover Wine". With sparse and in the background instruments - "Leftover Wine" has sugar-plums dancing in her head - bowls of stale vino enticing come the morning after. Fans will dig the 'Single Edit' of "Lay Down (Candles In The Rain)" cleverly placed after the LP has ended. 

The live set is supposed subtitled 'Recorded Live At Margie's Birthyday Party' which turns out to be New York's Carnegie Hall done 'solo' - her and an Acoustic Guitar. Opening with a slightly dreary "Close To It All" - things pick up with a far better "Uptown Down" - her voice and finger-picking echoing ever so reverentially around the famous venue with surprising clarity. The boys in the city couldn't care less if she loves them or not - while she continues to search for God knows what. Another strong song elicits applause - "Momma Momma" starting out politely until she lets go - a brave brute of a performance in front of such an audience with just an acoustic guitar. Someone even shouts 'we love you' inbetween tunes and they did.

Melanie Safka sadly passed in January 2024 - but this BGO twofer documenting her first four albums on Buddah Records (1968 to 1970) does her starting out period a genuine solid - a fabulous release and one I'm sure fans will love. 

What have they done to my song ma - they've treated it right. God Bless...

"Atlanta: Hotbed Of 70s Soul" by VARIOUS ARTISTS – Featuring Sixteen Previously Unreleased Tracks from the vaults of GRC, Aware and Hotlanta Records and other Michael Thevis Related Labels - Featuring Songs by Sam Dees, Joe Hinton, Kenneth Wright, Louvain Demps, Dee Ervin, King Hannibal and more (March 2024 UK Ace/Kent Soul CD Compilation with Nick Robbins Remasters) - A Review by Mark Barry...

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RATINGS:

*** Material

**** Audio Remasters

***** Presentation

"…Grant Me One More Day…"

Ace Records of the UK via their Kent-Soul label imprint have been on a crusade for a decade-plus now to repatriate the city of Atlanta in our hearts as a (as they would put it) criminally unacknowledged hotpot of US Soul. 

None no more so than the labels around entrepreneur Michael Thevis who owned and went to jail for GRC Records (General Recording Company). Giving a platform to quality singers and Southern-Soul songwriters like Sam Dees, Jimmy Lewis, Joe Hinton, Kenneth Wright, Joe Graham, Louvain Demps, Dee Ervin and James Shaw aka King Hannibal (to name but a few) – this 30 March 2024 CD compilation offers up a whopping Sixteen Previously Unreleased - sat comfortably alongside Eight other hard-to-find Soul Rarities. 

I would however counter Ace's claims that this is Primo Material – there's a feeling throughout the listen that these OK-renditions remained in the cans for reasons. Sure there are great discoveries and worthy inclusions (Miss Louistine, Shirlean Fant and Lorraine Johnson) and the Audio is far better than it had any divine right to be - but there are too many of the opposite to justify claims of Holy Grails. To the Love Making and the Love Stopping…here are the Hotlanta details...

UK released Friday, 29 March 2024 - "Atlanta: Hotbed Of 70s Soul" by VARIOUS ARTISTS on Ace/Kent Soul CDKEND 518 (Barcode 029667109826) is a 24-Track CD Compilation of Remasters that plays out as follows (79:15 minutes):

1. Con Me – MISS LOUISTINE (Previously Unreleased, 2024 – a David Camon and Sam Dees song)

2. Paper Man – ALPACA PHASE III (2023 UK 45-Single, Deep Soul 16, A-side – a 1974 Recording by Sam Dees, Wes Lewis, and Ken Walker)

3. Is There Someone Else – DEEP VELVET (Previously Unreleased, 2024 – a Mose Davis song)

4. The Soul Of Black Folks – KENNETH WRIGHT (Previously Unreleased, 2024 - a Kenneth Wright song)

5. Grant Me One More Day – JOE HINTON (Previously Unreleased, 2024 – a Louvain Demps and Joe Hinton song)

6. Keep On Walking – THE STEPPERS (Previously Unreleased, 2024 – a JJ Barnes, James Davis and Herbert Ross song)

7. Time Is Winding Up – DOROTHY NORWOOD (from the 2011 UK 2LP set "Superfunk's Mission Impossible: Hard To Find And Unreleased Funk Masters (Volume 7)" on Ace/BGP Records BGP2 234 - CD Version is BGP Records CDBGPD 234 – a Kenneth Mims, Dorothy Norwood and Lois Snead song)

8. Love Making – JEAN BATTLE (April 1972 US 45-single, Red Lite RL 119, A-side – May 1972 UK 45-single, Mojo 2027 010, A-side – a Sam Dees song)

9. Extra-Extra – MISS LOUISTINE (Previously Unreleased, 2024 – a Sam Dees song)

10. I'm Tired Of Dreaming – DEEP VELVET (Previously Unreleased, 2024 – Joe Hinton and Marlin McNichols song)

11. Depend On Me – JOE HINTON (Previously Unreleased, 2024 – a Louvain Demps and Joe Hinton)

12. Me And Jen – KENNETH WRIGHT (Previously Unreleased, 2024 – a Kenneth Wright song)

13. What Am I To Do – JOE GRAHAM (Previously Unreleased, 2024 – a Joe Graham song)

14. Sure Could Do With Some You – SHIRLEAN FANT (Previously Unreleased, 2024 – a Brad Baker, Shirlean Fant and Ed Williams song)

15. Someone To Run To – ALPACA PHASE III (Originally an Alternate Version first issued January 2015 on the Sam Dees UK CD Compilation "It's Over: 70s Songwriter Demos & Masters", Ace/Kent Soul CDKEND 426)

16. Can I Hold You To It – LORRAINE JOHNSON (May 1973 US 45-single, Atlantic 45-2967, A-side – Sam Dees, Albert Gardner, Jesse Lewis, and Clinton Moon song)

17. When Will I Stop Loving You – LORRAINE JOHNSON (Previously Unreleased, 2024 – an Albert Gardner and Jesse Lewis song)

18. I Need Me Some More Of You – DEE ERVIN (Previously Unreleased, 2024 – Di Fosco Ervin and Dee Dee McNeil song)

19. Shouldn't I Be Given The Right To Be Wrong – JOE HINTON (1974 US 45-single, Hotlanta HL 306, B-side of "Hanna's Love")

20. Fight Fire With Fire – KING HANNIBAL (Originally issued on the July 2022 UK LP "Atlanta Soul Artistry 1965-1975" on Ace/Kent Soul KENT 523 – a James Shaw and Delia Gartell song – Shaw is King Hannibal)

21. Talk's Cheap – THE SURPRISE SISTERS (from the 2011 UK 2LP set "Superfunk's Mission Impossible: Hard To Find And Unreleased Funk Masters (Volume 7)" on Ace/BGP Records BGP2 234 - CD is BGP Records CDBGPD 234 – a Sam Dees song)

22. Loneliness Hurts Just A Little Bit – JOE GRAHAM (Previously Unreleased, 2024 – a Joe Graham song)

23.There'll Always Be Forever – LOMITA JOHNSON (Previously Unreleased, 2024 – a Di Fosco Ervin and Dee Dee McNeill song)

24. My Peaceful Forest – DEE CLARK (Previously Unreleased, 2024 – a Herb Ryals song)

NOTES: 
All Tracks STEREO except Tracks 8, 10, 12, 17, 19 and 20 in MONO

ADY CROASDELL does the honours once more for Ace in this latest Kent Soul CD compilation breaking down the liner notes info into Artists sections rather than a strict track-by-track. His vast and enthusiastic knowledge is key – swathes of facts and names and Promo photos for Deep Velvet, Miss Louistine, Joe Hinton, Lorraine Johnson, King Hannibal, and Dee Clark bringing up the rear (the last page of 20). The front cover of the booklet is The Steppers in all their 70ts regalia. The Audio is uniformly great even on some of the Demo-ish sounding Mono cuts (NICK ROBBINS for Ace once again displaying his transfer skills) but I wish I could be more enthusiastic about the actual playlist. It feels like 3-star material with 4-star Audio in a 5-star presentation. To the Soul Music…

"Atlanta: Hotbed Of 70s Soul" opens very strongly with a gorgeous Stylistics type Sitar Soul Ballad in Stereo from Miss Louistine – her "Con Me" promising a feast of similar discoveries. "Paper Man" too from Alpaca Phase III – only just issued in 2023 as a 45-single with a Sam Dees cut on the B-side – you can hear why its 3:37-minute warmth and great vocal would appeal. But then the CD starts to taper off into what feels like tunes that are good without ever having that magic. 

Things pick up with the Jesus-righteous Dorothy Norwood getting funky about the world falling apart in her excellent "Time Is Winding Up" (even the congregation is being attacked) while a genuinely uplifting sexy moment arrives with Jean Battle and her only UK 45-single – the decidedly racy and bedroom-saucy needs of a motivated lady in her "Love Making". Just the right side of Jean Knight and "Mr. Big Stuff" attitude – Jean had a great voice and with its Brass vs. Piano Funky groove and its my-man-is-a-top-man-in-loving lyrics, you can hear why this Red Lite Records US 45-obscurity from 1972 is garnishing interest. Unfortunately it is ruined by the manic Disco vibe of Extra-Extra by Miss Louistine – might have been a hit back in the day had it been released – but here in 2024 it just sounds painful.

Deep Velvet score for a second time with the excellent "I'm Tired Of Dreaming" – written by Joe Hinton and Marlin McNichols – it was mistakenly credited to just Joe Hinton on the July 2022 UK LP "Atlanta Soul Artistry 1965-1975" - but Kent Soul now credit it properly to Deep Velvet. Unfortunately the Kenneth Wright track "Me And Jen" has good ideas going on, but a DIY recording and his over-echoed refrains feel like bad Sly Stone doing a demo he won't make public any time soon. The Country-Soul Drifters-light smooch of "What Am To Do" by Joe Graham might have had a chance in the charts of the day, but his flat delivery on some lines explains why it was canned. And on it goes…

I love Sam Dees songs (his influence is everywhere on this disc) – but I found I was trying too hard to like "Atlanta: Hotbed Of 70s Soul" without getting a return. 

Fans will have to own it, but for the uninitiated, I would suggest a listen first…

"Osibisa/Woyaya" by OSIBISA – April 1971 and January 1972 UK Debut and Second Studio Albums on MCA Records – June 1971 and February 1972 in the USA on Decca (November 2004 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters – Reissued December 2012) - A Review by Mark Barry...

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RATINGS: 

**** Material

***** Remasters

**** Presentation

"…The Beautiful Seven…"

Afro Rock, Afro Beat and Afro Funk owes a huge debt to the seven-piece OSIBISA – a band who followed in the Latin Rock footsteps of America's Santana in bringing another genre to the World Music stage in the early Seventies.

Three from Ghana and one each from Grenada, Antigua, Trinidad, and Nigeria – the beautiful seven (as they liked to call themselves) and their lengthy drums, brass, and funky rhythms songs (some with positive messages when they weren't making African noises) captivated audiences with their infectious sound. And resplendent in gorgeous ROGER DEAN gatefold artwork paintings and with Tull/Traffic-like Flute passages amidst the relentless Funky whacking of Tom Toms and Tablas - they also captured the eyes of Prog Rock fans too. OSIBISA kept going for over 40 years in one form or another but in truth are largely forgotten here in 2024. 

Even though MCA Records in those early Seventies years was more about Budgie, Wishbone Ash and bands like The Who - both Osibisa Afro-Rock albums charted well in the USA (No.55 and No.66 on Decca) whilst doing even better in a mucho-toured Blighty (No.11 in both cases, 1971 and 1972). 

This superb-sounding BGO Twofer 2CD Compilation therefore compiles both Osibisa's first two studio efforts and was first issued November 2004, then reissued December 2012 and seems to have been kept on catalogue ever since. To the beautiful seven details…

UK released 19 November 2004 (reissued 17 December 2012) - "Osibisa/Woyaya" by OSIBISA on Beats Goes On Records BGOCD646 (Barcode 5017261206466) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows (song playing times from the CDs):

CD1 (41:07 minutes):

1. The Dawn (7:02 minutes) [Side 1]

2. Music For Gong Gong (5:29 minutes)

3. Ayiko Bia (7:52 minutes)

4. Akwaaba (4:19 minutes) [Side 2]

5. Oranges (4:40 minutes)

6. Phallus C (7:13 minutes)

7. Think About The People (4:26 minutes)

Tracks 1 to 7 are their debut album "Osibisa" – released April 1971 in the UK on MCA Records MDKS 8001 and June 1971 in the USA on Decca Records DL 75285. Produced by TONY VISCONTI (Engineered by Martin Rushent) – it peaked at No. 11 on the UK Rock LP charts (No. 55 in the USA on Billboard). 

CD2 (40:54 minutes):

1. Beautiful Seven (6:42 minutes) [Side 1] 

2. Y Sharp (6:20 minutes)

3. Spirits Up Above (7:18 minutes)

4. Survival (5:40 minutes) [Side 2]

5. Move On (5:08 minutes)

6. Rabiatu (5:07 minutes)

7. Woyaya (4:28 minutes)

Tracks 1 to 7 are their second studio album "Woyaya" – released January 1972 in the UK on MCA Records MDKS and February 1972 in the USA on Decca Records DL 75327. Produced by TONY VISCONTI (Engineered by John Punter) – it peaked at No. 11 on the UK Rock LP charts (No. 66 in the USA on Billboard).

OSIBISA:

TEDDY OSEI (from Ghana) – Tenor Sax, Flute, African Drums and Vocals on Tracks 1 to 3 on CD1

SOL AMARFIO (from Ghana) – Drummer

MAC TONTOH (From Ghana) – Trumpet, Flugel Horn and Kabasa

SPARTACUS R (from Grenada) – Bass Guitar and Assorted Percussion

WENDELL RICHARDSON (from Antigua) – Lead Guitar & Vocals on Track 7 on CD1

ROBERT BAILEY (from Trinidad) – Organ, Piano  & Timbales

LOUGHTY LASISI AMAO (from Nigeria) – Tenor Sax, Baritone & Congas

The outer card slipcase lends the release a classy feel, but you would have to say that despite photos of the inner gatefolds and the Richard Williams liner notes to "Woyaya" reproduced on the inner page spread – the August 2004 8-page liner notes from ALAN ROBINSON feel a tad slight. The band photos and credits make their way into the booklet, onto the rear inlay beneath the 2CD see-through tray and so on – but why don't we get the obvious – the two gatefold spreads showing the amazing ROGER DEAN artwork which when I was a teen back in the day was ALL YOU SAW. Dean was to Rock what Arthur Rackham was to Fantasy Books in the early part of the 20th Century - an illustrator whose work took LP artwork by storm. The beautiful and imaginative paintings are of course on the outer slipcase and reproduced on the opening page of the booklet – but it still feels like a trick was missed here (I recall Sounds and Melody Maker used to sell these Roger Dean images in their back pages as stand-alone posters such was their popularity). 

Robinson sets the World Music Scene explosion before Osibisa – The Beatles and Indian instruments on "Revolver" and "Sgt. Peppers" – Santana and its Latin grooves in 1969 and 1970 – and of course Africa and its influence in rhythms and tones - Brian Jones of The Rolling Stones and The Pipes of Pan at Joujouka (which would be released on Rolling Stones Records in 1973). Robinson explains how Jazz boys Teddy Osei, Sol Amarfio and Mac Tontoh joined forces in England to create the high life very dance-orientated African/Caribbean sound of Osibisa. It's well written, but as I say, I would have liked more, and the booklet has never been updated, despite reissues.

But what BGO did get right is the Audio - Remasters by ANDREW THOMPSON from original MCA Recordings tapes. As all the music is Drums and Bass and Brass punching through the relentless rhythms – clarity is of the Funky essence – and that’s what you get on every number. When the Guitar Afro Funk of "Ayiko Bia" kicks in – you feel it. Over on CD2 is the same – the superbly musical "Y Sharp" feeling like a revelation you needed reacquaintance with. To the musical love…

In a nutshell – for me the "Osibisa" debut is good to very good – but the follow-up "Woyaya" shows a maturity and brilliance that has lasted far better than its predecessor. The opening track has Teddy explaining (talking against crickets and morning sounds) that Osibisa soundscapes are "…criss-cross rhythms that explode with happiness…" as the opening number "The Dawn" works its way across your speakers for a leisurely seven minutes. An instrument showcase, "The Dawn" pushes out Bass, Percussion, and strummed guitars at first – but then spacey flute passages soon kick in after which comes killer Brass and Organ that suddenly makes it feel Earth, Wind & Fire had a baby with The Graham Bond Organization. As it fades out, Teddy does that breathy thing Ian Anderson does when he's playing Flute for Jethro Tull. 

At a relatively short five-minutes-plus and with its Brass-friendly upbeat groove, "Music For Gong Gong" was an obvious album sampler so it got released in Germany as a 45-single from the album in that eye-catching Roger Dean artwork. The first British 45 wouldn’t arrive until January 1972 when MCA put "Music For Gong Gong" on the A-side with "Woyaya" on the flip (MCA Records MKS 5079) – clearly an error as the US 45 gets it right with "Woyaya" on the A-side (Decca 32920). African rhythms and vocals kick in for "Ayiko Bia" as does Wendell Richardson giving it some very Santana-like guitar soloing – sounds great. I remember when we played this at Reckless Records in Soho – its hybrid Jazz meets Africa meets Funk meets Drums and Whistles fest getting punters to the counter demanding to know what 80ts African album this was. 1971 mate! There you go!

Side 2 gets all happy with "Akwaaba" – a sexily commercial brass and pumping Bass dancer – like Greenslade getting down with its inner Todd Rundgren. Keeping on with commercial – the almost piano-poppy "Oranges" feels like it might have dropped in from another recording session. Panning the brass across the speakers dates the instrumental a tad but there is some lovely Herb Alpert-type trumpet fills. Thinking you are better than me obsesses the vocals of "Phallus C" – a play on words. And again – great Afro Funk passages if you isolate them. A mellow almost Donny Hathaway meets Santana moment finishes the debut – Guitarist Wendall Richardson asking us to stop and think about the world and pollution and the system and their combined effect on people - "Think About The People". 

"Woyaya" was a huge leap for the band - a maturity in songs and approach. Bowie's main man Producer TONY VISCONTI once again helmed recordings and as you can hear his skill from the crystal clear opening minute-and-a-half of "Beautiful Seven" - where rain, lightning, bass, piano, flute and guitar all melt into one lovely slow sexy groove - Visconti had their vibe down. As the drums and voices float around your speakers - the message of positivity is sounded large. "Y Sharp" sports a lovely melodious opening brass arrangement and tinkers along like that (can't help thinking an edit of its six minutes) might have made an interesting instrumental 45). Soulful and Bluesy organ opens "Spirits Up Above" where it feels like Billy Preston has joined Malo for a chill-out. Gorgeous tune and cool audio too. 

Side 2 opens with banter between the band and producer before they start African cat calls and a pulsating drum beat that feels like someone is going to be roasted over a bonfire in a Ray Harryhausen Lost World movie. But then something brill happens - at almost two minutes in "Survival" suddenly goes into a fantastic Brass and Funk and Voices groove. You can't help thinking that an edit-out of the superfluous beginning would have served the song better - maybe have been a single Pans People could have hot-pants'd to on Top Of The Pops - Sax solo at the close too. "Move On" indulges in an 'Osibisa' chant up to about 45-seconds to once again go into a African meets West funk - lyrics about progressing but getting nowhere. "Rabiatu" opens with clear Bass notes only to be quickly joined by a nice Brass and Drums dancer that feels like Santana living in Ghana. And it all comes to a close with the vocals of "Woyaya" - a song someone thought would make a single because of its happy-upbeat message (heaven knows how we will get there). A sweet end to a highly stylised listen - but revelatory for it too. 

For further investigation of OSIBISA, Beat Goes On (BGO) of the UK also reissued studio album number three - "Heads" – originally released September 1972 in the UK on MCA Records MDKS 8007 (October 1972 in the USA on Decca DL 75368). That Remaster issued 15 November 2005 on Beat Goes On Records BGOCD690 (Barcode 5017261206909) is also still widely available.

African Funk Beat purveyors OSIBISA are a forgotten musical phenomenon in 2024 – their self-titled debut from the spring of 1971 now closing in on 55-years ago. But like Santana, Earth, Wind & Fire, Malo, War and even Blaxploitation Soundtracks – the Funky earthy positive-vibe cocktail stills draws music lovers in like moths to a rhythm flame. 

Resplendent in its card slipcase and sporting Spirits Up Above audio – BGOCD646 is a 2CD twofer you might want to seek out and then buy-in ice-packs for your aching limbs. Enjoy…