"Woman, Woman/The New Gary Puckett And Union Gap Album/The Gary Puckett Album + Bonus Tracks" by GARY PUCKETT & THE UNION GAP and GARY PUCKETT- January 1968 US Third Album and December 1969 US Fourth Album (February 1970 in the UK) plus October 1971 First Solo Album on Columbia Records – All in Stereo (April 2019 UK Beat Goes On Compilation – 3LPs onto 2CDs with 8 Bonus Non-LP 45-Single Sides from 1969 to 1972 – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Woman-Gary-Puckett-Union-Album/dp/B07NRFRVKD?crid=1BN471JGNTOPQ&dib=eyJ2IjoiMSJ9.QOJtJ7hEFwJCd_DGYhhfhw.mXtwWdoQ6TNTbby9jS3xKgTkTnYWu2-_XrxY4Re3hhE&dib_tag=se&keywords=5017261213747&nsdOptOutParam=true&qid=1730650027&sprefix=5017261213747%2Caps%2C85&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=66452ff95f3be7c275fa669a39de8915&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material ***

Presentation and Audio *****

"…Don't Run To His Arms…" 

What you get here is three on two – San Diego's Gary Puckett & The Union Gap for their third and fourth studio albums dating from January 1968 and December 1969  - and then his first solo LP from October 1971 as Gary Puckett (all three originally on Columbia Records in the USA - February 1970 in the UK on CBS Records for the second LP only). There are also straggler Non-LP 45-single sides (eight of them across both discs) that stretch from 1969 to 1972. It's a typically generous twofer from our reissue champs at BGO (Beat Goes On Records of the UK). But top Presentation and Remastered Audio is where the good new ends.

It won't take a genius to see that certain auction sites have at times over 300 of these three LPs separately selling at less than a dollar or even 50c. Don't get me wrong – they were beautifully produced and orchestrated – but they are also loaded down with some seriously wearing sub-Walker Brothers pap-Pop. 

Audio bells 'n' whistles or not – these albums have not dated well. You just wish that all this superb reissue effort had been in aid of a better cause. To the details…

UK released Friday, 19 April 2019 - "Woman, Woman/The New Gary Puckett And Union Gap Album/The Gary Puckett Album + Bonus Tracks" by GARY PUCKETT & THE UNION GAP (First Two Albums) and GARY PUCKETT (Third Album) on Beat Goes On BGOCD1374 (Barcode 5017261213747) is a Compilation that Remasters Three Albums from 1968, 1969 and 1970 onto Two CDs and adds on Eight 45-Single Sides as Bonuses across both discs. It plays out as follows:

CD1 (70:09 minutes):
1. Woman, Woman [Side 1]
2. M'lady
3. By The Time I Get To Phoenix
4. Paindrops
5. Believe Me
6. I Want A New Day
7. You Better Sit Down Kids [Side 2]
8. Kentucky Woman
9. My Son
10. To Love Somebody
11. Don't Make Promises
Tracks 1 to 11 are their thirst studio album "Woman, Woman" by THE UNION GAP featuring GARY PUCKETT – released January 1968 in the USA on Columbia CL 2812 (Mono) and Columbia CS 9612 (Stereo) – the STEREO Mix is used (no UK variant). Produced by JERRY FULLER – it peaked at No. 22 on the US Billboard LP charts

12. Home [Side 1]
13. Stay Out of My World 
14. Lullaby
15. Hard Tomorrow
16. This Girl Is A Woman Now
17. My Son [Side 2]
18. Simple Man
19. Out in The Cold Again
20. Don't Give In To Him
21. His Other Woman
Tracks 12 to 21 are their fourth album "The New Gary Puckett And The Union Gap Album" – released December 1969 in the USA on Columbia CS 9935 and February 1970 in the UK on CBS Records S 63794 in Stereo only. Produced by DICK GLASSER – it peaked at No.50 on the US Billboard album charts (did not chart UK)

BONUS TRACKS
22. Could I (February 1969 US 45-single on Columbia 4-44788, Non-LP B-side of "Don't Give In To Him")

23. Let's Give Adam And Eve Another Chance
24. The Beggar (Tracks 23 and 24 are the Non-LP A&B-side of a February 1970 US 45-single on Columbia 4-45097)

CD2 (48:51 minutes):
1. Gentle Woman [Side 1]
2. Shimmering Eyes
3. Feeling Bad
4. Delta Lady
5. Angelica
6. Do You Really Have A Heart [Side 2]
7. Hello Morning
8. I Just Don't Know What To Do With Myself
9. All That Matters
10. Keep The Customer Satisfied
11. If We Only Have Love
Tracks 1 to 11 are his debut Solo album "The Gary Puckett Album" – released October 1971 in the USA on Columbia C 30862 in Stereo (no UK issue). Produced by RICHARD PERRY and STEPHEN GOLDMAN – it peaked at No.196 on the Billboard Album charts

BONUS TRACKS: 
12. No One Really Knows (January 1971 US 45-single on Columbia 4-45303, Non-LP B-side to "Keep The Customer Satisfied")

13. Life Has Its Little Ups And Downs (April 1971 US 45-single on Columbia 4-45358, Non-LP A-side, B-side was "Shimmering Eyes" from "The Gary Puckett Album" LP)

14. I Can't Hold On (November 1971 US 45-single on Columbia 4-45509, Non-LP A-side, B-side was "Hello Morning" from "The Gary Puckett Album" LP)

15. Leavin' In The Morning
16. Bless This Child (Tracks 15 and 16 are the Non-LP A&B-sides of an August 1972 US 45-single on Columbia 4-45678)

The now ubiquitous card slipcase lends these BGO compilations a classy look and long-time liner-notes associate to Beat Goes On Records (of England) JOHN O'REGAN does a gamely job in the 16-page booklet that reproduces front and cover artwork that the band Union Gap are fab and groovy (named after a small town in Washington State). Puckett and his Crew had hits galore in the States and these three albums charted albeit in lesser numbers each time. But they were/and/are best remembered for their monster hit 'Young Girl' – the band's second 45 issued February 1968. Credited as The Union Gap featuring Gary Puckett – Columbia 4-44450 was a Pop Sensation (very Phil Spector in ways) and rocketed to No.2 in their native USA. 'Young Girl' ploughed to No.1 in the UK and several other countries around the world too. 

I mention this because their first two albums are captured on another Beat Goes On compilation (BGOCD827 from 2008) – it is 827 that features 'Young Girl'. The group then seemed (like so many acts of the time) to forever-after chase the same type of hit – same wording – same aching over-the-top melodrama. This compilation covers the post-mortem and musically it is hard work. What cannot be denied however is the stunning AUDIO on offer here – licensed from Sony – ANDREW THOMPSON once again doing the absolute business by his Remasters. Fans are going to love this (all Stereo). To the tunes…

The "Woman, Woman" LP is awash with then-contemporary cover versions – Jimmy Webb and Glen Campbell for "By The Time I Get To Phoenix", Jerry Fuller and The Fullers with their "Paindrops", Sono Bono and his "You Better Sit Down Kids", Neil Diamond and his "Kentucky Woman", The Bee Gees on "To Love Somebody" while Tim Hardin closes out Side 2 with "Don't Make Promises". The problem is Puckett did not have the writing chops of say Neil Diamond whose sound is the nearest comparison in 1968. And then there is the mawkish delivery and at times cringeworthy lyrics. When he sings "…bring your sunshine smile to drive my paindrops away…" – oh God! Or how about "…yes I lied and then you cried…" – purr-lease. The red-was-his-hair and green-was-his-eyes of "My Son" is just awful and at times laughable. Much of the second LP is the same. 

"The Gary Puckett Album" opens with two awful saccharine ballads worst of which is the sincere-insincerity of "Shimmering Eyes" where our Gary does all these crying women a favour by letting them down. At least Puckett uses the following two tracks to decent effect – the hallelujah upbeat of "Feeling Bad" (a Gary Wright song from his days with Spooky Tooth) complimented by a good cover of the Leon Russell/Joe Cocker shimmy-shaker "Delta Lady". Melodrama soon returns in his half Gene Pitney half Scott Walker take on the Barry Mann and Cynthis Weil song "Angelica" (the cold winds came, then I spoke her name – lyrics like that). Schlock rears its ugly head with Puckett’s take on a Paul Williams "Do You Really Have A Heart" – sunny-day bop and brass comes in the shape of "Hello Morning". 

And on it goes with stuff like the Bacharach/David standard "I Just Don't Know What To Do With Myself" (movies and parties making our lad sad) and onward to a half-decent bopping stab at a Simon & Garfunkel winner - "Keep The Customer Satisfied" from their 1970 magnum-opus "Bridge Over Troubled Water". Best amongst the five Bonus 45-sides are the what's going down bop of "I Can't Hold On" and the quiet Acoustic Kris Kristofferson vibe in "Leavin' In The Morning" (Gary has gotta be on his way again – see ya) but too often his songs sound like poor-man's Tom Jones.

If you are a Gary Puckett & The Union Gap fan then the fantastic audio and presentation will make BGOCD1374 an essential purchase – but for everyone else, I strongly urge a listen first…

"Rock 'N' Roll Animal" by LOU REED – February 1974 US and UK Fourth Album (First Live) on RCA Victor Records – Featuring Guitarists Steve Hunter and Dick Wagner, Keyboardist Ray Colcord, Bassist Prakash John with Drummer Pentti Glan (May 2000 UK-EU (March 2000 USA) RCA/BMG/Legacy CD Reissue and Remaster with Two Bonus Tracks – Audio Restoration by Bill Lacey) - A Review by Mark Barry...

https://www.amazon.co.uk/Rock-N-Roll-Animal-Live/dp/B00004RD54?crid=33H0T0TKS3NIT&dib=eyJ2IjoiMSJ9.1FJkx3Gqm1PdhweHjeOnFG2qw9u2XXNa6jY5Obfz2Eo.OIOTB_Gfi2P8bAfcoFSzG3tYoZ45Dx4BL46uu0dOtyM&dib_tag=se&keywords=078636794822&nsdOptOutParam=true&qid=1730419930&sprefix=078636794822%2Caps%2C70&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=e82c48a0781c780d35bc50ebef3ed6cb&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material *****

Presentation ****

Audio Restoration *****

"…Hey Protest Kids!"

With the worldwide smash of "Walk On The Wild Side" in the solo-career bag (from his cool 1972 second studio LP "Transformer" – the song and album - all Lou Reed meets Mott The Hoople meets David Bowie meets Mick Ronson brilliant) – it seemed that the ex-Velvets main-man was finally on the deserved up-and-up. 

That is until October of 1973 and the release of his third studio album "Berlin". A seriously bleak almost quiveringly quite music/poetry opus about drug addiction, prostitution, abuse and family break up (a mother has her children taken away to the sound of screams and suicidal despair) - both critics and the public hated it – a hugely down-and-grimy Rock Opera that few could take in one sitting (although for me the gorgeous orchestrated "Sad Song" is surely one of his greatest achievements). Time to get your big-boy leather-pants on again and Rawk.

His first live set – the uncompromisingly sinewy "Rock 'N' Roll Animal" did much to return favour amongst the party faithful. Right from the off, 'Animal' is an aural and attitude assault - a tight-brilliantly-in-synch twin-guitar-and-keyboards attacking band unleashed on four Velvet Underground songs and one solo cut from the infamous "Berlin" LP. 

To this day - is there any Live Set anywhere that opens with something as good as "Sweet Jane" – Mitch Ryder and The Detroit Wheels axemen Steve Hunter and Dick Wagner absolutely slaying it before Lou hits the microphone in that undefinable cool of his. It was enough to elicit hero-worship from me for a lifetime. Which brings us to this beautifully restored CD Reissue & Remaster. To the details Protest Kids…

UK and US released March 2000 - "Rock N Roll Animal" by LOU REED on RCA/BMG/Legacy 07863 67948 2 (Barcode 078636794822) is an Expanded Edition CD Reissue with Restored/Remastered Audio and Two Previously Unreleased Songs from the same concert. It plays out as follows (48:12):

1. Intro/Sweet Jane (7:46 minutes) [Side 1]
2. Heroin (13:13 minutes)
3. How Do You Think It Feels (3:41 minutes) *
4. Caroline Says I (4:07 minutes) *
5. White Light/White Heat (5:11 minutes) [Side 2]
6. Lady Day (4:00 minutes)
7. Rock 'N' Roll (10:08 minutes)
Tracks 1 to 2 [Side 1] and Tracks 5 to 7 [Side 2] are his fourth album "Rock 'N' Roll Animal" (first Live set – see Notes) - released February 1974 in the USA on RCA Victor APL1-0472 (same date and catalogue number in the UK). Produced by LOU REED and STEVE KATZ – it peaked at No.45 on the US Billboard LP charts and No. 26 in the UK.

NOTES: Tracks 3 and 4 (*) are Previously Unreleased – recorded on the same night the live album was taped, 21 December 1973 at Howard Stein's Academy of Music in New York. Neither song appear on "Lou Reed Live" (released March 1975) that also featured music entirely from the same show. The studio versions of each song originally appeared on his infamous October 1973 LP "Berlin". Four of the five songs on "Rock 'N' Roll Animal" are from his days with The Velvet Underground with only "Lady Day" from "Berlin" being from his then three-album-strong solo career. His biggest hit "Walk On The Wild Side" from 1972's "Transformer" is notable by its absence – but Reed wanted the live album to be Classic Rock and Rock and Roll. After Reed released his fourth studio album "Sally Can't Dance" - four of his band members – Guitarists Steve Hunter and Dick Wagner along with Bassist Prakash John and Drummer Pentti Glan would form the basis of the Alice Cooper Band as featured on his February 1975 album "Welcome To My Nightmare". 

Nice to see the CD get a picture disc (his face from the front gatefold cover) and the 8-page inlay with new liner notes from JONATHAN HILL goes into the genesis of the album - it's release - and post-album follow ups - including "Sally Can't Dance" in the same year (1974) and the "Lou Reed Live" set from 1975 that returned entirely to unused material from that night at the Academy of Music in NYC, 21 Dec 1973. There is the inner gatefold shot and the 'Heroin' lyrics that appeared up in the left corner but sadly no shots from the gig. Hill is honest about Lou's spiky responses to criticism - his belligerence almost - and smartly that Reed believed in the redemptive nature of 'Rock 'n' Roll'. It's good enough for an RCA-BMG-Legacy issue, let's put it that way.

But the big news is two unused Bonus Tracks from the same gig - live variants of two 'Berlin' cuts - "How Do You Think It Feels" and "Caroline Says 1" - and fab new Audio Restoration from BILL LACEY and MICHAEL (Mike) HARTRY which pumps up huge power without amping everything to a hissy mess. When the 13-plus minute "Heroin" goes into those almost silent slow bits and then both guitarists lose it thrashing solos towards the end - both are remarkable for their clarity and 'live' power. It's a truly wicked job done on an album that holds a special place in any LR fan's heart.

Side 1 opens without any real indication that you're live and dangerous - "Sweet Jane" from the Velvet Underground's fifth and final studio album "Loaded" in 1970 comes at you almost like a mission statement. The twin guitars of Steve Hunter and Dick Wagner are thrilling and so tight that it isn't until Reed turns up at the microphone do you realize that's its a 'gig'. The power of the riffage is as good as The Who and then to follow that with the stop-start magnificence of "Heroin" - originally on the groundbreaking 1967 debut album "The Velvet Underground And Nico". 

I had to play the two new inclusions - "How Do You Think It Feels" and "Caroline Says 1" - a couple of times to like them and I can so hear why they would have interrupted the flow of an album called "Rock 'N' Roll" and were left off. But for real fans - anything new from the difficult "Berlin" period is manna from the Gods. Their third LP "White Light/White Heat" gets a muscle-car rendition from the band and Lord help us all - even Lou seems to be enjoying himself. Reed then romps home with "Lady Day" from "Berlin" and another from 1970's "Loaded" LP - the title of the album - "Rock 'n' Roll" - a great tune.

Reed would go on of course to the ludicrous f-you of "Metal Machine Music" - a notorious double-live of feedback and unlistenable shit that RCA deleted within three months of release due to the outrage and returns of irate punters. It also hammered any kind of commercial clout Reed might have had with the hick Country Music label - but you suspect our hero New Yorker probably wanted it that way. 

But there are no such thoughts when it comes to 1974's "Rock 'N' Roll Animal" now sounding most ballsy and snot-nosed than ever. Naught sad about this...buy...

"The R & B Box: 30 Years Of Rhythm & Blues" by VARIOUS ARTISTS – 108 R and B Tracks Covering 1943 to 1972 and Including labels Decca, Aladdin, King, End, Modern, Chess, Checker, Atlantic, Motown, Stax, Polydor, Minit etc (November 1994 US Rhino 6CD Long Box Set (in Leatherette Effect) - Bill Inglot, Dan Hersch, Chris Clarke, Ken Perry and Bob Fisher Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/R-B-Box-30-Years-Rhythm/dp/B0000033EL?crid=30LS57S8IH5EO&dib=eyJ2IjoiMSJ9.KsZDhsc_zGys2dg_rrmIr_H5hwBDWpnv8rYxuMAkG5jK1xkgX9jxZb04C3XeOe0ogZEmsCy-7R1Z-Q4aRdZT4dMYMhlB-VzS9NnOy3hxIhUhNc9kRkL-LSGYV0rrTPOw.h8wPAnMuY15y30Mgz3rEHweqNDFKqqGHaD7ILUgs2lI&dib_tag=se&keywords=r%26B+Box+Rhino&nsdOptOutParam=true&qid=1730317340&sprefix=r%26b+box+rhino%2Caps%2C84&sr=8-7&ufe=app_do%3Aamzn1.fos.d7e5a2de-8759-4da3-993c-d11b6e3d217f&linkCode=ll1&tag=mabasreofcdbl-21&linkId=57007186636a53956e5d15e1ec3732ec&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Music **** to *****

Audio ****

Presentation ***

"...Tell It How It Is... "

There was a time in the Nineties and into the Naughties when I considered Rhino of the USA to be the greatest reissue label of them all. Big shoes when you consider Ace Records of the UK and Bear Family of Germany with their 40 to 50-year-plus catalogues of absolute reissue excellence - and more recently the stunning work Esoteric Recordings, Grapefruit and Doctor Bird have been doing via Cherry Red's large array of specialist reissue imprints. 

But there was just something brilliant about Rhino, a hip US company populated by history-preserving loons who just happened to have access to the cream of the recorded crop in terms of licensing primo oldies material. 

Which is why the US-only set "The R & B Box: 30 Years Of Rhythm & Blues" by VARIOUS ARTISTS of 15 November 1994 on Rhino R2 71806 (Barcode 08277180621) was such a huge disappointment. But before we get into its disastrous ugly-bug self-destructive presentation and lack of decent playing times on each CD - let's sing the praises of what is good. 

There are 108-tracks across six themed discs in a long-box presentation with a 60-page full-featured booklet:

CD1 "Jumpin' The Blues (1943-1950)" - 53:52 minutes, 18 Tracks
CD2 "Teenagers Are Diggin' It (1951-1954)" - 50:55 minutes, 18 Tracks
CD3 "Rockin' 'n' Rollin' (1955-1956)" - 48:50 minutes, 18 Tracks
CD4 "Goin' Nationwide (1956-1961)" - 47:07 minutes, 18 Tracks 
CD5 "Soul Brothers & Soul Sisters (1961-1965)" - 48:12 minutes, 18 Tracks 
CD6 "The End Of The Golden Age (1966-1972)" - 55:31 minutes, 18 Tracks 

Rhino not surprisingly start with the great grandfather of all Rhythm 'n' Blues genius Louis Jordan & His Tympany Five in 1943 doing "Five Guys Named Moe" on his famously catchy Decca classics, and ends on Disc 6 with The Spinners on Atlantic Records in 1972 telling us "I’ll Be Around" should we need their soothing advice in the matter of broken hearts. Between those two huge compass points comes revered genre labels like King, Aladdin, End, Specialty, Brunswick, Chess, Checker, Atlantic, Motown, Stax, Minit, Polydor, Volt and a huge array of other associated independent pioneers. 

The problem is that each CD play feels short - three above fifty minutes and three below. The first three CDs in particular pass rather quickly with overly familiar titles only to slip into early Soul by Disc 4. There's only 1 James Brown cut when he dominated R&B for entire decades, there's no Sam Cooke and Marvin Gaye is represented by the underwhelming "Pride And Joy". I suppose you could argue what should and shouldn't have been included/excluded ad nauseam, but I can't help thinking they bit off more than they could chew with a one stop box, Rhino really should have made this Volume 1 of an R&B Series so they could dedicate more to it like they did with their lovely Doo Wop boxes across 3 volumes. 

But the worst part is the actual way "The R&B Box..." is made. It has a stippled-leatherette look (don't know why) with Atlantic Records and early Soul star Solomon Burke at the microphone on the front sleeve. You can't read the lettering on the rear for the track lists even with a squint. But then you open it and find that Rhino put each CD into an individual jewel case - three piled on three - two piles inside the bay (too weighty). The problem is that there's no wiggle room getting any of them out, so as you try to pull up CD1, it pushes against the flimsy deep corner walls and rips them instantly. I've seen loads of these sets across the years I served penal in Reckless Records in London's Soho and so many were afflicted with this implosion of the holding walls. 

The booklet has another ugly black-as-night cover (with nothing on it) but (it must be said) more than makes up for its boring visage with an array of classy black and white publicity photos throughout the thoroughly enthusiastic text from BILLY VERA. It's cool to see lesser-highlighted names like Little Esther, Mabel Joy, Percy Mayfield, Jackie Brenston and Buddy Johnson get their photo moment in the sun. Each inner cover flap has a collage of those beautiful R&B posters where names like The Five Keys, Jackie Wilson, Clyde McPhatter, The Spaniels, The Clovers, Fats Domino, Lloyd Price, The Coasters, Chuck Willis and Booker T. & The MG's pounded the stage boards to capitalise on hot 45s breaking and making waves on the US Billboard R&B charts. I would have used these as the booklet and box artwork and in colour. Each song entry has writer credits, discography info and catalogue numbers, release dates and chart placing etc. 

The Audio comes from a team of five experience engineers – BLL INGLOT and DAN HERSCH (long-time workaholics for Rhino) with CHRIS CLARKE, KEN PERRY and BOB FISHER – names any oldies fan will know well. Beginning in bombastic but clean Mono, the songs slowly slink into Stereo as the Discs progress and apart from some early tunes that betray their had-no-money but had-the-feel independent origins – it all sounds tickety-boo and at times thrilling. Overall I'd award Presentation 3, content 4 with Audio 4 (at times a 5). 

There is huge debate as to what actually is 'R&B' especially in US circles - what do call the mighty "Green Onions" by Booker T & The MG's - early Soul, 60ts Funk, Stax R&B, the greatest instrumental Funk ever laid down by the coolest cats ever - well all of it really. "Speedoo" by The Cadillacs, "In The Still Of The Nite" by The Five Satins and "Duke Of Earl" by Earl Chandler have been (rightly) plopped onto Doo Wop and Vocal group compilations for decades, B.B. King's "The Thrill Is Gone" and Bobby Bland's "I Pity The Fool" are fabulous Sixties Blues, Little Richard's "The Girl Can't Help It" is a hair's breath away from out-and-out Rock and Roll mayhem while Billy Stewart's cover of Gershwin's "Summertime" is a mixture of Jazz, Swing and sophisticated nightclub smooch all rolled into one. Ike & Tina Turner's "Proud Mary" gives a nod towards Creedence Clearwater Revival's Swamp Rock while Brook Benton counts the warm raindrops in Tony Joe White's "Rainy Night in Georgia" - as gorgeous a groove as Clarence Carter's pleading in "Slip Away". 

There's a lot to love here, there really is, but you should also know there's a lot that should have been done in another way, especially that rather austere packaging for a genre of music that has always been associated with so much joy. 

Still, sat in my man cave in Nov 2024 with a post Covid-19 future looming tastily over the Margate sunset - I put on Dan Penn and Chips Moman's classic "Do Right Woman - Do Right Man" as interpreted by the powerhouse lungs of Aretha Franklin, and as Chris Kenner was fond of saying, "I Like It Like That"...(at least part of me does)...

"Road Fever: The Complete Bearsville Recordings 1972-1975" by FOGHAT – Five Albums "Foghat"(July 1972), "Foghat [aka Rock And Roll]" (March 1973), "Energized" (January 1974), "Rock And Roll Outlaws" (October 1974), "Fool For The City" (September 1975) and an Exclusive Compilation "Single Versions 1972-1975" – Featuring Guitarists Lonesome Dave Peverett and Rod Price, Bassist Tony Stevens, Drummer Roger Earl and Bassist, Keyboardist and Producer Nick Jameson (March 2023 UK Cherry Red/HNE Recordings 6CD Clamshell Box Set Compilation – Tim Debney Masters Using 1990s WEA/Rhino Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/ROAD-FEVER-BEARSVILLE-RECORDINGS-1972-1975/dp/B0BS1LVBST?crid=1CQH54EYXL26K&dib=eyJ2IjoiMSJ9.8rnWJk6KHL2U86fOUecS4g._h9XhGLWuU9gDYAv6bQA-ZwAlUPotEatq24rRCQjwU8&dib_tag=se&keywords=5013929928428&nsdOptOutParam=true&qid=1730118495&sprefix=5013929928428%2Caps%2C80&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=3e7b7275ab5c482f547a7dd718fd43d5&language=en_GB&ref_=as_li_ss_tl

RATINGS: 

Material *** to ****

Presentation *****

Audio **** to *****

"…Slow Ride…"

Boogie, Boogie and more Boogie. You could not in a month of Sundays accuse England's FOGHAT of slacking on the let's-rock-until-we-puke front.

As you wade through these good-to-sometimes-great five albums at the start of their huge Blues Rock/Classic Rock career followed by a neatly compiled Single Versions 1972-1975 Bonus CD Companion with Rare Single and Promo-Only Edits – you are left both exhausted and exhilarated – much like one of their live shows I would imagine. 

This is Gee-Tar Rock in the same vein as Ten Years After or Savoy Brown or Status Quo - but with a very (somehow) American tint to it (Foghat were always much bigger in the States than at home in their native Blighty where buyers all but ignored them for decades).

I didn't (in honesty) pick up on Foghat until I heard the brill, catchy and radio friendly Slide Boogie of "Fool For The City" and bought the album of the same name in the Autumn of 1975. I went back and picked up their Bearsville catalogue on the cheap where their LPs were a staple in secondhand record emporiums. Which leads us to this rather cute and cuddly six-disc Clamshell Box Set with dinky Mini LP Repro Artwork Card Sleeves, a decent 20-page booklet and Tim Debney Masters that I swear are simply the Rhino Remasters of old (the 1990s) re-licensed. 

Time to ride people – and I don't mean Red Rum in the Epson Derby – more Fagash Lil in the Cheltenham Paddocks (the seedier end of the stalls, if you get my sack of hayseed)…to the details…

UK released 31 March 2023 - "Road Fever: The Complete Bearsville Recordings 1972-1975" by FOGHAT on Cherry Red/HNE Recordings QHNEBOX184 (Barcode 5013929928428) is a 6CD Clamshell Box Set (Five Albums and One Exclusive Single Versions Compilation) that plays out:

CD1 "Foghat" (38:09 minutes):
1. I Just Want To Make Love To You [Side 1]
2. Trouble, Trouble
3. Leavin' Again (Again!)
4. Fool's Hall Of Fame 
5. Sarah Lee
6. Highway (Killing Me) [Side 2]
7. Maybelline 
8. A Hole To Hide In
9. Gotta Get To Know You 
Tracks 1 to 9 are their debut album "Foghat" - released July 1972 in the USA on Bearsville BR 2077 and belatedly released June 1974 in the UK on Bearsville K 45503. Produced by DAVE EDMUNDS – peaked at No.127 on the US Billboard LP charts (didn't chart UK)

CD2 "Foghat" - aka "Rock And Roll" due to cover art - (38:37 minutes):
1. Ride, Ride, Ride [Side 1]
2. Feel So Bad 
3. Long Way To Go 
4. It's Too Late 
5. What A Shame [Side 2]
6. Helping Hand 
7. Road Fever 
8. She's Gone
9. Couldn't Make Her Stay
Tracks 10 to 18 are their 2nd album "Foghat (aka Rock And Roll)" released March 1973 in the USA on Bearsville BR 2136 and belated released July 1974 in the UK on Warner Brothers K 45514 . Produced by TIM DAWES – peaked at No.67 on the US Billboard LP charts (didn't chart UK)

CD3 "Energized" (40:02 minutes):
1. Honey Hush [Side 1]
2. Step Outside
3. Golden Arrow
4. Home In My Hand
5. Wild Cherry[Side 2]
6. That'll Be The Day
7. Fly By Night
8. Nothin' I Won't Do
Tracks 1 to 8 are their third studio album "Energized" - released January 1974 in the USA on Bearsville BR 6950 and belatedly released July 1974 in the UK on Bearsville K 55500. Produced by TOM DAWES - peaked at No.34 on the US Billboard LP charts (didn't chart UK)

CD4 "Rock And Roll Outlaws" (38:58 minutes):
1. Eight Days On The Road [Side 1]
2. Hate To See You Go
3. Dreamer
4. Trouble In My Way
5. Rock & Roll Outlaw [Side 2]
6. Shirley Jean
7. Blue Spruce Woman
8. Chateau LaFitte '59 Boogie
Tracks 1 to 8 are their fourth studio album "Rock And Roll Outlaws" - released October 1974 in the USA on Bearsville BR 6956 and October 1974 in the UK on Bearsville K 55502. Produced and Engineered by NICK JAMESON - peaked at No. 40 on the US Billboard LP charts (didn't chart UK)

CD5 "Fool For The City" (35:36 minutes):
1. Fool For The City [Side 1]
2. My Babe
3. Slow Ride
4. Terraplane Blues [Side 2]
5. Save Your Loving (For Me)
6. Drive Me Home
7. Take It Or Leave It
Tracks 1 to 7 are their fifth album "Fool For The City" released October 1975 in the USA on Bearsville BR 6959 and February 1976 in the UK on Bearsville K 55507. Produced and Engineered by NICK JAMESON – peaked at No.23 on the US Billboard LP charts (didn't chart UK)

CD6 "Single Versions 1972-1975" (46:17 minutes):
1. I Just Want To Make Love You (Mono Edit, 3:14 minutes)
2. I Just Want To Make Love You (Stereo Edit, 3:14 minutes)
3. What A Shame (Single Edit, 2:50 minutes)
4. A Hole To Hide In (Single Edit, 3:50 minutes)
5. What A Shame (Mono Edit, 3:24 minutes)
6. What A Shame (Stereo Edit, 3:24 minutes)
7. Ride, Ride, Ride (Stereo Edit, 2:59 minutes)
8. Long Way To Go (Stereo Edit, 4:06 minutes)
9. That'll Be The Day (Mono Edit, 2:52 minutes)
10. Step Outside (Stereo Edit, 3:12 minutes)
11. Slow Ride (Stereo Edit, 3:45 minutes)
12. Slow Ride (Stereo Edit, 5:55 minutes)
13. Fool For The City (Stereo Edit, 3:10 minutes)

Foghat fans have been here before when in March 2012 Edsel Records of England issued six twofer-CDs covering their catalogue from July 1972 to July 1983 – but they and the Complete Albums Box set that followed have long since been deleted and garnishing hefty price tags on auction sites. HNE Recordings (part of Cherry Red) have decided to close the gap with this March 2023 sixer – a good idea. The Mini LP Repro Artwork Card Sleeves appeal to all collectors – front and rear covers – all CDs with generic HNE Recordings logo and not the Bearsville labels of old. 

The 20-page booklet has all the album credits and Box Set details at the rear preceded by an in-depth article on the band by XAVIER RUSSELL that includes new and old interviews with Peverett, Price and Nick Jameson. Peppered between are rare Picture Sleeves of Euro 45s. Although it doesn't say so – TIM DEBNEY of Fluid Mastering has I suspect used the Rhino Remasters done in the 1990s (this set is licensed from WEA). But whatever way you look it – every album boogies – solid – punchy – and without doubt four and five having the input of Producer Nick Jameson – sound the most ballsy. 

"Lonesome" Dave Peverett (Guitar & Lead Vocals), Tony Stevens (Bass) and Roger Earl (Drums) came out of the ashes of British Rock-Blues band SAVOY BROWN while second slide-guitar specialist Rod Price was in BLACK CAT BONES who managed one highly collectable album on Decca-Nova in 1970 (featured members of Leafhound and Free guitarist Paul Kossoff). Working on his debut solo LP "Rockpile" at the time – DAVE EDMUNDS recorded Foghat's debut at Rockfield Studios in Wales also. Their aural brief was no-nonsense boogie – Rock and Roll – with maybe some blues and soulful rock in between the cracks. And as a British band they were famously huge in the USA (charted 13 albums there) but less so in their native land. 

Highlights on the debut include the lead-off single that got them noticed – a great boogie version of the Willie Dixon penned/Muddy Waters classic "I Just Want To Make Love To You". There's a fast-as-we-can–go cover of Chuck Berry's "Maybelline" – but there's also the opposite – a very soulful near eight-minute take on Bobby "Blue" Bland's "Gotta Get To Know You" which finishes the album in great style. But the other 6 originals mainly written by Peverett and Price are just as impressive – especially "Leavin' Again (Again!)" where Edmunds treats the vocals and guitars to phasing which gives it such a "Rockpile" sound. "Sarah Lee" is excellent too while the rocking 'money-worries' song "A Hole To Hide In" was a B-side of their debut 7" single in the USA. "Highway (Killing Me)" is gritty too – boogie about life on the road.

Things heat up considerably on the 2nd LP as it opens with "Ride, Ride, Ride" which along with their 2nd US 45 "What A Shame” set down the template for their trademark rocking sound for years to come. But best of all for me is the legendary drummer Bernard Purdie and the Brass section on the blistering "Road Fever" (lyrics above) – they combine with Peverett and the band to incredible effect - rocking like mad men and then Peverett losing it with vocal enthusiasm as the tracks rushes to a manic finish.

By the time Foghat hit studio album number three "Energized" released on the US market in January 1974 – they were on a very definite Rock and Roll upward trajectory (in America at least). The album became their first to finally break the top 50 settling at a peak of No.34 on a very healthy 30-week run. And when you hear the bashing drums and twin-guitar attack of stuff like "Wild Cherry" which Bearsville put on the flipside of their cover of the Buddy Holly 50ts classic "That'll Be The Day" - it is hardly surprising. They also bolstered up that 2:52-minute cover with (uncredited) girly backing singers and brass arrangements to give it more muscle – and it worked. 

Speaking of cool cover choices, Foghat opened the "Energized" album with a rapido Rawk version of the old Joe Turner tune "Honey Hush" – their manic guitar assault resembling the way Fleetwood Mac of the 1970 "Kiln House" line-up did up – just amped up ten-fold. It is also easy to hear why Bearsville chose the catchy sung-chorus of "Step Outside" as the second 45 from their third album platter hooking it up with the Chuck Berry cover "Maybelline" from their debut as its flipside. For me (at least) far better is the fast train song "Golden Arrow" – the distorted vocals of Peverett sounding like a choo-choo a-chuggin' down the line just before a blistering guitar solo. 

The 8-track no-nonsense Brassed-Up Boogie Rock of "Energized" with tracks like (paying my debt with my) "Home In My Hand" song structure worked – so album number four "Rock And Roll Outlaws" followed suit and again broke the Top 50 although this time slipping down a few notches to No.40 and staying only 10-weeks on the US Billboard chart. Opening accounts on Side 1 is another pinging ZZ Top-type boogie cover version that hammers down for 6:08 minutes – this time from a 60ts Howard Tate R&B number on Verve Forecast Records. Their version of "Eight Days On The Road" does the absolute business - Nick Jameson now more involved and arranging guitar parts too – dig that fantastic solo. That is followed by another great slice of riffage "Hate To See You Go" that could easily have been a single too. I also like the acoustic and slide of "Trouble In My Way" – a ballad for Foghat that ended Side 1. 

Another outsider with a six-string gun shows up for the LP title track "Rock & Roll Outlaw" – back to Boogie – itself followed by the very R&R shuffling "Shirley Jean" purring like a wasted movie queen – their trick of singing with the guitar lines making the basic Chuck Berry backbeat feel new. Another impressive gal shows up (this time out of the woods) in the shape of "Blue Spruce Woman" – the lecherous pre-Black Crowes guitars soon joined by Drums and Tambourine. They end their fab fourth with an all-out slide attack – the real-good-time Boogie of "Chateau LaFitte '59 Boogie" – the boys rolling all night long with not-so-cheap booze. For my money – it ends an overlooked album in their cannon. For sure "Fool For The City" is always going to be the LP they will be cited for – but "Rock And Roll Outlaws" is far better than its naff band-and-jet artwork would suggest. Going in my I Saw The Light e-book of over 500 Overlooked Albums between 1955 and 1979. 

Produced to perfection by Nick Jameson - "Fool For The City" opens with a title-track killer. It was edited down from its album length of 4:33 minutes to 3:28 minutes and put out as a 45 in March 1976 in the USA (Bearsville BSS 0307) with “Take It Or Leave It” as its flip. What a killer tune – to this day it elicits a grin and is an oldies playlist regular. But it was the Side 1 monster "Slow Ride" that blew everyone away. Its stunning eight-minutes of slide Blues Boogie was also edited down a more manageable 3:59 minutes and in January 1976 it broke into the US singles chart peaking at a respectable 20 on Bearsville BSS 0306 (the UK variant is on K 15522). CD6 also provides us with a 5:55 minute Stereo Edit of "Slow Ride".

Their take on The Righteous Brothers hit "My Babe" gets a truly fantastic kick-ass makeover as does the Robert Johnson Side 2 opener "Terraplane Blues". The girls and cars "Drive Me Home" goes all barroom Honky Tonk with its sloppy piano backing supporting rocking guitars. It ends on the rather sappy "Take It Or Leave It" – a stab at MOR keyboard schlock – but by that time the rest of the album has boogied its way into your heart.

To sum up – none of these FOGHAT albums are masterpieces of the genre by any stretch of the imagination despite what 5-star reviews may say (and sadly both Peverett and Price passed on in 2000 and 2005). 

But Foghat are remembered with affection for a reason and there are truly great moments of Rock meets the Blues meets Rock 'n' Roll on each one of these Mini LP CD reissues. And now it won't cost the Terraplane or Jet Stream to get them either. Nicely done…

US 7" 45-Singles Covering 1972-1975 Albums:
"I Just Want To Make Love To You" (Single Edit) b/w "Hole To Hide In" (Single Edit)
July 1972, Bearsville BSV 008 (Track 2 on CD6 and 8 on CD1)
July 1972, Bearsville BSV 008 (Promo Only Version of the A-side only - 3:15 Single Edit Version MONO on the A and same timings STEREO on the B – Tracks 1 & 2 on CD6

"What A Shame" (Single Edit, 3:24 minutes) b/w "Helping Hand" (Single Edit)
April 1973, Bearsville BSV 0014 (Tracks 6 on CD6 and 6 on CD2)
April 1973, Bearsville BSV 0014 (Promo Only Version of the A-side only – 3:24 minute edit in MONO on the A and same times STEREO on the B – Tracks 5 & 6 on CD6

"Ride, Ride, Ride" (Single Edit) b/w "It's Too Late" (5:38 minutes)
June 1973, Bearsville BSV 0016 (Track 7 on CD6 and 4 on CD2)
"That'll Be The Day" (2:52 minutes) b/w "Wild Cherry" (5:27 minutes)
January 1974, Bearsville BSV 0019 (Tracks 6& 5 on CD3)
January 1974, Bearsville BSV 0019 (Promo-Only of the A-side – MONO and STEREO Version on the A&B-sides – MONO Mix at 2:52 minutes was exclusive to this release (Track 9 on CD6)

"Step Outside" (Single Edit, 3:12 minutes) b/w "Maybelline"
April 1974, Bearsville BSV 0021 (Track 10 on CD6 and 7 on CD1)
April 1974, Bearsville BSV 0021 (Promo-Only of the A-side – MONO and STEREO Version on the A&B-sides – MONO Mix was exclusive but is not on this set

"Slow Ride" (Single Edit, 3:45 minutes) b/w "Save Your Loving (For Me)"
November 1975, Bearsville BSV 0306 (Track 11 on CD6 and 5 on CD5) 
November 1975 Promo-Only Version of the A-side also had an edit at 5:55 minutes of the seven-minute song – Track 12 on CD6

"Fool For The City" (Single Edit, 3:10 minutes) b/w "Take It Or Leave It"
May 1976, Bearsville BSV 0307 (Track 13 on CD6 and 7 on CD5) 

UK 7" 45-Singles Covering 1972-1975 Albums:
"What A Shame" (Single Edit) b/w "Hole To Hide In" (Single Edit)
June 1972, Bearsville K 15501 (Tracks 3 & 4 on CD6)

"Long Way To Go" (Single Edit) b/w "Ride, Ride, Ride" (Single Edit) 
February 1974, Bearsville K 15511 (Tracks 8 & 7 on CD6)

"Step Outside" (Single Edit) b/w "Maybelline" 
July 1974, Bearsville K 15517 (Track 10 on CD6 and 7 on CD1)

"Slow Ride" (Single Edit, 3:45) b/w "Save Your Loving (For Me)"
January 1976, Bearsville K 15522 (Track 11 on CD6 and 5 on CD5)

"Mr. Luck: The Complete Vee Jay Singles" by JIMMY REED – A&B-sides of Thirty-Nine US 45-Singles (Eleven with 1965 Interview Introductions as Spoken Bonuses) Issued Between July 1953 and December 1965 on Vee Jay Records – Guest Musicians Include Guitarists John Brim, Eddie Taylor, John Littlejohn, Remo Biondi, Lefty Bates, Lonnie Brooks, Hubert Sumlin and Phil Upchurch, Vocalist Mama Reed, Chess Records Bassist and Songwriter Willie Dixon, Bassists Phil Upchurch and Marcus Johnson with Drummers Earl Phillips, Vernell Fournier and Albert Nelson (Albert King the Guitarist) on Drums (August 2017 EU Craft Recordings 3CD 88-Track Foldout Digipak Compilation Collated by Grammy Award Winners Scott Billington and Audio Engineer Paul Blakemore) - A Review by Mark Barry...

https://www.amazon.co.uk/Mr-Luck-Complet-Jimmy-Reed/dp/B072HTKR4F?crid=2F98MCEOBZ5O6&dib=eyJ2IjoiMSJ9.rSZtD3Oiou5s2dA_82c6Xw.etEpZiSMcTt2IvjbVaOG54GsPIeEtvfozY20P0h_HGc&dib_tag=se&keywords=888072024878&nsdOptOutParam=true&qid=1729935164&sprefix=888072024878%2Caps%2C139&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=75d0ea7f49583d31119d50619b602d70&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Content **** to *****

Presentation ****

Audio *****

"…Big Boss Man…"

Across this three-disc 88-Track bruiser there are eleven Introduction segments where in an interview with the great Jimmy Reed in 1965 – he mumbles and talks about his most famous grooves – most of which (like say Fat Domino) are all the same (he rarely varied a winning combo). But what you really notice are his sense of humour and that he's two-sheets to the wind. 

Matcher (or Mathis) James Reed was born in Leland, Mississippi in September 1925 and of all the Chicago Blues Men with an Electric Guitar who gravitated to that hallowed city in the 40ts and 50ts – Jimmy Reed was probably least likely to succeed and always struggled with alcohol. And yet one look at the Billboard Rhythm and Blues charts of the USA and you will see that Reed and his down-and-dirty warble and chugging beat charted a whomping 20-times between 1955 and 1966 – 19 of those on the independent record label set up by record-shop-owning husband and wife team Vivien Carter and Jimmy Bracken – the V and the J in Vee Jay Records. Seven of them went Top 10 too – three peaking at No.3.

And that's where this beautifully Remastered threesome from Craft comes a-boogieing in. I make no bones (in 2024) about chasing down all things Craft Recordings - I've been besieging our current account to this effect of late where managers are sending round the thought police as a matter on urgent intervention. Craft Recordings is out of the USA and are mostly associated with Stax Records and gorgeous reissues for Isaac Hayes, The Staple Singers, Stax '68, WattStax gigs in 1972 and those four huge Stax Singles Box Sets with eleven or twelve CDs in them (reviewed the lot). 

But they are also heavily involved in Blues and Jazz on both audiophile sounding CDs and VINYL LPs. John Lee Hooker, Sonny Terry and Brownie McGhee, Skip James, Lightnin' Hopkins and Johnnie Taylor are just some of the names that have had long-lost and forgotten albums of the Sixties reissued in 2024 with PAUL BLAKEMORE Remastering – the Grammy-winner responsible for the audio here.

There is a lot of the Big Boss Man to discuss. To the Brights Lights and Big City…

EU released August 2017 - "Mr. Luck: The Complete Vee Jay Singles" by JIMMY REED on Craft Recordings/Vee-Jay/Universal Music Group 
0888072024878 (Barcode 888072024878) is a 3CD 88-Track Compilation Collated by SCOTT BILLINGTON and Mastered by PAUL BLAKEMORE (both Grammy winners) that plays out as follows:

CD1 (13 x US 45s – 5 with 1965 Interview Introductions, 76:49 minutes):
1. High And Lonesome (Introduction)
2. High And Lonesome 
3. Roll And Rhumba 
July 1953, US 45-single on Vee Jay VJ-100, A&B-sides as Jimmy Reed and His Trio

4. Jimmy's Boogie (aka Jimmies Boogie)
5. Found My Baby Gone (aka I Found My Baby)
January 1954, US 45-single on Vee Jay VJ 105, A& B-sides

6. You Don't Have To Go (Introduction)
7. You Don't Have To Go
8. Boogie In The Dark
December 1954, US 45-single on Vee Jay VJ-119, A&B-sides – peaked No.5 R&B

9. I'm Gonna Ruin You
10. Pretty Thing
January 1955, US 45-single on Vee Jay VJ 132, A&B-sides (reissued April 1955)

11. She Don't Want Me No More
12. I Don't Go For That
September 1955, US 45-single on Vee Jay VJ 153, A&B-sides (Tracks 12 and 11) – peaked No. 12 R&B

13. Ain't That Lovin' You Baby (Introduction)
14. Ain't That Lovin' You Baby
15. Baby, Don't Say That No More
January 1956, US 45-single on Vee Jay VJ-168, A&B-sides – peaked No.3 R&B

16. Can't Stand To See You Go
17. Rockin' With Reed
April 1956, US 45-single on Vee Jay VJ 186, A&B-sides – peaked No.10 R&B

18. My First Plea
19. I Love You Baby
July 1956, US 45-single on Vee Jay VJ 203, A&B-sides (Tracks 19 and 18) – peaked at No.13 R&B

20. You've Got Me Dizzy (Introduction)
21. You've Got Me Dizzy
22. Honey, Don't Let Me Go
November 1956, US 45-single on Vee Jay 226, A&B-sides – peaked No.3 R&B

23. Little Rain
24. Honey, Where You Going?
March 1957, US 45-single on Vee Jay VJ-237, A&B-sides – A-side peaked No.2, B-side peaked No.10 R&B

25. The Sun Is Shining
26. Baby, What's On Your Mind?
June 1957, US 45-single on Vee Jay VJ 248, A&B-sides – peaked No.10 R&B

27. Honest I Do (Introduction)
28. Honest I Do
29. Signals Of Love
August 1957, US 45-single on Vee Jay VJ 253, A&B-sides – peaked No.4 R&B

30. You're Something Else
31. A String To Your Heart
January 1958, US 45-single on Vee Jay VJ 270, A&B-sides

CD2 (13 x US 45-singles – 4 with 1965 Interview Introductions, 70:21 minutes):
1. Go On To School
2. You Got Me Crying
April 1958, US 45-single on Vee Jay VJ 275, A&B-sides (Tracks 2 and 1)

3. I Know It's A Sin
4. Down In Georgia
July 1958, US 45-single on Vee Jay VJ 287, A& B-sides (Tracks 4 and 3)

5. I'm Gonna Get My Baby
6. Odds And Ends
October 1958, US 45-single on Vee Jay VJ 298, A&B-sides – peaked at No.5 R&B

7. I Told You Baby
8. Ends And Odds
December 1958, US 45-single on Vee Jay VJ 304, A&B-sides – peaked at No.19 R&B

9. Take Out Some Insurance
10. You Know I Love You 
April 1959, US 45-single on Vee Jay VJ 314, A&B-sides

11. Going To New York (Introduction)
12. Going To New York
13. I Wanna Be Loved 
September 1959, US 45-single on Vee Jay VJ 326, A&B-sides (Tracks 13 and 12)

14. Baby What You Want Me To Do (Introduction)
15. Baby What You Want Me to Do
16. Caress Me Baby
November 1959, US 45-single on Vee Jay VJ 333, A&B-sides – peaked at No.10 R&B

17. I Found Love
18. Where Can You Be
May 1960, US 45-single on Vee Jay VJ 347, A&B-sides – peaked at No.16 R&B

19. Hush Hush
20. Going By The River (Part II)
August 1960, US 45-single on Vee Jay VJ 357, A&B-sides – peaked at No.18 R&B

21. Close Together
22. Laughing At The Blues
January 1961, US 45-single on Vee Jay VJ 373, A&B-sides – peaked at No.12 R&B

23. Big Boss Man (Introduction)
24. Big Boss Man
25. I'm A Love You

March 1961, US 45-single on Vee Jay VJ 380, A&B-sides – peaked at No.13 R&B, No.38 Pop Hit for Elvis Presley in 1967

26. Bright Lights, Big City (Introduction)
27. Bright Lights, Big City
28. I'm Mr. Luck
August 1961, US 45-single on Vee Jay VJ 398, A&B-sides – peaked at No.3 R&B

29. Aw Shucks, Hush Your Mouth
30. Baby, What's Wrong?
December 1961, US 45-single on Vee Jay VJ 425, A&B-sides (Tracks 30 and 29)

CD3 (13 x US 45-singles – 2 with 1965 Interview Introductions, 72:33 minutes):
1. Good Lover
2. Tell Me You Love Me
May 1962, US 45-single on Vee Jay VJ 459, A&B-sides

3. I'll Change My Style
4. Too Much
July 1958, US 45-single on Vee Jay VJ 287, A& B-sides

5. Let's Get Together
6. Oh John
November 1962, US 45-single on Vee Jay VJ 473, A&B-sides

7. Shame, Shame, Shame (Introduction)
8. Shame, Shame, Shame 
9. There'll Be A Day
March 1963, US 45-single on Vee Jay VJ 509, A&B-sides

10. Mary-Mary
11. I'm Gonna Help You
August 1963, US 45-single on Vee Jay VJ 552, A&B-sides

12. Out Skirts Of Town
13. St. Louis Blues 
November 1963, US 45-single on Vee Jay VJ 570, A&B-sides

14. See See Rider
15. We Wee Baby Blues
March 1964, US 45-single on Vee Jay VJ 584, A&B-sides

16. Help Yourself
17. Heading For A Fall (Things Ain't What They Used To Be)
April 1964, US 45-single on Vee Jay VJ 593, A&B-sides (probably unreleased)

18. Down In Mississippi
August 1964, US 45-single on Vee Jay VJ-616, A-side (only)
NOTE: Oh John (Track 6) re-used as the B-side on Vee Jay VJ-616

19. I'm Going Upside Your Head (Introduction)
20. I'm Going Upside Your Head
21. The Devil's Shoestring (Part II)
October 1964, US 45-single on Vee Jay VJ 622, A&B-sides

22. I Wanna Be Loved
23. A New Leaf
January 1965, US 45-single on Vee Jay VJ 642, A&B-sides – New Leaf peaked at No.35 R&B

24. Left Handed Woman
25. I'm The Man Down There
August 1965, US 45-single on Vee Jay VJ-702, A&B-sides (Tracks 25 and 24)

26. When Girls Do It
27. Don't Think I'm Through
December 1965, US 45-single on Vee Jay VJ-709, A&B-sides

The outer card slipcase usually comes with a Details Sticker housing a three-way fold-out Digipak. It's nice but hardly startling – the 40-page booklet however is a truly in-depth affair. Every session is broken down by players, recording dates and so on. Entitled THE SONGS - after each discography entry is a paragraph detailing the song's history, chart success and his great session players who included musicians like Guitarists John Brim, Eddie Taylor, John Littlejohn, Remo Biondi, Lefty Bates, Lonnie Brooks and Hubert Sumlin, Vocalist Mama Reed, Chess Records Bassist and Songwriter Willie Dixon, Bassists Phil Upchurch and Marcus Johnson with Drummers Earl Phillips, Vernell Fournier and a young Albert Nelson (Albert King the Guitarist) on Drums. 

Jimmy played Carnegie Hall alongside Muddy Waters in the 60ts – his most famous song "Big Boss Man" (recorded March 1960) had Chess writing and playing giant Willie Dixon on his famous Double Bass with Lefty Bates and Lonnie Brooks on Guitars and Mama Reed sharing backing vocals. Jimmy of course took lead vocals and played his Guitar and Harmonica. The endless pages of Discography have trade adverts, chart lists and gig posters sepia-tinted into the background but that is something of a mistake because they are hard to see. SCOTT BILLINGTON has genuine enthusiasm for Reed – affection in his every entry – and it is a pleasure to read. 

As you can imagine, over 75 songs in roughly the same groove can be a bit much to take in one bilge – but what I love is the PAUL BLAKEMORE Remastered AUDIO. Although recordings were at times rough (especially on CD1 which deals with the Fifties) – Craft have done a fantastic job with the Transfers – full of life-affirming boogie. His explanations of how his wife was the principal inspiration for everything (she would sit by the stage and prompt lyrics during notorious inebriated shows) – even thoughts of what it would be like if she up and walked out – his "Shame, Shame, Shame" the result. By the time you get to CD3 and the 60ts and the instruments are wailing in your living room. Fab…

Highlights for me include cool flipsides like "I Don't Go For That" (CD1), "You Know I Love You" (CD2) and "There'll Be A Day" (CD3). You can also hear how tight his band was in the Fifties – Eddie Taylor on Guitar with Earl Phillips on Drums – love that Slide Guitar by John Littlejohn on "Boogie In The Dark" – same track with a young Albert Nelson on Drums soon to become "Born Under A Bad Sign" ace axeman Albert King on Stax in the mid Sixties. "Baby What You Want Me To Do" has Marcus Johnson on Electric Bass with Mama Reed providing Back Up Vocal Pipes. Jimmy assures his lady that she needs a real good lover and the Jimster is the man for the demanding job in "Good Lover". Speaking of Good Lovers - future Blue Thumb Records Jazz-Funk Guitarist Phil Upchurch plays axe on "Where Can You Be" and "Hush Hush" whilst providing Electric Bass on the aforementioned "Good Lover" plus "Too Much". Hubert Sumlin plays Guitar on "I Wanna Be Loved", "Left-Handed Woman" and "A New Leaf" – his last R&B chart entry for Vee Jay in January 1965. 

Most would probably want to cherry pick the best twofer singles on this three-disc Anthology and sequence them onto a Playlist CD-R for home enjoyment – or even the 20 R&B chart entries in a row (Jimmy Reed passed in 1976 whilst gigging in San Francisco). 

Whatever way you play it - "Mr. Luck: The Complete Vee Jay Singles" by JIMMY REED on Craft Recordings is a compilation I will be returning too with a smile on my face. It is not gorgeous – the booklet could have done with more photos and memorabilia repro stuff – but man oh man – that Audio, those often witty lyrics, the drunken grooves with Guitar, Harmonica and his world-weary slush-voice – Big Boss Man indeed…