"Drift Away: A Decade Of Dobie 1969-1979" by DOBIE GRAY – Eighty-Track Four-Disc Book Set featuring Six US 45-Single Sides from 1969 to 1972 on White Whale and Anthem Records - plus Seven US Albums and a Further Four 45-Single Sides and One Unreleased Outtake from 1973 to 1979 on Decca, MCA, Capricorn and Infinity Records – Albums include "Drift Away" (January 1973), "Loving Arms" (October 1973), "Hey Dixie" (October 1974), "New Ray Of Sunshine" (December 1975 US, January 1976 UK), "Let Go" (February 1977), "Midnight Diamond" (December 1978) and "Dobie Gray" (October 1979) – Guest Musicians Include Guitarists Troy Seals, Reggie Young, Mentor Williams, Lonnie Mack, Pete Carr with Keyboards from David Briggs, Harmonica by Charlie McCoy, The Muscle Shoals Horns and many more (December 2004 US-Only Hip-O Select 4CD 80-track Card Book Set featuring Seven Albums Plus Ten 45-Single Sides and one Previously Unreleased Outtake – Erick Labson Remasters) - A Review by Mark Barry...

RATINGS: 

Overall ***

Material *** to ****

Presentation *** to ****

Audo *****

"…Give Me The Music That Frees My Soul…"

Timber-voiced singer Lawrence Darrow Brown (Dobie Gray to you and me) can be viewed as a one-hit wonder in Soul/Country-Soul circles - and even that was someone else's great song.

"Drift Away" – a Mentor Williams written-tune that originated in 1970 - was picked up by 60ts Brit star Mike Berry in 1972 for his "Drift Away" LP on the obscure York Records label (York FYK 409). Produced by Mentor Williams and playing guitar in the band for Dobie Gray, DB then seized on the song as well and had a huge hit with the music-moving emotional tune in early 1973 when it was released Stateside on Decca Records 33057 with the equally cool LP cut "City Stars" on the flipside. Its lyrics and melody are classic nostalgia, but in a Soul-Rock kind of way that gave the tune huge crossover appeal. Even Rod Stewart joined in on the Rock Soulful tip when he covered "Drift Away" for his mega "Atlantic Crossing" album in 1975. Not to be outdone by others on his own song, Mentor Williams released his debut album "Feelings" with his version of "Drift Away" on it (June 1974 in the UK on MCA Records MCF 2549). There was also a US 7" single with "Feelings" leading the charge on the A-side and "Drift Away" on the flip – but it went unnoticed.

The other six Dobie Gray albums on here and straggler seven-inch singles did marginal business and, in the UK, meant less than naught. In fact, Dobie would have to wait until February of 1979 to see his "Midnight Diamond" LP (released in December 1978) finally become the first album of his to register on the US Billboard R&B charts albeit peaking at a modest No.73. 

Which brings us to this obscure but fantastic-sounding 4CD compilation on the US Mail-Order Label Hip-O Select (via Universal) with its quality ERICK LABSON Remasters from original tapes. LABSON has over 1,200 mastering credits to his name across 30 to 40 years – almost all of the gargantuan Chess Records Catalogue including large swathes of Motown acts, Rock Bands and Artists like The Who, Wishbone Ash, The Mamas & The Papas, The Jayhawks, Neil Diamond, The Dells, Steppenwolf, Buddy Holly, Three Dog Night and loads more. I actively seek out any CD he has had a hand in because the Audio is always a huge improvement on what went before. And this Dobie Gray US-only compilation is no different. To the details because there is a lot…

USA-only released December 2004 - "Drift Away: A Decade Of Dobie Gray 1969-1979" by DOBIE GRAY on Hip-O Select B0003621-02 (No Barcode) is an 80-Track Limited Edition Compilation Remastered onto 4CDs in a Book-Sized Card Sleeve. It contains 7 full-albums, 10 x Non-LP 45-single sides and 1 Previously Unreleased Session Outtake that plays outs as follows:

CD1 "The White Whale & Decca Years" (50:17 minutes):
1. Rose Garden
2. Where's The Girl Gone
Tracks 1 & 2 are the Non-LP A&B-sides of a March 1969 US 45-single on White Whale WW-300, A-side is a Joe South cover version made famous by Country singer Lynn Anderson

3. Do You Really Have A Heart
4. What A Way To Go
Tracks 3 & 4 are the Non-LP A&B-sides of a September 1969 US 45-single on White Whale WW-339, A-side is a Paul Williams and Roger Nicholls cover version

5. Guess Who
6. Honey, You Can't Take It Back
Track 5 is the Non-LP A-side of a December 1972 US 45-single on Anthem AN-200, B-side was "Bits And Pieces" – not on this set. Track 6 is the Non-LP A-side of a March 1970 US 45-single on White Whale WW-342, B-side was "Hallelujah" – not on this set

7. Drift Away [Side 1]
8. The Time I Loved You The Most
9. L.A. Lady
10. We Had It All
11. Now That I'm Without You
12. Rockin' Chair [Side 2]
13. Lay Back
14. City Stars
15. Street Lovin' Woman
16. Caddo Queen
17. Eddie's Song
Tracks 7 to 17 are his third album "Drift Away" – released January 1973 in the USA on Decca DL7-5397 and MCA MUPS 489 in the UK (reissued February 1974 in the UK on MCA Records MCF 2520). 

CD2 "The MCA Years" (67:20 minutes):
1. Good Old Song [Side 1]
2. You And Me
3. I Never Had It So Good
4. Lovin' The Easy Way
5. Loving Arms
6. Reachin' For The Feeling [Side 2]
7. There's A Honky Tonk Angel (Who'll Take Me In)
8. Mississippi Rolling Stone
9. Love Is On The Line
10. Rose
Tracks 1 to 10 are his fourth album "Loving Arms" – released October 1973 in the USA on MCA Records MCA-371 and March 1974 in the UK on MCA Records MCF 2528. 

11. Hey Dixie [Side 1]
12. How Can You Live All Alone
13. So High (Rock Me Baby And Roll Me Away)
14. Watch Out For Lucy
15. Old Time Feeling
16. Turning on You [Side 2]
17. Roll On Sweet Mississippi
18. Can You Feel It
19. Performance
20. The Music's Real (Mentor's Song)
Tracks 11 to 20 are his fifth album "Hey Dixie" – released October 1974 in the USA on MCA Records MCA-449 and November 1974 in the UK on MCA Records MCF 2578.

21. Watch Out For Lucy (Single Version) – July 1974 US 45-single on MCA Records MCA-40268, A-side, B-side is the LP track "Turning On You" – January 1975 UK 45-single on MCA Records MCA 171 – same flipside as the US issue

CD3 "The Capricorn Years" (73:44 minutes):
1. Harold And The Swinging Rocks [Side 1]
2. Drive On, Ride On
3. If Love Must Go
4. Lover's Sweat
5. A New Ray Of Sunshine
6. I'll Take You Down To Mexico [side 2]
7. Easy Loving Lady
8. Comfort And Please You
9. What A Lady
10. Easy Come, Easy Go
Tracks 1 to 10 are his sixth album "New Ray Of Sunshine" – released December 1975 in the USA on Capricorn Records CP 0163 and January 1976 in the UK on Capricorn Records 2429 132

11. Let Go [Side 1]
12. Do It (aka Do Me)
13. Mellow Man
14. Find 'Em, Fool 'Em And Forget 'Em
15. The Best Of My Love
16. Country Love [Side 2]
17. When A Man Loves A Woman
18. But I Do
19. Moonlight Trippin'
20. Can't Stop A Man In Love
Tracks 11 to 20 are his seventh album "Let Go" – released February 1977 in the USA only Capricorn Records ML 1040 (no UK issue). It was released 1978 in Germany and France retitled as "Mellow Man" with the same 10-tracks but with the running order slightly altered. 

21. Find 'Em, Fool 'Em And Forget 'Em (Single Version) – August 1976 US 45-single on Capricorn CPS 0259 with the LP track "Mellow Man" as its flipside
22. The Christmas Song – PREVIOUSLY UNRELEASED

CD4 "The Infinity Years" (79:16 minutes):
1. You Can Do It [Side 1]
2. We've Got To Get It On Again
3. Let This Man Take Hold On Your Life
4. Weekend Friend
5. Miss You Nights
6. I Can See Clearly Now [Side 2]
7. Starting The Night Together
8. Who's Lovin' You
9. I'll Be Your Hold Me Tight
10. Thank You For Tonight
Tracks 1 to 10 are his eight album "Midnight Diamond" – released December 1978 in the USA on Infinity Records INF 9001 and February 1979 in the UK on Infinity Records INS 2001. Produced by RICK HALL. 

11. The "In" Crowd [Side 1]
12. Stumblin' Rock To You
13. Sunny Day To Rain
14. Spending Time, Making Love And Going Crazy
15. You Can't Keep A Good Man Down [Side 2]
16. Fool, Fool
17. All I Wanna Do Is Make Love To You
18. We Had It All
19. Bridge Of Silence
Tracks 11 to 19 are his ninth album "Dobie Gray" – released October 1979 in the USA on Infinity Records INF 9016 (no UK issue). Produced by RICK HALL and featuring The Muscle Shoals Rhythm Section and Horns

20. The "In" Crowd (Single Version) – November 1979 US 45-single on Infinity Records INF 50,043, A-side (B-side was "Let This Man Take Hold On Your Life" from the previous album "Midnight Diamond" of 1978). With the LP track "Spending Time, Making Love And Going Crazy" chosen as the A-side, the British 45 of September 1979 on Infinity INF 115 put the remake of "The "In" Crowd" on the B-side.

Specialising to a large degree in Classic 60ts and 70ts Soul and Rhythm & Blues and able to access the truly massive Universal Music Company (UMC) umbrella of labels like Motown, Chess, James Brown Single Series on King and Polydor etc - Hip-O Select releases of this nature (multiple disc sets) tended to go for the matt almost sepia-tinted card sleeve look. As far as I know (here in Nov 2024), Hip-O no longer issues material so all are deleted and costly on the open market. But when they did reissue stuff (see my reviews for Muddy Waters, Buddy Holly, Little Walter, Burt Bacharach, James Brown, Bo Diddley, Joe Walsh, Stephen Bishop, Nils Lofgren, Junior Parker and many more) - Hip-O Select releases always looked different, felt classy too and even special. And "Drift Away: A Decade Of Dobie 1969-1979" by Dobie Gray is no different.

Shaped and sized akin to a small paperback book - the gold Limited Edition logo on the rear doesn't indicate a numbered edition though I would imagine as little as 2,000 or less copies were pressed (nor does it even have a Barcode). The front cover, two inners flaps and rear cover hold the four CDs and 20-page colour paperback-sized booklet in card slots. Each flap lists the tracks for CD1, CD2 etc while the lovely-looking booklet features an essay on his career (for this period) by SCOTT SCHINDER dated August 2004, New York City (Pages 2 to 12). Page 13 has a signed note from the singer with a picture of DB above it (also August 2004). Pages 14 to 19 lay out album-by-album production credits, players, writers, single catalogue numbers beneath titles when necessary. Mike Ragogna is the Compilation Producer with Pat Lawrence and Thane Tierney for Hip-O Select. 

Between the text (which confirms his name is Lawrence Darrow Brown and not Leonard Ainsworth as some sources have acclaimed) are some photos and his long-haul story from a Fifties Baptist-Gospel upbringing to and early/mid Sixties singles until his version of "The "In" Crowd" in 1965 broke him through to National attention. There are stories of his time on the "Hair" musical in the early Seventies, acting on US TV's Beverly Hillbillies, his fortuitous connection to songwriters Paul Williams and his brother Mentor Williams – the latter of the two being the author of the magnificent "Drift Away" written apparently during a period of intense self-doubt.

The song "Drift Away" is one of those tunes that screams cover me – especially to Pop and Rock singers looking for that elusive Soul-feel that gives their variant surefire Hitsville crossover appeal ("…gimme the beat boys and free my soul...I wanna get lost in your Rock 'n' Roll..."). John Kay of Steppenwolf covered it on his second solo album "My Sportin' Life" (July 1973 on ABC/Dunhill DSX-50147 in the USA and July 1973 on Probe SPBA 6274 in the UK) while John Henry Kurtz of obscuro band Country Coalition did a version on his debut solo album "Reunion" (November 1972 on ABC Records ABCX-742 in the USA, February 1973 in the UK on Probe SPB 1068). The Kurtz album featured interesting guests like Jeff Baxter of Steely Dan and The Doobie Brothers fame, future Foot Loose singer Kenny Loggins and Doug Dillard of The Dillards on Banjo. When Rhino Handmade reissued the Jackie DeShannon album "Jackie" in 2003 as "Jackie…Plus" (the LP was originally on Atlantic Records in 1972) – they too found an unreleased recording of "Drift Away" and included it on that CD. Hardly surprising then when Dobie Gray talks about the song in the liner notes that he was desperate to record a version of what he and many others knew was a winner. I would argue (as I'm sure many aficionados would to) that Dobie Gray did the definitive version of "Drift Away" (it became his signature song) – a less-is-more approach to the arrangement that let the lyrics breath, the instruments be heard and his naturally Soulful vocals towards the end soar – moving you and not just impressing (comparisons to Bill Withers and Luther Ingram jump to mind). 

To the long-player that carries its name. The audio across the whole "Drift Away" album (which will be many people's fave here) is exceptionally clean and full of warmth – the piano fills at the end of "Eddie's Song" that closes out the LP, the slow acoustic start to "Sweet Lovin' Woman" and those double-upped vocals matching the guitar lines, the funky clavinet of the gambler-come-lover (Ruby and Billy) song "Caddo Queen" and that clever passage after the chorus. The only moment I take umbrage with is the ever-so-slightly Neil Diamond schlock feel to "We Had It All" – but if that is your bag or your song – the audio is fabulous. The bass too of Mike Leach on "Drift Away" (with Reggie Young on Guitar) is so sweet – punchy but not overdone. And as I said earlier, the flipside cut "City Stars" also excellent, making the "Drift Away" 45-single (in any country) a bit of a double-whammy class in my book.

CD2 throws up the "Loving Arms" and "Hey Dixie" albums from October 1973 and October 1974 with a Non-LP A-side tagged on a Bonus (Track 21). As with the "Drift Away" LP, songwriter Mentor Williams is once again at the Producer helm for both records. The "Hey Dixie" album features Country-Rock types like guitarists Lonnie Mack, Troy Seals and Reggie Young backing up by The Muscle Shoals Horns and other cool session dudes. Many Soul fans rate the "Loving Arms" LP as much as they do "Drift Away". Realigning himself with songwriters like Mentor Williams and Ron Davies (a re-run of the same ideas for "Drift Away" in "Good Old Song"), Troy Seals and Will Jennings (a Staples Singers meets Country Rock vibe for "You And Me"), Paul Williams and Roger Nichols (the lovely and mellow never had much money song but I got love of "I Never Had It Good"), the 45-single of "Lovin' The Easy Way" (MCA 40188 with "Rose" from the "Loving Arms" LP as its flipside)coming at you with crystal clear production values. Brit power-vocalist Tom Jones provides a highlight on the album, the title track of "Loving Arms". Personal fave comes in the shape of the gee-tar plucking of "Mississippi Rolling Stone" (a Troy Seals and Don Goodman song). 

The "Hey Dixie" album sounds like its title, Country Soul meets Pop and R&B. Lonnie Mack and Troy Seals provide the title track and the mellower "How Can You Live All Alone". Another Mentor Williams song (a co-write with Jack Conrad) comes in the shape of "So High (Rock Me Baby And Roll Me Away)" – a tad cheesy in the lyrics and overdone strings department. Lonnie Mack wrote the Country Soul boogie of "Watch Out For Lucy" where the waitress is more dangerous than the band (there is a Single Version of the song at the end of CD2 as a Bonus). "Roll On Sweet Mississippi", "Can You Feel It" and a cover version of the Allen Toussaint song "Performance" continue the honky-tonk-ified schtick but it all feels a tad too ordinary to impress. But again, if these albums are your big dish of prime ribs, then you have never heard them sound or taste this good. 

CD3 covers his two albums on Capricorn Records "New Ray Of Sunshine" (December 1975 in the USA, January 1976 in the UK) and "Let Go" from February 1977 (USA, no UK issue) - a label more comfortable with The Allman Brothers Band and The Marshall Ttucker Band Southern boogie. "New Ray Of Sunshine" was produced by Troy Seals and Dobie Gray but for "Let Go" he went to Rick Hall's Fame Label studio and his Muscle Shoals backing band. The "New Ray Of Sunshine" album is a halfway-house between Soul, Funk and the Country Soul of say Eddie Hinton. The audio on tracks like "Harold And The Swinging Rocks" and "Drive On, Ride On" is so damn clear and muscled enough to add to the band's funk. Will Jennings (who would go on to do huge amounts of co-writes with Steve Window of The Spencer David Group, Traffic and Blind Faith in the late Seventies and Eighties for his hugely successful stints on Island Records) wrote the sappy "If Love Must Go" - itself followed by the Clavinet Pop-Funk of "Lover's Sweat". But tracks like "A New Ray Of Sunshine" and "I'll Take You Down To Mexico" have an awkward genre feel - like they don't know what they want to be - Rock - or Rock Soul - when both end up not hitting either spot. The album comes to a big-ballad finish with "Easy Come, Easy Go" - love walking off down the road real slow - too much time for DB to see it disappear over the horizon of bad decisions. 

Rick Hall and his production crew opens the 1977 LP "Let Go" with a sophisticated Soul smoocher - hurts to say her name - gorgeous audio. But as with the album before it poor material like the seriously cheesy "Mellow Man" and the staggeringly incorrect lyrics of the funk work-out "Find 'Em, Fool 'Em and Forget 'Em" - not a story I want to hear DB. His cover version of the gorgeous Eagles ballad "The Best Of My Love" from their 1974 album "On The Border" is awful - the bippity-boppity shuffle of Country Love is not a whole lot better. Dobie's stab at Percy Sledge's fabulous 60ts Atlantic Records anthem "When A Man Loves A Woman" tries hard with its strings and guitars but again feels forced and not a patch on the genuinely moving original. Beautiful Bass Notes audio on "But I Do" but like the falsely upbeat schtick of "Midnight Trippin'" and the singalong finisher "Can't Stop A Man In Love" - it all feels like three-stars when you crave five. The final insult comes in the unreleased outtake – a 1977 Hallmark Movie and Greeting Card pour-on-the-syrup version of "The Christmas Song" – the magic of 1973's "Drift Away" drifting off into the distance depressingly fast. 

Straight-up nicking The Bee Gees sound and arrangements - "You Can Do It" is chasing the 'Saturday Night Fever' dollar so hard it's liable to disappear up its open-top silk shirt. Lurve-cack like "Let This Man Take Hold Of Your Life" and a cover of the Cliff Richard hit "Miss You Nights" only add to the falsehood even if they sound amazing. Johnny Nash and his Reggae hit of 1972 "I Can See Clearly Now" gets funked up to little point and saccharin strings drown "Who's Lovin' You" in layers of Soulless fairy dust. At least "Thank You Tonight" ends a very patchy album on a semi-high note. The self-titled "Dobie Gray" opens with a truly dreadful moment where Dobie butchers his Sixties masterpiece "The "In" Crowd" with a heavy-handed Disco take. Once again the Production values are top notch but super-produced ballads like "Sunny Day To Rain" and the cringe-lyrics of "Spending Time, Making Love And Going Crazy" are not tunes I will reach for ever again. 

So there you have it - "Drift Away: A Decade Of Dobie 1969-1979" by Soul Man Dobie Gray is the very definition of a musical mixed-bag - the first two albums in spiffing sound quality and actually worth returning too. But the rest is serious hard work if I'm honest. 

Released in December 2004 and like all American Hip-O Select reissues - limited and desirable - it also has the added wallop of costing you should you want a copy. But once you clap your tired lugs on that sweet-as-a-nut remastered sound quality -  fans will have to own it...

"Open Your Heart: The Island Recordings 1972-1976" by JIM CAPALDI [of Traffic] – Features Three Albums "Oh How We Danced" (February 1972 Solo Debut after Traffic), "Whale Meat Again" (June 1974) and "Short Cut Draw Blood" (June 1975) Plus Five Bonus Non-LP 45-single Sides and a DVD with Concert Footage from November 1975 and March 1976 – Features Paul Kossoff of Free, Guitarists Pete Carr and Chris Spedding, Steve Winwood of Traffic and Blind Faith, Dave Mason, Chris Wood and Rebop of Traffic, Barry Beckett, Jimmy Johnson, David Hood and Roger 'The Hawk' Hawkins of The Muscle Shoals Rhythm Section, Backing Singers Sue & Sunny and many more (March 2020 UK Esoteric Recordings 3CD+1DVD Clamshell Box Set with Mini LP Repro Artwork Card Sleeves and Remasters from Original Island Records Master Tapes by Paschal Byrne) - A Review by Mark Barry...

https://www.amazon.co.uk/Open-Heart-Island-Recordings-1972-1976/dp/B083XVYPL4?crid=38YSH4MW2IW5I&dib=eyJ2IjoiMSJ9.FU8ZhyaSUMQbz9bulpBudA.rTGuEsvNRY-O3zlEXz8peAtxqPrkaI59SaCdNTXpd_Q&dib_tag=se&keywords=5013929481282&nsdOptOutParam=true&qid=1730749172&sprefix=5013929481282%2Caps%2C77&sr=8-1&ufe=INHOUSE_INSTALLMENTS%3AUK_IHI_3M_AUTOMATED&linkCode=ll1&tag=mabasreofcdbl-21&linkId=da1f87bc06dc6c891128d1ccaf86dfc1&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Material *** to ****

Presentation ****

Audio *****

"…Short Cut Draw Blood…"

In hindsight, so many reviewers in the 00s, 10s and 20s have been kind and generous in their praise to the music of Jim Capaldi. I mention this in late 2024 because when I was growing up and buying these sorts of albums between 1972 and 1975 – the general viewpoint was different. 

Some of his Island records album had good moments – but most were ordinary and even poor despite the stellar line-ups of guest musicians I have outlined below. And he has never had the best of voices either. Most of his Traffic compatriots were on the LPs alongside luminaries like Paul Kossoff of Free, Jess Roden of Bronco, ace axeman Chris Spedding, the Muscles Shoals House Band and even occasional inspiration from Viv Stanshall of The Bonzo Dog Doo Dah Band. But one look at auction sites and you will see hundreds of these albums on sale for under a pound and unfortunately even less. 

But – and this is the big but here – since the release of the June 2011 Universal 4CD Book Set "Dear Mr. Fantasy: The Jim Capaldi Story" (covering his music from 1964 to 2004) and now this - "Open Your Heart: The Island Recordings 1972-1976" – both sets beautifully 24-bit Digitally remastered by PASCHAL BYRNE from original tapes – it is time for me to bury my growing-up prejudice and re-listen. 
There is much to like here – rediscover too. None are masterpieces by any stretch of the imagination – but with that visual element too which I had not seen before – time to buckle up, grab the Bic Razor and draw chin-blood again. Oh How We Danced indeed – here are the heartfelt details…

UK released 27 March 2020 - "Open Your Heart: The Island Recordings 1972-1976" by JIM CAPALDI on Esoteric Recordings ECLEC 42712 (Barcode 5013929481282) is a 3CD+1DVD Clamshell Box Set (Three Albums Plus Five Bonus Tracks and Concert Footage from 1975 and 1976 on the DVD) that plays out as follows:

CD1 "Oh How We Danced" (40:57 minutes):
1. Eve [Side 1]
2. Big Thirst
3. Love Is All You Can Try
4. Last Day Of Dawn
5. Don't Be A Hero [Side 2]
6. Open Your Heart
7. How Much Can A Man Really Take
8. Oh How We Danced
Tracks 1 to 8 are his debut solo album (after Traffic) "Oh How We Danced" – released February 1972 in the UK on Island Records ILPS 9187. Produced by JIM CAPALDI and CHRIS BLACKWELL – the Band included Steve Winwood of Traffic and Blind Faith on Organ and Guitar, Jimmy Johnson (Guitar), David Hood (Bass) and Roger Hawkins (Drums) of The Muscle Shoals House Band, Dave Mason, Chris Wood and Rebop Kwaku Baah of Traffic, Paul Kossoff of Free on Guitar, Barry Beckett on Keyboards, Rick Grech of Traffic, Blind Faith, Ginger Baker's Airforce and Family, Trevor Burton and Jim Gordon and more

BONUS TRACK:
9. Going Down Slow All The Way (March 1972 UK 7" 45-single on Island Records WIP 6127, Non-LP B-side to "Eve")

CD2 "Whale Meat Again" (47:13 minutes):
1. It's Alright [Side 1]
2. Whale Meat Again
3. Yellow Sun
4. I've Got So Much Lovin'
5. Low Rider [Side 2]
6. My Brother
7. Summer Is Fading
8. We'll Meet Again
Tracks 1 to 8 are his second studio album "Whale Meat Again" – released June 1974 in the UK on Island Records ILPS 9254. Produced by JIM CAPALDI – the band included Pete Carr, Jimmie Johnson and Bubs White on Guitars, Barry Beckett and John "Rabbit" Bundrick on Keyboards, Chris Stainton of The Grease Band, Steve Winwood and Rebop Kwaku Baah of Traffic with the Muscles Shoals House Band

BONUS TRACK:
9. Tricky Dicky Rides Again (June 1973 UK 7" 45-single on Island Records WIP 6165, A-side (Non-LP). The B-side in the UK was the album track "Whale Meat Again", however, in the USA it was issued and credited (March 1973) as "Tricky Dickie Rides Again" on Island Records USA IS 1216 with "Love Is All You Can Try" from the debut album as its flipside

CD3 "Short Cut Draw Blood" (56:21 minutes):
1 Goodbye Love[Side 1]
2. It's All Up To You
3. Love Hurts
4. Johnny Too Bad
5. Short Cut, Draw Blood
6. Living On A Marble [Side 2]
7. Boy With A Problem
8. Keep On Trying
9. Seagull
Tracks 1 to 9 are his third solo album "Short Cut Draw Blood" – released June 1975 in the UK on Island Records ILPS 9336. Produced by JIM CAPALDI, CHRIS BLACKWELL and STEVE SMITH – the band featured Jess Roden of Bronco, Chris Spedding, Pete Carr, Paul Kossoff of Free, Pete Yarrow of Peter, Paul & Mary and Jimmy Johnson on Guitars, Barry Beckett on Keyboards, Ray Allen on Saxophone, Chris Stainton of The Grease Band, Steve Winwood, Gerry Conway of Fotheringay, Chris Wood and Rebop Kwaku Baah of Traffic, the Muscles Shoals House Band and more

BONUS TRACKS:
10. Sugar Honey (October 1975 UK 7" 45-single on Island Records WIP 6246, Non-LP B-side to "Love Hurts")
1

1. Talkin' About My Baby 
12. Still Talkin'
Tracks 11 and 12 are the Non-LP A&B-sides on an April 1976 UK 7" 45-single on Island Records WIP 6299 (no US issue)

DVD (NTSC, All Regions)
Jim Capaldi Band 
18 November 1975 - BBC TV – The Old Grey Whistle Test

Intro by Bob Harris
1. Short Cut, Draw Blood
2. Goodbye Love

Band featured:
Jim Capaldi on Guitar and Lead Vocals, Steve Winwood on Piano, Pete Bonas on Lead Guitar, Kiki Gyan on Organ, Ray Allen on Saxophone, Rosko Gee on Bass, Remi Kabaka on Drums and Percussion with Phil Capaldi on Percussion and Backing Vocals

Jim Capaldi and the Space Cadets
10 March 1976 – Live at the BBC Television Theatre in London
For the BBC TV programme – The Old Grey Whistle Test

Intro by Bob Harris
1. Low Rider
2. Love Hurts
3. Goodbye Love
4. Elixir Of Love
5. Boy With A Problem
6. Short Ends
7. Talkin' About My Baby
8. Keep On Trying
Band featured:
Jim Capaldi on Guitar and Lead Vocals, Pete Bonas on Lead Guitar, Kiki Gyan on Organ, Ray Allen on Saxophone, Rosko Gee on Bass, Remi Kabaka on Drums and Percussion, Phil Capaldi on Percussion and Backing Vocals with Ralph Richardson on Steel Drums

The small Clamshell Box Set contains four Mini LP Repro Artwork Card Sleeves with Picture CDs inside – three albums and a DVD. The card sleeves are named after the Box set and therefore don’t really reflect the original artwork as it was (as per the photos provided), and their rears have other photos than the original releases (none are gatefolds and any inners plus info is now in the booklet). The 28-page booklet helmed by PAUL MINKKINEN is a pleasingly in-depth affair – colour photos – repros of those lovely cartoons on the inner sleeve of "Whale Meat Again" that reflected each song title – the band-photos of "Oh How We Danced" (Paul Kossoff either asleep or stoned) - album-by-album credits in the closing pages alongside reissue credits (no lyrics though). Capaldi would go on to eleven more albums, but as Minkkinen points out, most fans gravitate towards these Seventies Funk-Rock and Soft-Rock moments accompanied by many buddies from Traffic, The Grease Band and even Fotheringay. A lovely inclusion too is the Bonus 45-single sides. 

But for me – re-hearing records I never really rated – the best news is the amazing Audio clarity on offer here. PASCHAL BYRNE has had his Engineer name on wads of Cherry Red UK reissues especially for their Esoteric Recordings label offshoot. I made immediately not for the obvious hit "Love Hurts" but for a Funk Rock gem I have loved for nearly fifty years - "Low Rider" – and wowser is the response. These were well-crafted and well-recorded albums and the sheer Funkiness of The Muscle Shoals House Band that he used - Jimmy Johnson on Guitar, David Hood on Bass with Roger "The Hawk" Hawkins on Drums and Barry Beckett on Keyboards – made the rhythm section feel like they were in the pocket - on Average White band tablets. The strings are admittedly overdone in places, but overall – the Audio is first class – clear and alive like you would want it. To the music…

His February 1972 debut album (after Traffic) "Oh How We Danced" opens on the slightly-weedy "Eve" – a mid-tempo woman-child tune. Far better is the slow ballad blues of "Big Thirst" – a co-write with Dave Mason - everyone hoping for a miracle to drive away the pain. Barry Beckett provides Soulful Organ, Sue and Sunny lady backing vocals, Dave Mason a Harmonica solo while Paul Kossoff of Free makes a first appearance on Guitar. Things turn to Piano Bop (Barry Beckett) with "Love Is All We Can Try" where both vocally and musically Capaldi sounds another Island Records fave – Bryn Haworth (Steve Winwood picks electric guitar in your left speaker). Side 1 ends with the acoustic-frantic "Last Day of Dawn" – Kossoff getting guitar funky while Rebop of Traffic and Roger Hawkins with David hood of The Muscle Shoals House Band give the backbeat a Funk.

The six-minute "Don't Be A Hero" opens Side 2 – again a mellow Capaldi telling us not to be sad – and while the musicians do him proud (both Kossoff and Mason on Guitar with Mason soloing) – his weak vocals kind of sink its epic build up and sway (sounds so good though). The song that entitles the Box Set "Open Your Heart" reunited Steve Winwood (Organ and Vocals) with fellow Traffic pal Chris Wood on Electric Sax which Rick Grech hits those soft Bass notes. Wood plays Flute on "How Much Can A Man Take" while sessionman legend Trevor Burton plays Bass and again Kossoff staying in the Rhythm Section background throughout. A good tune but again his voice kind of does for any impact. The LP finishes with a fast one – the Piano and Bass pulsating beat of "Oh How We Danced" where (finally) Kossoff gets to let rip on a guitar solo while The Muscle Shoals Horns get brassy in the mix. A good album then, rather than great. The piano-ballad Non-LP B-side "Going Down Slow All The Way" is excellent and you wonder why it did not get on the LP instead of the weaker "Eve".

Album number two - the wittily entitled "Whale Meat Again" arrived June 1974 – a full two-years after the debut – but the band remained roughly the same. I rate it much more than the starter album. Side 1 opens with a sort of happy-go-lucky Caribbean Island vibe in "It's Alright" that nicks some of its Acoustic moments from a famous George Harrison song on Abbey Road. Both Pete Carr (on Lead) and Jimmy Johnson have loads of guitar moments on the Blues Rock swagger of the album title track "Whale Meat Again" – a destruction of the environment angry song anchored by Ian "Rabbit" Bundrick on Keyboards while The Muscle Shoals Horns get classy halfway through. "Yellow Sun" is the big seven-minute ballad for Side 1 that sees Pete Carr switch to Dobro Slide while Jimmy Johnson handles the Guitars and Chris Stainton of The Grease Band plays mellow Organ. Barry Beckett on piano (comes in about the three-minute mark) rounds off a classy line-up on the undoubted LP highlight. The band gets Funky with the backbeat for "I've Got So Much Lovin'" – a downtown LA bopper that is abided by Lady Singers echoing most lines. Could have been a good single too but Island UK chose "It's All Up To You" b/w "Whale Meat Again" for the July 1974 45-single (which did not chart). 

Side 2 of "Whale Meat Again" opens with the brilliant Rock-Funk of "Low Rider" – a shadow man with lightning in his satchel designed to meet your needs. Harry Robinson arranged the cool strings as the Muscle Shoals Rhythm Section get deep into the groove – Pete Carr making the Lead Guitar Solo count for every second. "Low Rider" runs to 5:40 minutes - but you can’t help think that Island missed a trick here with an Edited Down 45-single that might have caught the AWB-crowd neck-jerking to "Pick Up The Pieces" over on Atlantic Records. "My Brother" comes sailing out of your speakers with fab clarity but his echoed strangulated vocals are more irritating than effective – shame because the band achieves a sexy groove (Barry Beckett puts in a rare Synth solo). The second album ends with a two-parter – 8:30 minutes of "Summer Is Fading" that segue into a one and half-minute orchestrated strings cover of the old WWII Vera Lynn classic "We'll Meet Again". Starting out slow like a Traffic groove – Bub White takes Lead Guitar on "Summer Is Fading" that soon gets soloing frantic to only return to slow. The Vera Lynn thing has gorgeous string arrangements but is ruined by silly shouting.

Coming before the 1974 "Whale Meat Again" album hit the shops, the 45-single "Tricky Dicky Rides Again" from June 1973 on Island WIP 6165 whetted appetites. Fans want it because it features PAUL KOSSOFF of FREE on Guitar (it later appeared as "Dirty Business" – a remake on JC’s "Contender" album in February 1978 on Polydor Records) – but you might have difficulty actually hearing him through the rowdy proceedings until the end (great solo). Speaking of ace axeman Kossoff, unfortunately, the track "You And Me" which was also recorded with Capaldi and The Muscle Shoals Rhythm Section in the 1975 sessions for "Short Cut Draw Blood" is not here. "You And Me" first appeared on the "Koss" double-album anthology in 1977 on Island Records, but its digital appearance is exclusive to the June 2011 4CD Book Set "Dear Mr. Fantasy: The Jim Capaldi Story" (probably not here for licensing reasons).

Nicking a Carole King Tapestry piano intro - "Goodbye Love" comes Funky-shimmying into your living room and production values are higher than ever. Steve Winwood contributes to the slinky backbeat with Organ, Guitar, Bass and Piano whilst Ray Allen pops in those Saxophone jabs. Commerciality comes screaming through the lovely catchy-chorus of "It's All Up To You" (a minor hit single) – Clavinet and Keyboards by John "Rabbit" Bundrick with Jess Roden on Guitar (ex-Bronco, on a solo career in 1975). I doubt either Keyboardists Steve Winwood or Jean Roussel thought that a cover version of an Everly Brothers hit "Love Hurts" would go Top 5 for Capaldi was conspicuously absent from either single or LP charts. Legendary session Drummer Jerry Conway (of Fotheringay) and licks-for-hire turning-solo-artist the following year Chris Spedding plays guitar. Jamaican Reggae act The Slicker would see his 1971 UK 45-single on Punch Records PH 59 "Johnny (Too) Bad" be taken by both Jim Capaldi and John Martyn into superb cover versions. While the Muscle Shoals Rhythm Section and Horns keep the shuffling Reggae-Rock beat tight in the pocket – listen (real) close and you will just about catch Pete Yarrow of 60ts Folkies Peter, Paul & Mary playing Acoustic Guitar. Side 1 of "Short Cut Draw Blood" ends with the title song – a good guitar-chugging builder that features both Pete Carr and Chris Spedding on Guitars (Rebop of Traffic is in their too doing his Percussion thing).

Side 2 of "Short Cut Draw Blood" opens with the decentralization-needed angry "Love On A Marble" – both Jimmy Johnson and Chris Spedding contributing electric guitars, Chris on Lead (Pete Carr on Acoustic) while Steve Winwood quietly plucks a Bass. An impressive Rock-Romp, Capaldi sparts rapping politico statements towards the frantic ending. "Boy With A Problem" boasts another impressive line-up – Kossoff gets Lead Guitar while Jimmy Johnson does Rhythm with Steve Winwood on Synth. The slink and strings are strong with this one – a tune where a mother worries about her son who is too often away with the clouds. This excellent number is once again anchored by superlative Soulful piano fills from Barry Beckett giving the song an edgy Rock-Funkiness. Trombonist Ray Rodriguez joins in the falsely joyful giggling and voices of "Keep On Trying" – an attempt at Rock-Calypso that involves Steve Winwood, Rebop and Saxophonist Ray Allen that feels forced today. A good album ends of the quietly pretty "Seagull" – Capaldi singing with only three people – Steve Winwood on all Keyboards, fellow Traffic pal Chris Wood on Flute with Drummer Remi Kabaka of Third World keeping a rhythm going to the sea-and-surf sounds. And of the three single-sides, the very Simon & Garfunkel guitar-funky "Sugar Honey" is excellent but the overly poppy "Talkin’ About My Baby" is weak and its useless B-side not a whole lot better.

For true JP aficionados the All-Regions DVD is going to be a real treat. After an Esoteric Recordings logo, you get a two-concert menu – both Old Grey Whistle Test shows introduced by Bob Harris. The first in 1975 is in their studio and the big band are not just tight and sounding great – but seriously well-rehearsed. Both shows are in TV Box Format so there is no getting away from that and the footage has that faded look – but the audio is shockingly good. With Capaldi on Acoustic and in fine voice, "Short Cut Draw Blood" draws to a suitably frantic finish – guitarist Pete Bonas impressing. But things really start to light up when you see Steve Winwood on Piano introduce "Goodbye Love" as a sort of Low Spark of The High-Heeled Boys Part 2 (in other words it feels like Traffic circa 1972). Its Carole King piano intro leads to a sexy funky sinewy groove – very cool. 

The TV Theatre show is much longer and again the footage Boxed and flitting between worn and clear depending on how close the cameraman gets. The audio does the same – one minute ok – the next fantastic – usually as the sound people get the measure of the show as the amps warm. It is essentially the same band, Ghana percussionists and drummer, Rosko Gee with his top hat and cool Bass Guitar looking like that villain from Jamaica in the Bond film "Live And Let Die". When Capaldi sits at the piano alone for "Short Ends", his voice lets him down somewhat. In short, it is a mellow-ish gig – good but low on any real excitement for me. But to have 40-minutes of Capaldi and his band in their prime is a plus. A very nice find. 

Jim Capaldi was not Steve Winwood – did not have his voice or writing chops – but I now realize after a re-listen that when JC hit that mark and his band was cooking – reappraisal is very much in order… 

"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...