"The A&M Years" by STEALERS WHEEL – Features Three UK Studio Albums - "Stealers Wheel" (November 1972 Debut), "Ferguslie Park" (November 1973 Second) and "Right Or Wrong" (March 1975 Third and Final) – All on A&M Records - Plus Three BBC Live Recordings taped December 1971 as Bonus Tracks on CD1 – Band featured Gerry Rafferty and Joe Egan (December 2017 UK Caroline Records 3CD Clamshell Box Set with James Bragg Mastering) - A Review by Mark Barry...

https://www.amazon.co.uk/M-Albums-Stealers-Wheel/dp/B0766KQDZM?crid=2T3NUPGCNBJKK&dib=eyJ2IjoiMSJ9.kJee9JKGOEo7Yuc7bge_eg.t7OLM_KMJWjcgUnLFzln9rAPZUVtkarOm63cVZOh6_A&dib_tag=se&keywords=602557783438&nsdOptOutParam=true&qid=1732287419&sprefix=602557783438%2Caps%2C88&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=4947856527b3c6fedd93f3d0361f6664&language=en_GB&ref_=as_li_ss_tl

RATINGS:

Overall *** to ****

Presentation ****

Audio *** to ****

"…Stuck In The Middle With You…"

In truth, I have never held much truck with the idea that Stealers Wheel albums were actually any good. Excepting of course that lightning rod moment with "Stuck In The Middle With You" – I always felt they were forever getting there instead of having arrived. 

With Lead Guitarist Paul Pilnick, Bassist Tony Williams and Drummer Rod Coombes having split the band shortly after the release of the debut album – Scotland's Stealers Wheel was essentially Gerry Rafferty and Joe Egan as a singing-songwriting duo using session musicians for albums number two and three. 

Having said that - this natty looking and rather tastefully presented 2017 Three-CD Clamshell Box Set from Caroline Records of the UK (part of Cherry Red's group of labels) has its melodious moments and will please fans no end with its pretty presentation and (mostly) good audio. To the good businessmen and chopped earlobes…

UK released 1 December 2017 - "The A&M Years" by STEALERS WHEEL on Caroline CAROLR082CD (Barcode 602557783438) is a 3CD Clamshell Box Set with Three Albums from November 1972, November 1973 and March 1975 on A&M Records onto 3CDs in Mini LP Repro Artwork Card Sleeves Plus Three BBC Recordings taped December 1971 as Bonus Tracks – it plays out as follows:

CD1 "Stealers Wheel" + Three Bonus Tracks (43:27 minutes):
1. Late Again [Side 1]
2. Stuck In The Middle With You
3. Another Meaning
4. I Get By
5. Outside Looking In
6. Johnny's Song [Side 2]
7. Next To Me
8. José
9. Gets So Lonely
10. You Put Something Better Inside Me
Tracks 1 to 12 are their debut studio album "Stealers Wheel" – released November 1972 in the UK on A&M Records AMLS 68121 and in the USA on A&M Records SP-4377. Tracks 3, 4, 8 and 9 written by Joe Egan, Tracks 5 and 6 written by Gerry Rafferty and Tracks 1, 2, 7 and 10 co-written by Joe Egan and Gerry Rafferty

BONUS TRACKS Live At The BBC (December 1971):
11. Please Sing A Song For Us
12. Steamboat Row
13. I Get By

CD2 "Ferguslie Park" (39:31 minutes):
1. Good Businessman [Side 1]
2. Star
3. Wheelin'
4. Waltz (You Know It Makes Sense!)
5. What More Could You Want
6. Over My Head
7. Blind Faith [Side 2]
8. Nothing's Gonna Change My Mind
9. Steamboat Row
10. Back On My Feet Again
11. Who Cares
12. Everything Will Turn Out Fine
Tracks 1 to 12 are their second studio album "Ferguslie Park" – released November 1973 in the UK on A&M Records AMLH 68209 and in the USA on A&M Records SP-4419. Tracks 5, 6, 9 and 11 written by Gerry Rafferty; Tracks 2, 4, 8 and 10 written by Joe Egan; Tracks 1, 3, 7 and 12 written by Gerry Rafferty and Joe Egan

CD3 "Right Or Wrong" (37:39 minutes):
1. Benediction [Side 1]
2. Found My Way To You
3. This Morning
4. Let Yourself Go
5. Home From Home
6. Go As You Please [Side 2]
7. Wishbone
8. Don't Get Me Wrong
9. Monday Morning
10. Right Or Wrong
Tracks 1 to 10 are their third and final studio album "Right Or Wrong" – released March 1975 in the UK on A&M Records AMLH 68293 and in the USA on A&M Records SP-4517. All Tracks written by Gerry Rafferty and Joe Egan except "Don't Get Me Wrong" written by Gerry Rafferty. 

To this day (and I own the original LP) – I am still one or two entries short on being able to name the eight places that artist John Patrick Byrne placed/hid the name Stealers Wheel on the front cover (Joe Egan's beard, the foliage to the bottom right of the painting, name in the clouds etc). The centre pages of the 20-page booklet (liner notes by MICHAEL HEATLEY) give a tasty display of the six British A&M Records 45-singles that surrounded the three albums - while other pages prior to that line up rare Euro Pic Sleeves – three at a time. There is period sheet music, the inner lyric sleeve for "Ferguslie Park" (albeit unreadably small) – even the artwork for the different American LP label. More importantly, Heatley lays out the history, the break-ups, Rafferty rejoining before going solo proper. It's nicely done - but we never do find out who played Sax on "Late Again". The remastered sound by JAMES BRAGG varies from good to great – clean and clear for the most part – the better-recorded second and third LPs especially shining through. 

Produced by Rock & Roll heroes Jerry Lieber and Mike Stoller (they talk in the liner notes of Brown Ale cases and bottles of whiskey being consumed in copious amounts) - the self-titled "Stealers Wheel" debut opens with a lonesome slightly-distant harmonium drone - "Late Again" - Rafferty talking about ceaseless complaining and owning-up to being wrong. A&M Records clearly had some faith in the melancholic tune because they issued it as the first single from the album in October 1972. A&M Records AMS 7033 had "I Get By" from the LP as its flipside but no joy. In the New Year (January 1973) - A&M tried again to get the public interested with "You Put Something (Better Inside Me)" with another LP cut "Next To Me" on the B-side – but A&M Records AMS 7046 again did no business. 

Finally, Stealers Wheel and their record company hit melodious pay-dirt with the sheer commercialism of "Stuck In The Middle With You" – released as a popular UK 45-single in April 1973 on A&M Records AMS 7036 with the album cut "José" on the B-side. A winner if ever there was one - it would eventually rise to No.8 on the British singles chart and make US inroads too - the album peaking at No. 50 on the US Billboard charts while the single made two rungs better than the UK by peaking at No.6. "Stuck In The Middle With You" would of course receive a whole new lease of life when it became an integral part of Quintin Tarantino's 1992 debut movie "Reservoir Dogs" in that infamous bloody scene towards the end of the movie. 

Speaking of another melody, there's a lovely sound to "Outside Looking In" - clever guitar runs aiding Rafferty's deadpan delivery. Side 2 opens with "Johnny's Song" - a sort of semi-rocker that could have been another single. Soft and soothing is what you would call "Next To Me" - Egan's voice good but not as good as Rafferty. "José" is a horrible cod-rocker that eventually settles down to a softer melody but again it only half works. Plinking and shimmering keyboard notes open "Gets So Lonely" - the same old situation again. The album at least ends on a melody high - the second single "You Put Something (Better Inside Me)".

The three bonus live tracks are interesting and the audio acceptable too. "Please Song Me A Song" was a tune from the September 1969 debut album for the Billy Connolly and Gerry Raffety folk-duo band The Humblebums. Such was the hooky nature of the song, Continental Uptight Band out of Germany even did a Psych-ish version of it in 1970 on Columbia Records. Although the vocals are a bit ropey at the outset, the recordings get better. "Steamboat Row" would eventually turn up on the second Stealers Wheel album "Ferguslie Park" album in November 1973 while the jaunty "I Get By" was on the debut LP released almost a year after the BBC exclusive-concert show. The crowd responds enthusiastically to the boogie. 

The moment the "Ferguslie Park" on CD2 opens with the riffage and acoustic strums of "Good Businessman" - you can hear the production values have been upped big time. Rafferty and Egan (playing everything from Guitars to Kazoo) are joined by session players Peter Robinson (Keyboards), Bernie Holland and Joe Jammer (Guitars), Chris Mercer and Steve Gregory (Saxophones) while Producer Mike Stoller even gets in on the act by playing Electric Harpsichord with Jerry Leiber twiddling the control-room knobs. "Star" is another winner - melodious and highly radio friendly and with the album-track "What More Could You Want" as its B-side - it rose to No.25 in the UK and a very healthy No.28 in the States. Surprisingly though, the "Ferguslie Park" LP (again sporting John Byrne artwork) didn't trouble the album charts on either side of the pond. 

Another slow groover, A&M obviously thought there was legs in "Wheelin'" so they issued it as the album's second 45-single in April 1974 in the USA with the debut LP's "You Put Something (Better Inside Me)" on its flipside - but it didn't take. Lovely Bass to "Waltz (You Know It Makes Sense!)" but it's a strange non-event track. The brand-new Telecaster guitar bop of "What More Could You Want" could have been another 7" single winner (as an A-side) - Rafferty moaning once again about the industry telling him to write hit tunes or take a hike.  Side 1 ends in the ballad "Over My Head". 

The Side 2 starter-for-ten "Blind Faith" is a pleasing rocker - guitars and pianos rolling along to 'a-bop-shoo-wop' chorus. Time for a dead-end-job song (money so low) - "Nothing's Gonna Change My Mind" highlighting some David Gilmour type guitar solos. A song they played at the BBC two years prior now turns up - "Steamboat Row" - Pedal Steel shuffling - a tale of an Irishman working an honest day - a miner covered in dirt and dust - then fifteen miles to get home. "Back On My Feet Again" is about the rockiest tune on "Ferguslie Park" - moving on after the hard times. Piano ballad "Who Cares" has Rafferty singing through echoed vocals - a sophistication in the song that harks to "City To City" in a few years time. It all comes to an end with "Everything Will Turn Out Fine" - as hooky a tune as you could hope for - very Medicine Head. Re-hearing "Ferguslie Park" - you'd have to argue that it's more accomplished than its more famous predecessor - a clear attempt to Americanise the Stealer Wheel sound. 

Stealers Wheel album number three "Right Or Wrong" (from 1975) has never had much of a rep amongst fans. The artwork foregoes John Byrne artwork for a photo of Rafferty and Egan on front and rear. Guitars and strings greet you for the Side 1 opened "Benediction" - hearts crossed, souls seeking out a state of grace. "Found My Way To You" feels like a naff New Seekers tune - "This Morning" at least feeling like there's a melody lurking in there somewhere even it never actually emerges from beneath the strings and layered instruments. Groover ahoy with the guitar chug of "Let Yourself Go" while Side 1 ends with the only slightly better "Home From Home" - a weedy ballad with oddly discordant duet vocals. Only "Don't Get Me Wrong" and the jolly "Monday Morning" on Side 2 lift proceedings but not by much. 

As I said earlier Stealers Wheel had loads of potential but I always felt they rarely realised it outside of the obvious winners. Rafferty would go on to a cannon of fantastic solo albums - his songwriting skills coming to full fruition. A good Box Set let down by not-so-good material. Still, fans will have to own it...

"The Complete Albums 1970-1976" by DEEP PURPLE – Ten US-Configured Albums from January 1970 ("Concerto For Group And Orchestra") through to October 1976 ("Live In Europe") – Seven Studio Sets and Three Live Sets featuring Ian Gillan and David Coverdale (Vocals), Ritchie Blackmore and Tommy Bolin (Guitars), Jon Lord (Keyboards), Roger Glover and Glenn Hughes (Bass) and Drummer Ian Paice (October 2013 EU Warner Brothers/Rhino Entertainment 10CD Box Set Reissue of a September 2010 Japan-Only Box Set of Rhino Remasters – Artwork and Track Lists Are All Based on US Configurations – First Two Albums Are Different To UK Issues) - A Review by Mark Barry...

RATINGS: 

Overall ****

Presentation ***

Audio **** to *****

"…Come Taste The Band…"

First issued 22 September 2010 in Japan-only as a 10CD Deep Purple Box Set called "Beyond The Purple" on Warner Brothers WPCR-13924/33 (Barcode 4943674101016) – what we have here is technically its European reissue for 2013.

Released 17 October 2013 and renamed "The Complete Albums 1970-1976" on Warner Brothers/Rhino Entertainment 8122796348 (Barcode 081227963484) – the new variant is an American-Based Box Set. So, instead of say Harvest and Purple Records logos as they were on British originals – you get the two types of Warner Brothers logo on every CD face (Tan and Burbank) and the albums (including their artwork) strictly follow US releases. I say all of this because that means changes over two LPs British fans have grown up with.

"Deep Purple In Rock" from 1970 and "Fireball" from 1971 see their track line-ups slightly altered. The British version of "…In Rock" had a manic two-minute guitar and organ explosion that starts "Speed King" – it is edited out of the American version and their 1971 album gem "Fireball" had "Demon's Eye" replaced with the British Single "Strange Kind Of Woman" as Track 3 on Side 1.

The Mini LP Repro Artwork Card Sleeves are all singular too when every album was a gatefold – but at least they use the gold artwork for "Made In Japan" which was changed (badly in my view) for the 2CD Deluxe Edition. And there is no booklet either? So, you are missing the full version of "Speed King" and "Demon's Eye". Then throw in the fact that single-only A&B-sides like the rocking "Black Night" and "When A Blind Man Cries", the funky instrumental "Coronarias Redig" and even "Painted Horse" (technically from 1977, but recorded 1976) could have been added on to the appropriate CDs as Bonus Tracks – and you can understand some annoyance and negativity from fans.

But really – get a grip! Any true Purp nut worth their hairy-assed-salt already owns these on various other releases. Personally, I already had Purple up to the fabulous "Made In Japan" double-live from 1972 – so I bought this box set for the LPs after that. And let’s be honest here - excluding the silly clunker that is "Concerto For Group And Orchestra" – you still get nine cracking Classic Rock albums in spiffing Rhino Remaster form (and on some sites for under thirty-quid). To the tasty band…

UK/EU released 15 October 2013 - "The Complete Albums 1970-1976" by DEEP PURPLE on Warner Music Group/Rhino Entertainment 8122796348 (Barcode 081227963484) is a 10CD Box Set with Singular US-Based Mini LP Repro Artwork Card Sleeves with Rhino Remasters (no Booklet) that breaks down as follows:

CD1 "Concerto For Group And Orchestra" (53:48 minutes):
1. First Movement (Moderato, Allegro, Vivace) [Side 1]
2. Second Movement (Part One – Andante)
3. Second Movement (Part Two - Andante) [Side 2]
4. Third Movement (Vivace, Presto)
Tracks 1 to 4 are their fourth album (first live) "Concerto For Group And Orchestra" - released December 1969 in the USA on Tetragrammaton Records T-131 (then reissued early 1970 on Warner Bros WS 1860) and January 1970 in the UK on Harvest Records SHVL 767. Album credited to Deep Purple and The Royal Philharmonic Orchestra conducted by Malcolm Arnold – recorded live at The Royal Albert Hall, 24 September 1969. Band was Lead Vocalist Ian Gillan, Lead Guitarist Ritchie Blackmore, Keyboardist Jon Lord, Bassist Roger Glover and Drummer Ian Paice

CD2 "Deep Purple In Rock" (42:13 minutes):
1. Speed King [Side 1]
2. Bloodsucker
3. Child In Time
4. Flight Of The Rat [Side 2]
5. Into The Fire
6. Living Wreck
7. Hard Lovin' Man
Tracks 1 to 7 make up the US mix of their fifth album (fourth studio set) "Deep Purple In Rock" – released June 1970 on Warner Brothers WS 1877 and June 1970 in the UK on Harvest Records SHVL 777 (peaked on the US album charts at No. 147 and No.4 in the UK). 
NOTE: Because this Box Set is based on the US variants of their catalogue on Warner Brothers, the US variant on Warner Brothers WS 1877 is used. This means that the intro to "Speed King" on Side 1 is edited down in size from the full British variant – the American variant begins immediately with the song riff and Ian Gillan's vocals and not the guitar explosion before the song comes in on UK copies. The stand-alone UK single "Black Night" ("Speed King" was its flipside) is not on this Box Set.

CD3 "Fireball" (39:12 minutes):
1. Fireball [Side 1]
2. No No No
3. Strange Kind Of Woman (see Notes)
4. Anyone's Daughter
5. The Mule [Side 2]
6. Fools
7. No One Came
Tracks 1 to 7 make up their sixth album (fifth studio set) "Fireball" - originally released August 1971 in the USA on Warner Brothers BS 2564 with a different track list on Side 1 to the British LP released September 1971 in the UK on Harvest SHVL 793. Same band line-up as CD1 and CD2
NOTES: The US LP (used in this Box Set) replaced "Demon's Eye" (Track 3 on Side 1 of the UK LP) with "Strange Kind Of Woman".  "Strange Kind Of Woman" was issued 12 February 1971 as a stand-alone 7" 45-single on Harvest HAR 5033 in the UK with a Non-LP song "I'm Alone" as its B-side. The songs "Demon's Eye" nor its flipside "I'm Alone" are not on this Box Set. 

CD4 "Machine Head" (37:43 minutes):
1. Highway Star [Side 1]
2. Maybe I'm A Leo
3. Pictures Of Home
4. Never Before
5. Smoke On The Water [Side 2]
6. Lazy 
7. Space Truckin'
Tracks 1 to 7 are their seventh album (sixth studio set) "Machine Head" – released March 1972 in the UK on Purple Records TPSA 7504 and April 1972 in the USA on Warner Brothers BS 2607. Produced by DEEP PURPLE (Engineered by Martin Birch) - it peaked at No. 1 in the UK and No. 7 in the USA – the USA Mix is used.

CD5 "Made In Japan" (Live 2LP Set onto 1CD - 77:02 minutes):
1. Highway Star [Side 1]
2. Child In Time
3. Smoke On The Water [Side 2]
4. The Mule
5. Strange Kind Of Woman [Side 3]
6. Lazy
7. Space Truckin' [Side 4]
Tracks 1 to 7 are their eight release and second live set – the double vinyl album "Made In Japan" - released December 1972 in the UK on Purple Records TPSP 351 and April 1973 in the USA on Warner Brothers 2WS 2701. Tracks 1, 2, 5 and 7 were recorded in Osaka on 16 August 1972, 3 was on 15 August 1972 with 4 and 6 done on 17 August 1972

CD6 "Who Do We Think We Are" (34:39 minutes):
1. Woman From Tokyo [Side 1]
2. Mary Long
3. Super Trouper
4. Smooth Dancer
5. Rat Bat Blue [Side 2]
6. Place In Line
7. Our Lady
Tracks 1 to 7 are their nineth album (seventh studio set) "Who Do We Think We Are" – released March 1973 in the USA on Warner Brothers BS 2678 and March 1973 in the UK on Purple Records TPSA 7508. 

CD7 "Burn" (42:18 minutes):
1. Burn [Side 1]
2. Might Just Take Your Life
3. Lay Down, Stay Down
4. Sail Away
5. You Fool No One [Side 2]
6. What's Goin' On Here
7. Mistreated
8. "A" 200
Tracks 1 to 8 are their tenth album (eighth studio set) "Burn" – released February 1974 in the UK on Purple Records TPS 3505 and February 1974 in the USA on Warner Brothers W-2766. Line-up now David Coverdale (Lead Vocals), Ritchie Blackmore (Lead Guitar), Jon Lord (Keyboards), Glenn Hughes (Bass and Vocals) and Ian Paice (Drums)

CD8 "Stormbringer" (36:33 minutes):
1. Stormbringer [Side 1]
2. Love Don't Mean A Thing
3. Holy Man
4. Hold On
5. Lady Double Dealer [Side 2]
6. You Can't Do It Right (With The One You Love)
7. High Ball Shooter
8. The Gypsy
9. Soldier Of Fortune
Tracks 1 to 9 are their eleventh album (nineth studio set) "Stormbringer" – released November 1974 in the UK on Purple Records TPSP 3508 and November 1974 in the USA on Warner Brothers PR 2832. Line-up as per "Burn". 

CD9 "Come Taste The Band" (36:58 minutes):
1. Comin' Home [Side 1]
2. Lady Luck
3. Gettin' Tighter
4. Dealer
5. I Need Love
6. Drifter [Side 2]
7. Love Child
8. This Time Around / Owed To 'G' (Instrumental)
9. You Keep On Moving
Tracks 1 to 9 are their twelfth album (tenth studio set) "Come Taste The Band" – released November 1975 in the UK on Purple Records TPSA 7515 and November 1974 in the USA on Warner Brothers PR 2895. First album without Richie Blackmore as Lead Guitarist – New Line-up for "Come Taste The Band" was David Coverdale (Lead Vocals), Tommy Bolin (Lead Guitar and Vocals), Jon Lord (Keyboards), Glenn Hughes (Bass and Vocals) and Ian Paice (Drums)

CD10 "Live In Europe" (45:51 minutes):
1. Burn [Side 1]
2. Mistreated (Interpolating Rock Me Baby)
3. Lady Double Dealer
4. You Fool No One [Side 2]
5. Stormbringer
Tracks 1 to 5 are their thirteenth album (eleventh studio set) "Live In Europe" – released October 1976 in the UK on Purple Records TPSA 7517 and October 1976 in the USA on Warner Brothers PR 2995. Tommy Bolin left so the line-up reverted to the "Burn" and "Stormbringer" group of 1974 - David Coverdale (Lead Vocals), Ritchie Blackmore (Lead Guitar), Jon Lord (Keyboards), Glenn Hughes (Bass and Vocals) and Ian Paice (Drums)

As there's no booklet and only the 10 singular card sleeves to look at - there's not much to discuss by way of presentation (the singular Mini LP Repro's look great as you can see from the pictures provided above and below). To the tunes...

CD1: I tried very hard to re-listen to the live "Concerto For Group And Orchestra" – but it still feels like a worthy but failed experiment to me five-and-half decades after the event. So, is it hardly surprising then that Deep Purple needed to get back to Classic Rock (or invent it?). "Concerto For Group And Orchestra" - it is nice to have the album in this Box Set but that is all and for me – the only clunker in the Box. On to something better and beefier…

CD2: Destroying all piddly Popsters in their path by beginning the new Seventies decade with Hard Rock that was harder than The Rock’s hard biceps (and that’s a lot of 'hard' for a Tuesday morning frankly) - England's DEEP PURPLE had had three decent but admittedly patchy LPs before they suddenly arrived at this new sound – their trademark Mark II line-up. It is difficult for us in the everyone-knows-everything internet age of November 2024 to imagine the sheer sonic impact "Deep Purple In Rock" had on the music scene in June 1970. Sure, there was the first two Zeppelin LPs (both in 1969) – but this was Classic Rock in every sense of the world. The Purps then started a wildfire run of albums following in 1971 with "Fireball" and slamming 1972 with "Machine Head" and the stunning double "Made In Japan" - a live set that practically defined Classic Hard Rock in the Seventies. Hell – what used to trade for four or five quid in a secondhand record bin for nearly two decades after its release – now passes hands for hundreds of pounds in vinyl collector’s pursuit of that elusive genuine first British pressing (laminated gatefold outer sleeve, matt black and white photos on the inner gatefold, no EMI logo on the label). But what is fascinating here is the American Versions – I am down with both British and US versions of "…In Rock" and "Fireball".

As I've already pointed out – "In Rock" opens with a true statement of intent - the wild "Speed King". Pow - and you're hit with riffage by Ritchie Blackmore and strangulated Rawk vocals from Ian Gillan. The effect is mind-blowing. Hard Rock has arrived. It kind of did with Zeppelin's first albums anyway as I said – but DP made the decade wake up. "Bloodsucker" has always been a fave of mine too – a properly great Rock track that has that Deep Purple funky swagger in it. In truth, I've never liked "Child In Time" and its stagey stop-start slow drawl – but it became a live staple and came to full manic extended fruition on the live double "Made In Japan".

Side 2 opens with the truly fantastic "Flight of The Rat" – a guaranteed crowd-pleasing rocker where everything sounds fabulous – that churning riff – the thrashing drums – the huge organ sound complimenting the guitar pyrotechnics - even Gillan's deliberately backgrounded vocals don't sound too far back in the mix. Major grunge riffage comes at you with the impossibly good "Into The Fire" – a very Deep Purple Rock song with Gillan straining that larynx for the whole duration (the pushed into the left speaker guitar solo sounds so much clearer now). There's huge presence to the drum opening of "Living Wreck" – Blackmore's treated guitar chugging along while Lord's organ playing finally gets given pride of place. It ends on another seven minutes of wild guitar carnage – the fast and racy "Hard Lovin' Man". A small wonder when played live –it  rips along at a pace that’s so DP at their best (that Organ solo is awesome – followed quickly by doubled-Ritchie on guitar - brilliant).

CD3: With only seven tracks and some of them soft in the centre ("Fools" for instance) – the press reaction to DP's next LP wasn’t all favourable despite the 'Fireball' album's rapid ascent to Number 1 on the UK charts in September 1971 and a healthy Number 30 placing in the USA. No matter what the critics thought – fans of Mark II Deep Purple have always loved it – sandwiched between the barnstorming "In Rock" from 1970 and the accomplished "Machine Head" in 1972.
 
"Fireball" opens with a total barnstormer – the title track– hitting you with the rampant Hard Rock impact of say "Immigrant Song" on Side 1 of 1970's "Led Zeppelin III". Not surprising then that their seventh UK single saw "Fireball" released 25 October 1971 on Harvest HAR 5045 with the British album's "Demon's Eye" on its B-side. I love "Demon's Eye" – a great Purple song with that funky Rock swagger they had - but here we get on the US variant is "Strange Kind Of Woman" which frankly fits in just fine in my book. "No No No" has that same sexy feel and I like how "Strange Kind Of Woman" follows it. The naughty lyrics to "Anyone’s Daughter" has always brought a smile to my face ("hairy bums") - the same wit Bon Scott would bring to AC/DC lyrics. Side 2 opens with the trademark slashing of Blackmore on "The Mule" before it settles down into a keyboard/guitar duo groove. And although it divided people on release – I like the way "Fools" slows down into an almost operatic centrepiece before returning to the opening riff. The album ends with "No One Came" – a thudding Purple tune with Gillian letting it rip vocally. To sum up - on yet another re-listen – this American variant of "Fireball" LP is fabulous – and if I want the UK track run – I will just dig out my October 1996 '25th Anniversary' issue CD.

CD4: Like Little Feat, Thin Lizzy and The Allman Brothers - Deep Purple were always something a muted thing in the studio. But come the live event - the Purps Mark II were a truly astounding thing to behold - a beast unleashed. Their second live set "Made In Japan" (that launched Purple Records) is now a thing of Classic Rock legend. May 2014 saw Universal put out an Expanded 2CD Deluxe Edition – but here it is stripped back to basics – and frankly I like it that way. The opener "Highway Star" (from "Machine Head") is a stunner. A rumble leads the band in as Gillan announces the song – and then that stunning Blackmore guitar - now the bass, drums and organ - man was this band tight - and that organ solo is still a thing of wonder. The lengthy "Child In Time" is hissy in places but it still packs a punch that shows the band at the height of their powers. What can you say about the opening riffs of "Smoke On The Water" - probably the most famous power chords ever played. As the crowd claps and Ian Paice's high-hats and bass drum starts to kick in - now you can really hear it. 

Always an under-appreciated "Fireball" gem - "The Mule" allows both Lord and the boys in the back full reign once the guitars die down - great stuff. Classic Rock doesn't get more butt-swaggering than the brilliant "Strange Kind Of Woman" (a single only release in the UK) - and even at nearly ten-minutes it doesn't overstay its welcome. I love the amps buzzing at the beginning of "Lazy" and that ear-splitting Organ solo where you think he's going to beat that instrument into submission no matter what ("Louie Louie") - followed by his brilliant clap-along intro to the song (it sounds so good too). You have to say something at this stage about Blackmore's guitar playing - utterly brilliant - and like Beck - he seemed able to take on any style and win. At nearly twenty minutes the Side 4 "Space Truckin'" finisher can be a bit much to take in one go - but audio-wise - it's so powerful - the drums and vocals especially (Gillan whipping the crowd into a "come on!" frenzy).

CD5: Opening with a great guitar hook and Gillan vocal - "Woman From Tokyo" sets the scene for 1973's "Who Do We Think We Are" very nicely indeed. Gillan tells us that "Mary Long" is a hypocrite – sermons in the Sunday Chronicle. The lyrics to this acidic brute probably wouldn't pass muster today – just a little too much spite in those words and ideas. Far better is "Super Trouper" – a great piece of Purple riffage that uses speaker-to-speaker flange like its 1967 all over again. Lust permeates the guitar-and-piano rollicking "Smooth Dancer" that ends Side 1 – freelancer Gillan trying his best not to get fooled again. Side 2 opens with a DP winner "Rat Bat Blue" – guitar and organ rolling together in that very Purple sound. Never was sure what to make of the sinister vocal that opens the Bluesy "Place In Line" – a song that takes too long to get somewhere. The album sort of redeems itself with the very Steppenwolf-sounding "Our Lady" - but with only seven songs - "Who Do We Think We Are" has always felt like a stop-gap LP rather than a bona-fide classic.

CD6 and CD7: Purple regrouped and hit the public with two studio albums in 1974 – David Coverdale (later with Whitesnake) replacing Ian Gillan on Vocals and Glenn Hughes stepping in for Roger Glover on Bass. But I recall after the perceived as weedy "Who Do We Think We Are" - both "Burn" and "Stormbringer" (now with the Warner Bros Burbank Trees Logo on the labels) were received with a palpable dismissiveness back in the day – good – but not as great as what had gone before. But I will admit that it is these two platters that have reawakened by appetite for all things Deep. 

The title track "Burn" is a declaration that we're back – Coverdale clearly enthusiastic as a great rocker unfolds and hardly surprising too that Purple would return to the song to open the 1976 LP "Live In Europe". Dig those hammering drums given just as much prominence as the guitar and organ. A classic DP opening of funky Jon Lord organ soon accompanied by Ritchie Blackmore riffage - "Might Just Take Your Life" has always been a fan-fave – poor boy on the street hustling to get by. I had forgotten how good "Lay Down, Stay Down" is – machismo for sure – but still rocking for all that. And again, another biggie for fans – the drifting on an empty ocean hooky riff of "Sail Away" - a very cool way to end Side 1. Purple get Funky-Rock with the Side 2 opener "You Fool No One" - then tap into a very Robin Trower and Bridge Of Sighs vibe with the album's other big number - "Mistreated" – a menacing Blues-Rock strut with treated guitars sailing between the speakers while Coverdale bemoans yet another backstreet lady double-dealing his delicate emotional equilibrium.

"Stormbringer" opens with a great punch – driving like rain – rocking rainbows – Tommy Bolin on the lead-axeman job for the first time. Slide guitar smooches in with "Love Don't Mean A Thing" – David telling us that he needs his spondulicks and should his lady forget hers – she's gotta go (clever Organ solo – Funky like Snafu). "Holy Man" mellows things down – talking moon and sun – but is he wise or just smooth – breaks into a cool chorus as we decide. "Hold On" funks thing up – great bass and layered-voices chorus – fabulous audio too. Back to cheating women with "Lady Double Dealer" – echoed vocals giving oomph to the fast-paced guitars even if the lyrics are of-the-period dated. "You Can't Do It Right (With The One You Love)" is another Funk-Rock offering – Deep Purple suddenly sounding like Stevie Wonder discovering neck-jerking guitar passages. "High Ball Shooter" is a bopper that feels like its every so slightly lacking. Deep Purple's lone Tommy Bolin album ends with "The Gypsy" and "Soldier Of Fortune" – the first showcasing his knack for melodious electric guitar passages but the latter being something of an Acoustic Rock-Ballad bore-fest that refuses to ignite or move you.

CD9 and CD10: by the time Deep Purple got to 1975 and 1976 for "Come Taste The Band" and especially the "Live In Europe" album (the live set was issued just after they had broken up) – the public seemed disinterested and you might add – so did DP. With a subtle crash, bang and wallop of keyboards and guitars - "Come Taste The Band" opens with the get-some-fun gotta Rock & Roll "Comin' Home" – a great opener and a promising start. Gypsy Queen types reappear and whisper wisdom in our man's ear during "Lady Luck" followed by the ten-thousand-miles-away but still rocking through the long nights as DP keep "Gettin' Tighter". Back to grunge guitars and a solid DP backbeat for the warning song to get running away from the "Dealer" – a tune that has a very Bad Company feel which is never a bad thing. Coverdale keeps singing the same old song (like he did before) but the message remains the same – temptation or no - "I Need Love". 

Produced by Martin Birch - Ritchie Blackmore sounds like Nils Lofgren making his frets ping for both "I Need Love" and the forever-moving-on tyres-gripping-another-highway song "Drifter". DP then try something different for them – the almost Queen-like George Michael Pop-Rock of "This Time Around/Owed To "G"". The album comes to an end with "You Keep Moving" – a Bass-note start-and-build creeper song that again features treated guitars flitting from speaker to speaker in search of a groove. The layered vocals are clever and as it builds to a Rawk chugger – you feel like it might be something of a forgotten Purple gem. 

With only five tracks to play with - "Made In Europe" from late 1976 was always going to have a hard time equalling let alone beating its illustrious 2LP big daddy from 1972 - "Made In Japan". And while the line-up is playing tight and well – you can feel Coverdale struggling to get the audience to be enthused. Four years had passed since that energy-watermark (along with four studio albums many felt were so-so) and this kind of Hard Rock was in many eyes – passe and past its sell-by-date. Highlights are "Burn" and "Stormbringer" but the slow-chug of "Mistreated" takes up too much time "Lady Double Dealer" just feels machismo awkward. 

Already snarling at the Throne Room doors, Punk and New Wave would all but annihilate bands like Deep Purple and their ilk in 1976 and especially into 1977. But I have always held a candle for this no-nonsense Rock Band boogieing like Foghat and making riffage noise like Montrose. 

I know Deep Purple's "The Complete Albums 1970-1976" has its limitations, the packaging is acceptable without being great and a Bonus eleventh CD would have sorted so those gripes so sweetly. But as it stands – it's cheap – it's deeply cheerful – sounds amazing and Rawks my Man Cave with a lecherous guffaw. Recommended…

This Review Along With 384 Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

GET IT ON - 1971

Your All-Genres Guide To

Exceptional CD Reissues and Remasters  

A HUGE 3,154 e-Pages 

All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

Just Click Below To Purchase

https://www.amazon.co.uk/THERES-SOMETHING-ABOUT-1971-All-Genre-ebook/dp/B06XFXCG47?crid=XQ282HAP6GR&dib=eyJ2IjoiMSJ9._XhImcbm7DjMzoSHNOg-flLAseM5Yl2TFpyZ409wGcjXOvc-MbMKia1X2eKg9k4VeK9ofP296GyKraAtL19AT_m9jgC9_D8BnSFy5l-ItYPR_XHIBJL0F4UEV_LyrX3yn1CfxqQN4h1FWl_iNvsPnNKEoCBje8n_EztsrQicti86OhuzqOKzCAWFmrW-4jqp__pwi8QLCygSpXWkftAc174ay_sVyPZ92-DuSij-AWA.UP5Q9CvpRzpDLLQwuBjASHxl-zIhk1xTZt0yqOpRDro&dib_tag=se&keywords=get+it+on+1971&qid=1740370575&sprefix=get+it+on+1971%2Caps%2C87&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=e58ef62bd67cf0dce1ad3a1a7181daae&language=en_GB&ref_=as_li_ss_tl

"Deep In The Woods: Pastoral Psychedelia & Funky Folk 1968-1975" by VARIOUS ARTISTS – Featuring Fat Mattress, Knocker Jungle, Duffy Power, Meic Stevens, Paul Brett, Open Road, The Woods Band, Dando Shaft, Arrival, Jade Warrior, Linda Hoyle, Bridget St. John, Mellow Candle, Amber, Fuchsia, Miller Anderson, Heron, Sunforest, Friends, The Occasional Word, Alan James Eastwood, Wizz Jones, Zior, Yvonne Elliman, Linda Lewis, Bill Nelson, Jade, The Occasional Word and more (November 2022 UK Strawberry 3CD 54-Track Compilation with Simon Murphy Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Deep-Woods-Pastoral-Psychedelia-1968-1975/dp/B0BF5NJDG1?crid=1NQBDENV2Q1UZ&dib=eyJ2IjoiMSJ9.U-YBbh7a7O7TW8WYehcMOw.0IX1kgqVN2ANIyYUlRhtOCYT4MrXzWj-B2y5f63-XaY&dib_tag=se&keywords=5013929431232&nsdOptOutParam=true&qid=1731778247&sprefix=5013929431232%2Caps%2C85&sr=8-1&ufe=INHOUSE_INSTALLMENTS%3AUK_IHI_3M_AUTOMATED&linkCode=ll1&tag=mabasreofcdbl-21&linkId=8260194879da4284cd640b86b18179c2&language=en_GB&ref_=as_li_ss_tl

RATINGS 

Overall **** to *****

Presentation ***

Audio **** to *****

"...Face From The Past..."

Despite a lot of gushing 5-star reviews everywhere you look on the Net - initially, I had to dig in deep to actually like this themed mishmash from UK reissue label Strawberry (part of the Cherry Red label roster). It's more of a 4-star experience for me. But I'm glad I did. 

I kept replaying "Deep In The Woods..." because it's been collated by compilation-forming genius JOHN REED – a man of major pressed-trousers class who knows his onions like only a handful of others in the UK would do (John literally formed the first Record Collector Rare Records Price Guides back in the 90s day - all entries). John's knowledge is legend and Reed knows what collectors crave (John ran Sanctuary Records, formed probably in excess of 150 compilations from their vast catalogue, did liner notes, licensing, photos, unearthed unreleased etc). So you expect brilliance, and more often than not, thankfully, that's what you get. 

But it took me time to hear it and I suspect others of my dotage may feel the same. Don't get me wrong, there's a lot of unknown and forgotten brilliance on "Deep In The Woods: Pastoral Psychedelia & Funky Folk 1968-1975" for sure, but there's also evidence as to why many of these artists remained obscure. And the clumsy-to-touch dull-looking fold-out DigiPak-packaging with its strangely underwhelming lesser booklet is not doing "Deep In The Woods..." any favours either. 

This thing looks and feels clunky when it should ooze reissue-class like any number of 3CD Clamshell Box Sets from Grapefruit or Esoteric or Universal that I have reviewed and loved this last decade or so. Still, the Audio is uniformly great for such a disparate number of sources and there are tremendous discoveries worth owning - the kind of compilation that will inform and send you down paths you didn't know or have ignored. 

There's a lot to unpack, so here's to the Funky Folks, the Faces from the Past, the Wooden Ships that pass in the smoke-swirling night and your common-as-muck Sitar-driven right-on Faerie Lore...

UK released 18 November 2022 - "Deep In The Woods: Pastoral Psychedelia & Funky Folk 1968-1975" by VARIOUS ARTISTS on Strawberry CRJAM012T (Barcode 5013929431232) is a 3CD 54-Track Compilation of Remasters that plays out as follows (I've provided release dates and catalogue numbers, not in the book):

CD1 (78:08 minutes):

1. Lady Jane - FAT MATTRESS (from their second and last album "Fat Mattress II", UK released October 1970 on Polydor 2383 025)

2. Not Even A Letter - KNOCKER JUNGLE (from the 1970 UK LP "Knocker Jungle" on Ember NR 5042)

3. I Need You - DUFFY POWER (from the 1973 UK LP "Duffy Power" on Spark SRLM 2205)

4. Face From The Past - MIKE HURST [ex The Springfields with Dusty Springfield] (from his debut solo LP "Home", US released 1969 on Capitol ST 619)

5. I Wanna Stay Here - RAY FENWICK (from the July 1971 UK LP "Keep America Beautiful, Get A Haircut" on Decca SKL 5090)

6. Natural Gas - HARDIN & YORK [Eddie Hardin and Peter York] (from the July 1971 UK LP "For The World" on Decca SKL 5095)

7. Mother Earth - OPEN ROAD [Donovan's Backing Band] (from the August 1971 UK LP "Windy Daze" on The Greenwich Gramophone Company Records GSLP 1001)

8. Motherless Child On A Merry-Go-Round - PAUL BRETT (from his 1973 debut album "Paul Brett" on Bradley's Records BRADL 1001)

9. Noisey Johnny - THE WOODS BAND (from the December 1971 UK Debut LP "The Woods Band" on Greenwich Gramophone Company Records GSLP 1004 - featuring Gay and Terry Woods - Terry later with The Pogues, Gay with Auto Da Fe - and Tony Reeves of Colosseum and Greenslade)

10. Yorric - MEIC STEVENS (from the June 1970 UK Debut LP "Outlander" on Warner Brothers WS 3005)

11. You Just Can't Believe What You See - MARC ELLINGTON (from the July 1975 UK LP "Marc Time" on XTRA Records XTRA 1154)

12. Crystal Blue - ALAN JAMES EASTWOOD (from the 1971 UK LP "Seeds" on President PTLS 1037)

13. La Virra - ARRIVAL (from their debut LP "Arrival", UK released August 1970 on Decca SLK 5055)

14. Cold Wind - DANDO SHAFT (from their July 1970 UK Debut LP "An Evening With Dando Shaft" on Young Blood SSYB 6)

15. Hymn To Valerie Solanas - LINDA HOYLE [of Affinity] (from her November 1971 UK Debut Solo LP "Pieces Of Me" on Vertigo 6360 060)

16. Nova Sketch - NIRVANA (from the February 1972 UK LP "Songs Of Love And Praise" on Philips 6308 089)

17. Castle Sand - BRIAN DAVISON'S EVERY WHICH WAY [ex The Nice] (from the October 1970 UK Debut LP "Brian Davison's Every Which Way" on Charisma CAS 1021 - band featured singer Graham Bell, ex Skip Bifferty)

18. Yellow Eyes - JADE WARRIOR (from the December 1971 UK LP "Released" on Vertigo 6360 062)

19. Buffalo - WRITING ON THE WALL (June 1973 UK 45-single on Pye 7N 45251, Non-LP B-side of "Man Of Renown")

CD2 (77:36 minutes):

1. Wooden Ships - CHRIS (Christine) HARWOOD (from the March 1973 Debut (and only) LP "Nice To Meet Miss Christine" on Birth Records RAB 1 - a Buffalo Springfield cover version - features Dave Lambert of Strawbs, Roger Sutton of Jody Grind, Tommy Eyre of Joe Cocker's Grease Band and more)

2. Fly High - BRIDGET ST. JOHN (from the June 1972 third album "Thank You For..." on Dandelion/Polydor 2310 193 - John Martyn guests on treated electric guitar)

3. Rain - DANDO SHAFT (from their July 1970 UK Debut LP "An Evening With Dando Shaft" on Young Blood SSYB 6 featuring Polly Bolton, Martin Jenkins and Dave Cooper)

4. Lord And Master - HERON (from their November 1970 UK Debut LP "Heron" on Dawn Records DNLS 3010 featuring guitarist Gerald Moore later of G.T. Moore & The Reggae Guitars)

5. Silversong - MELLOW CANDLE (from the April 1972 UK Debut LP "Swaddling Songs" on Deram SDL 7 featuring Clodagh Simonds, Alison and David Williams, Frank Boylan and William Murray - "Silversong" was also on a UK 7" single in February 1972 on Deram DM 357, the B-side of "Dan The Wing") 

6. Murdoch - TREES (from their February 1971 UK Second and Last Studio Album on CBS Records S 64168 - featuring Celia Humphris, David Costa, Tobias 'Bias' Boshell, Barry Clarke and (Stephen) Unwin Brown)

7. Foothills - KEITH CHRISTMAS (from his October 1974 Fourth UK LP "Brighter Day" on Manticore Records K 53503 - featuring Ian McDonald of King Crimson on Keyboards, Pete Solley of Paladin on Synths with Production by Greg Lake of ELP)

8. Morning Way - TRADER HORNE (from the March 1970 UK Debut LP on Dawn Records DNLS 3004 - featuring Jackie McAuley of Them and Judy Dyble of Fairport Convention with Guests Ray Elliott of Them and John Godfrey

9. Shadows 'Cross My Wall - MILLER ANDERSON (from the June 1971 UK Debut LP "Bright City" on Deram SDL 3 (Anderson was later with The Keef Hartley Band) - featuring Guitarist Neil Hubbard of The Grease Band and Juicy Lucy, Lyn Dobson on Flute with String Arrangements by Junior Campbell of Marmalade)

10. Time Is My Enemy - THE GHOST (from the 1970 UK Debut (and only) LP "When You're Dead - One Second" on Gemini Records GME 1004 - featuring Paul Eastment of Velvet Fogg, Terry Guy of The John Bull Breed and Jazz Vocalist Shirley Kent) 

11. Flowering Cherry - KEVIN COYNE (September 1972 UK 45-single on Dandelion 2001-357, Non-LP B-side of "Cheat Me")

12. Hangin' On An Eyelid - SECOND HAND (from their April 1971 UK Debut LP "Death May Be Your Santa Claus" on Mushroom Records 200 MR 6 - featuring Ken Elliott and Kieran O’Connor later with Seventh Wave)

13. Shoes And Ships - FUCHSIA (from their November 1971 UK Debut LP "Fuchsia" on Pegasus Records PEG 8 - featuring Tony Durant of Punchin' Judy and Madeline Brand)

14. Place In The Country - MIKE HURST (from his June 1971 UK Second LP "In My Time" on Capitol ST 21819 featuring Ray Fenwick of Quiver)

15. Swan In The Evening - AMBER (1971 UK recording issued 2000 on the Limited Edition 10" LP "Pearls Of Amber" on Shagrat Records ENT 008 - featuring Ray Cooper of Elton John's Band, Julian McAllister, Mac MacLeod of B.B. Brothers with Keith Relf Producing)

16. The Inevitable Fate Of Ms. Danya Sox - GLOBAL VILLAGE TRUCKING COMPANY (from the March 1975 UK Debut (and only) LP "Global Village Trucking Company" on Caroline Records C 1516 featuring James Lascelles and Jon Owen)

17. Jug Of Love - MIGHTY BABY (from their second and final studio album "A Jug Of Love" - released October 1971 in the UK on Blue Horizon Records 2931 001 - Produced by Mike Vernon - band featured Ian Whiteman, Martin Stone, Alan 'Bam' King (later with Ace), Michael Evans and Roger Powell)

CD3 (76:24 minutes):

1. Magician In The Mountain - SUNFOREST (from the Debut (and only) LP "Sound Of Sunforest" released January 1970 on Deram Nova DN 7 (Mono) and SDN 7 (Stereo) - Stereo Mix Used)

2. Crying To Be Heard - CHRISTINE HARWOOD (from the March 1973 Debut (and only) LP "Nice To Meet Miss Christine" on Birth Records RAB 1 - a Traffic/Dave Mason cover - features Dave Lambert of Strawbs, Mike Maran, Peter Banks, Ian McDonald of King Crimson, Jeff Matthews of Design, Peter York of Hardin & York)

3. City Of The Angels - WIZZ JONES (from his June 1972 UK fourth LP "Right Time" on CBS Records S 64809 - featuring Pete Berryman of Famous Jug Band, Andy Fernbach and John Renbourn of Pentangle)

4. Lady Of The Lake – JADE WARRIOR (from the December 1972 UK Third LP "Last Autumn's Dream" on Vertigo 6360 079)

5. Oh To Be Free – KNOCKER JUNGLE (from the 1970 UK LP "Knocker Jungle" on Ember NR 5042)

6. Silver Coin – BRIDGET ST. JOHN (from her June 1972 third album "Thank You For..." on Dandelion/Polydor 2310 193 - written by Terry Hiscock of Hunter Muskett - Gordon Huntley of Matthews Southern Comfort plays Pedal Steel Guitar)

7. In The Morning – FRIENDS (1972 recording originally only on a commercially unreleased Acetate Album called "Fragile" – finally CD issued 2005 on Acme ACLN1007CD – band featured Bill Aitken, Peter Howell and John Ferdinado)

8. Lotus Child – ALAN JAMES EASTWOOD (from his 1971 UK Debut LP "Seeds" on President Records PTLS 1037 – issued as "Alan James Eastwood" in the USA on Bang Records BLPS 225)

9. Bun – THE DEVIANTS (from the June 1968 UK Debut LP "Ptooff!" on Impresarios IMP 1 – featuring Mick Farren)

10. Amongst Anenomies – JADE (from the August 1970 UK Debut (and only) LP "Fly On Strangewings" on DJM Records DJLPS 407 – featuring Marianne Segal and Dave Waite, James Litherland of Colosseum, Pete Seers (later with Jefferson Airplane and Jefferson Starship) with Terry Cox of Pentangle)

11. The Death Of Don Quixote – PRINCIPAL EDWARDS MAGIC THEATRE (from their August 1969 UK Debut LP "Soundtrack" on Dandelion Records S 63752)

12. Hawaii – YVONNE ELLIMAN (from her November 1973 UK LP "Food Of Love" on Purple Records TPS 3504 - Produced by RUPERT HINE - guest musicians included Pete Townshend of The Who, Mick Grabham of Bandit and Cochise, Simon Jeffes of The Penguin Cafe Orchestra, Caleb Quaye and Ray Cooper of Hookfoot and Elton John's Band, Peter Robinson of Quatermass and Brand X, Ann Odell of Blue Mink, Chopyn and Roger Glover's Band with Rupert Hine of Quantum Jump)

13. The Evil Venus Tree – THE OCCASIONAL WORD (from the 1969 UK Debut (and only) LP "The Year Of The Great Leap Sideways" on Dandelion Records S 63753)

14. Goblets And Elms – IAN A. ANDERSON (from the November 1970 UK LP "Royal York Crescent" on The Village Thing Records VTS 3)

15. Rejoice – BILL NELSON (later Be-Bop Deluxe) (from his November 1971 UK Debut Solo LP "Northern Dream" on Smile Records LAF 2182)

16. Time Is The Reason – ZIOR (from their early 1973 German LP "Every Inch A Man" on Global/Interchord Records 26009-1 – had been called Monument and their debut LP "The First Monument" was released October 1971 in the UK on Beacon Records BEAS 15)

17. New Horizon – CURTIS KNIGHT with ZEUS (from their 1973 Debut (and only) German LP "Sea Of Time" on Philips 6305 208)

18. Reach For The Truth – LINDA LEWIS (from her October 1972 UK Second LP "Lark" on Reprise Records K 44208)

Co-ordinated and Project-Managed by JOHN REED and RICHARD NORRIS - the 28-page booklet nestles in the left flap and has photos of the artists and bands that have always hovered around all-things Folk-Rock, Acid-Folk, Funky-Folk, Pastoral-Psych and so on. Not surprisingly the three to four-figure album names are here – Mellow Candle (an advert for their lone Deram LP on Page 4), Trader Horne and their "Morning Way" album on Dawn, an orange-label CBS original of "Right Now" by Wizz Jones. There is a scene-setting preamble by RICHARD NORRIS (written August 2022) that recalls CND marches, LSD popping, getting it together in the country in children-of-the-soil-communes, the London UFO club, the cultural explosion that started in 1967 with the Flower-Power Summer Of Love and all that Transcendental Meditation searching for meaning in an increasingly violent world.

Beginning on Page 9, Norris then does artist-by-artist paragraphs as they appear on the compilation (it can mean that when there are two tracks by bands like say Dando Shaft, Bridget St. John, Knocker Jungle and more - you must flick back to the details which is a bit of a pain). Every entry though has some kind of representation of the artist - a photo woven alongside the text – the Duffy Power album by promo photos of say Tim Renwick or Paul Brett or Welsh folky Meic Stevens. There’s a collage two-page spread in the centre pages that shows you stuff like a Hastings Pier gig for Global Village Trucking Company or the rare Euro LP artwork for the Curtis Knight with Zeus LP. Although some will no doubt say this is perfectly acceptable - I still think unfortunately that Strawberry should avoid using this DigiPak Card Flap format for future releases because it feels naff and flimsy when the effort involved warranted something more akin to a Clamshell Box Set with three individually pictured card sleeves. The Audio by SIMON MURPHY – a name very familiar to us that buy these things – is shockingly good given the disparate sources. To the tunes…

CD1 kicks off with the Noel Reading Polydor Records vehicle Fat Mattress talking about wearing no shoes and walking down leafy lanes where he stumbles upon a girl with a ribbon in her hair (top class audio). The Acoustic Folk-Funk starts proper with the Knocker Jungle LP from 1970 on Ember Records – their "Not Even A Letter" full of strangulated vocals and lingering flute. Uptempo a notch with Duffy Power – great audio on his by-my-side "I Need You" – but the plinking-plonking clavinet pastoral stop-and-start Mike Hurst is trying to be groovy and just about getting there (lyrics from it title this review). The compilation then throws up its first real gem in my books - "I Wanna Stay Here" by Ray Fenwick of The Spencer Davis Group and Quiver (later with The Sutherland Brothers) – the acoustic strums lining you up for a cool flanged chorus – sort of like Terry Reid on a six-string tip. 

Time to rightly Funk things up with Hardin & York (Eddie Hardin and Peter York) searching for "Natural Gas" – a very sexy and cool groove – gonna make it on one of Funky-Funky CD comps with a bullet. Continuing a slightly Santana-does-Latin vibe – the backing band for Donovan called Open Road give us "Mother Earth" – a call-to-arms for a planet hurting – environmental sun sinking down into the sea. Guitarist Paul Brett (worked with Strawbs, Al Stewart, Roy Harper and many more) utilizes Mike Piggott on Violin (good track rather a great one) while a huge array of acoustic instruments fill your living room for The Woods Band instrumental "Noisey Johnny" – gorgeous audio. Time to go Sitar, Tabla and Flute tripping-out with what has to be one of the musical prizes offered on "Deep In The Woods…" – Welsh folky Meic Stevens and his highly sought-after "Outlander" on Warner Brothers – his "Yorric" sounding astonishingly contemporary a full 54-years after the event. More gorgeous guitar and even better production values for Marc Ellington sounding uncannily like Mark Knopfler in 1975 (American Ellington living in the UK at the time was a backing vocalist on the Fairport Convention album "Unhalfbricking"). His "You Just Can't Believe What You See" is surely another highlight on this 3CD set.

Compiler Norris cleverly slows things down with the lovely acoustic-funky jaunt of "Crystal Blue" by Alan James Eastwood [ex Brumbeats and Exception] – the first of two tracks from his sought-after "Seeds" LP of 1971 on President Records. Finally we get proper Pastoral-Prog meets The Nice with the Arrival instrumental "La Virra" -a jagged brute that comes complete with Beefheart jerky beats and yes – a Bass solo. Huge audio for the first of two superb Dando Shaft tracks – the first being "Cold Wind" – that signature acoustic sound they made courtesy of Martin Jenkins with vocals from Kevin Kempsey and Dave cooper (Jenkins would later duet and work with Bert Jansch on the "Avocet" album from 1978). Great stuff. Taking no prisoners either lyrically or musically – Linda Hoyle of Affinity takes on all-comers with her men-out-to-trap-you funk-boogie track "Hymn To Valerie Solanos" – a wee beastie of a song dedicated to the leader of SCUM (The Society For Cutting Up Men) – and in a business dominated by dogy men – you can so hear why Linda dug the rage in this song. 

The run of CD1 ends with some very cool inclusions – first up being a 1:50 minute Piano-and-Tabla funky instrumental by "Nirvana" called "Nova Sketch". Post their Island Records full-on hippy albums, this dinky insert features members of Jade Warrior so is more Trippy-Prog. Next up is Brian Davison and his band Every Which Way (ex The Nice) who managed one LP on Charisma Records in 1970. Sounding not unlike Traffic getting their harmony-vocals together in a Sussex cottage – the flute and guitars play off each other as the tune-amble heads towards six minutes. Back to pretty Prog-Pastoral (complete with gorgeous audio) – Jade Warrior give us more Flute and Acoustic in their "Yellow Eyes". CD1 closes with a huge band on the scene – Writing On The Wall – and their obscure 1973 B-side they did called "Buffalo". All doom-laden Mellotron and Tambourine backbeat – the bass booms before the echoed vocals start – but good as it is – beware - it's very hissy and sounds like it's been dubbed off a well-used record. 

CD3 improves over CD1 and 2 immediately. The very epitome of Funky-Folk - "Magician In The Mountain" by the Vic Smith produced Sunforest turned up on the May 2008 Decca/Deram 3CD Clamshell Box Set "Strange Pleasures: Further Sounds Of The Decca Underground" as an overlooked gem (see separate review for that excellent box). You can so hear why the Christine Harwood album "Nice To Meet Miss Christine" is sought after - a very cool trippy blend of layered Rotary Connection-type voices over a Funky Sax and Piano groove that you might hear in a hip West End cafe bar then rush to the counter wanting to know where this Julie Driscoll, Brian Auger and The Trinity track has been all your life. Superb third-track follow-up comes in the brilliant six-minute shape of Wizz Jones (produced by Pentangle's ace guitarist John Renbourn) on how his lady-chasing trip to Los Angeles went while sounding like a Funky-Acoustic guitar showcase version of Crosby, Stills, Nash & Young with Graham Nash singing lead. Fantastic stuff.

Track 4 on CD3 then goes Prog-mellow with strummed and treated guitars floating over a Tabla beat and a hippie-swirling flanged vocal for "Lady Of The Lake" from Vertigo darlings Jade Warrior. I kinda like the Mungo Jerry-ish 'oh to be free to do what I want to do' vibe in Knocker Jungle's "Oh To Be Free" (a good discovery for me) but it's whomped by the genuine beauty of a second Bridget St. John contribution to the compilation - "Silver Coin" - an aching ballad about words and good men written by Terry Hiscock of Hunter Muskett with Gordon Huntley of Matthews Southern Comfort playing Pedal Steel to her Nico-voice. Rare and taken from a Remastered Acetate - the Friends track "In The Morning" lets the side down a tad – a forgotten song lost to time for a reason. But then an immediate pick-up in the strings-and-acoustic-acid feel to "Lotus Child" by Alan James Eastwood – our Al getting all Eastern mysticism on our Western Tabla-toned asses. CD3 winds down towards Soulful types like Yvonne Elliman and the ever-popular Folk-Soul of Linda Lewis and her "Lark" album right through to early Prog Rock soundscapes of Bill Nelson pre-Be-Bop Deluxe.

I initially struggled a little with "Deep In The Woods: Pastoral Psychedelia & Funky Folk 1968-1975" - but on repeated listens - the battle very definitely paid off. There is so much to discover here and I'm glad I persevered. Nice one boys - but next time - go for the pride of a Clamshell Box Set because this much effort deserves it…