"Live At The Artist’s Den” by ROBERT PLANT and THE BAND OF JOY. A Review Of The July 2012 DVD and BLU RAY.

“…Sing My Song…”

Forever lumbered with an audience who are quite literally frothing at the gash to hear Led Zeppelin classics every time he plays live (and who can blame them) – to some extent Robert Plant has spent years distancing himself from that to establish a solo identity. And a truly genius move on his part was his "Raising Sand" album from 2007 with Alison Krauss – a captivating mixture of "O Brother, Where Art Thou?" old-timey Gospel and Country music given modern-day arrangements and a deliciously softened intimacy. Then came Part 2 of sorts in the "Band Of Joy" project/album from 2010.

Filmed in 2011 in the gorgeous setting of the War Memorial Auditorium in Nashville in Tennessee - 

I mention these two CDs above because in some ways "Live At The Artist's Den" feels like a live gig of both albums – with a few curveballs thrown in. And instead of Alison Krauss – we get Patty Griffin doing the female vocal honours – and she (like the rest of the band) absolutely rock.

As for the main man – Robert Plant not only looks and sounds great on this fab BLU RAY (he can do a soft vocal caress or a rock-God scream on a dime) – it's thrilling to see that he is wholly relevant to 2012 and not just 1969. His present set list and song choices now encompass Blues, Gospel, Traditionals, Folk, Rock and World – and it all meshes into the most wonderfully uplifting sound. You can't quite nail down a genre for this but you know it's good. Throw in a truly stunning set of musicians backing him up (Buddy Miller and Darrell Scott on guitars in particular) – and Plant finally seems comfortable – glad to be on stage with these great people - even grinning with relish as he revisits rarely-heard Led Zep album tracks. Wisely too he gives solo slots to Miller, Scott and Griffin - all of whom carry the limelight with shockingly good voices and an ability to play most famous musicians under the table. The four even do an Acapella piece at the end that is more than impressive.

But inevitably it's when the evening touches on stuff from Zep II like "Ramble On" and Zep III like "Tangerine" and “Gallows Pole” - then things just lift off into another stratosphere. Plant has re-arranged the songs so that they now sound like the unplugged feel of the "No Quarter" sessions but with a more rocking band and a grittier edge. The results are fantastic. There are also brilliantly reconstructed versions of "Black Dog" and "Rock And Roll" from "Zep IV" and a funkily cool reworking of "Houses Of The Holy".

Released July 2012 - the picture quality (on BLU RAY) is superb - the gig intimate – and the crowd responsive. And even if you don't know the newer material – the songs are very strong melodically and played with superb feeling by musicians who have a lifetime of musical knowledge flowing through their veins. The only downsides would be that the extras are short – and the gig could have been longer. I actually wanted more – and not less.

To sum up - you can't help but feel that Percy has always been smart - constantly trying to evolve himself and his knowledge of what he loves. And this superbly musical gig sees him finally arrive at a place where he's here in his future and at peace with his past. And we mere mortals can get to enjoy both.

Recommended like a "Hey Hey Mama…"

“Chariots Of Fire”. A Review Of The 1981 Film - Now Fully Restored And Reissued On A 30th Anniversary BLU RAY/CD Double-Pack In 2012.

 
"Bring Me My Arrows Of Desire…Bring Me My Chariot Of Fire…"

 

*** THIS REVIEW IS FOR THE USA 'BOOK PACK' BLU RAY REISSUE  ***

Little will prepare fans of "Chariots Of Fire" for this BLU RAY reissue - the picture quality is SENSATIONAL - and for a British film made on a budget in 1981 - that says a lot. 

Also - re-watching it in 2012 (the year of the 30th Olympiad in England) - it's nice to find that this homage to Sporting achievement and human spirit hasn't lost any of its capacity to stir the soul and bring a tear to the eye. It was rightly nominated for 7 Oscars at the time and won 4 - including Best Picture.

PACKAGING/CONTENT/PICTURE QUALITY:

The first thing to note is that even though the print quality and abundant extras are the same for the UK and US versions - they differ greatly in their 'packaging'. Also the UK issue comes in two versions - a simple uninspiring plastic clip-case with just 1 disc (type in barcode: 5039036052344 into Amazon) and a second issue with the music CD as well (type in barcode: 5039036051163).

This US Warner Brothers version that I'm reviewing however comes in a beautifully presented 36-page embossed hardback 'Book Pack' (or Digibook as its sometimes called) with an outer page attached to the rear (type in barcode: 883929093946). Regardless of which issue you buy - ALL are 'REGION FREE' issues so will play on every machine.

The booklet for the US variant is beautiful - featuring articles and pictures on Producer David Puttnam, Director Hugh Hudson and Writer Colin Welland. There's also text and photos on the principal cast members as well as notable supporting roles by John Gielgud, Ian Holm, Alice Krieg and Cheryl Campbell. There's also a page on the huge contribution made by Greek keyboardist VANGELIS - whose musical score has been both revered and parodied in equal measure ever since (most notably in the opening ceremony for the 2012 London Olympics just a few days ago).

This US issue and the UK double also house a 4-track music CD by VANGELIS (13:47 minutes) that features 2006 remasters of "Titles" (A Number 1 US hit in February 1982), "Abraham's Theme", "Eric's Theme" and "Jerusalem" (Vangelis with The Ambrosian Singers).

But the big news is the print - which has been FULLY RESTORED and defaulted to 1.85:1 aspect ratio - thereby filling your entire screen. Even in the notoriously difficult-to-light indoor sequences there is only slight blocking and grain - but on all outdoor scenes (of which there are many) - the clarity is exemplary. The DTS-HD Master Audio is English 5.1 Dolby Digital and Subtitles are English for Hard-Of-Hearing and French. Extras are discussed below...

THE FILM:

Taking its name from William Blake's preface to the epic "Milton: A Poem" - it focuses on the team who secured 4 medals for Britain in the 1924 Olympic Games in Paris - in particular the two Gold winners - Eric Liddell for the Men's 400 metres and Harold Abrahams for the Men's 100 meters. Nicholas Farrell (as Aubrey Montague), Nigel Havers (as Lord Andrew Lindsay) and Daniel Gerroll (as Henry Stallard) make up the other runners. Blink and you'll miss them cameos are - two sightings of American Comedienne Ruby Wax as a lady spectator in the Olympic crowds towards the end of the movie and an uncredited Stephen Fry in the "HMS Pinafore" chorus line-up.

Born in China but raised in Edinburgh - Eric Liddell (nick-named "The Flying Scotsman" after the famous steam train) was the son of a devout Missionary - and like his father before him cherished and practiced his religious convictions. Played to perfection by Scotsman Ian Charleson - Liddell often said that he was 'running for God' or 'felt His pleasure' as he speeded around track after track leaving all in his wake. Both King and Country would sorely test these implacable beliefs in Paris when they asked him to run on the Sabbath - and he refused. A little jiggering of racing dates saved face and the day...but it was the measure of the man that he withstood all that pressure and still won...

His principal rival was Harold Abrahams (played with huge gusto by Ben Cross) - a Jewish Cambridge University intellectual determined to deal with society's bigotry towards his kind by crushing all detractors in his path - including Liddell - whom he both feared and admired. But when he finally faces Liddell in a run and looses by a ticker-tape inch - the outsider is crushed. But help is at hand in the shape of an unorthodox Jewish coach called Sam Mussabini (a fabulous turn by veteran actor Ian Holm) who promises to make Harold faster and better (and does).

These indomitable boors inhabit a world of privileged chums wearing boater hats and striped blazers - men who sing Gilbert & Sullivan's "HMS Pinafore" songs with alarming relish. This is Britain after the senseless generation-depleting butchery of World War I - but still with that inbred sense of Empire coursing through their veins. You'd be right in thinking that all this snobbish elitism could become quickly tedious (and it threatens to do so for the first half hour), but the script rightly concentrates on something all the more compelling - their dedication, self-sacrifice and guts. Genuinely inspiring a hurting-country hungry for something noble to celebrate - you could even say they joined Christianity and Judaism on the Sports field for the National good. And on it goes to the 8th Olympics Games in 1924 and a funeral in London in 1978 (making it contemporary).

The wad of extras are superb - modern day interviews with all the protagonists - Ben Cross and Nigel Havers particularly animated and witty and pouring praise on Ian Charleson who sadly passed away in 1990. And again when they use the old stock footage of the film - you see just how glorious the full restoration truly is.

Like "The King's Speech" in so many ways - "Chariots Of Fire" is filled with British pride - but in a good way. This is a story about people worth remembering - their struggles - their heartbreaks and triumphs - their journey. Having not seen it in probably 30 years - I found it moving, inspirational and not in the least bit dated. And now it has the transfer and format it deserves. I know the US version may cost twice as much as the UK issue - but if you can go the few quid - then do so.

When Screenplay Writer Colin Welland accepted his Oscar - he famously announced "The British Are Coming!" Well, they're back...because this really is a fantastic reissue of a great movie.

I'm off now to run in slow motion by the sea and surf with that synth riff pounding through my very tight Speedos...nice!

“Papillion”. A Review Of The 1973 Prison-Drama Movie Starring Steve McQueen And Dustin Hoffman – Now Reissued Onto A US ‘Book Pack’ BLU RAY In 2011.

"...I'm Still Here!"

PACKAGING:

This is the first US Warner Brothers 'Book Pack' (or Digibook as they sometimes call it) that I've bought on BLU RAY and I'm impressed. It's beautifully presented - and more important - the print has been restored to a truly fantastic degree throughout. There are rarely any occasions when the transfer doesn't show the sweat and grime of this protracted prison drama with anything less than properly gorgeous clarity. It didn't look this good on DVD and that's for damn sure (and it's reasonably priced too).

Released May 2011 (barcode: 883929172764) - the other good news for fans outside of the USA is that it's a REGION FREE issue - so will play on every machine.

The booklet is 36-pages long and features both full-colour and black-and-white prints of the actors, Director Franklin J. Schaffner ("The Caine Mutiny", "12 Angry Men" and "Planet Of The Apes") and on-set photographs and key scenes from the movie. There's also an info-page pasted to the back of the hardback sleeve but it's flimsy and creases easily - so you might want to put the whole thing in a protective plastic. The disc itself not surprisingly sports a Butterfly logo. But I'd have to say that the side is let down somewhat by the supposed 'Special Features'. Apart from a "Theatrical Trailer" - the lone extra is called "The Magnificent Rebel" which lasts just over 12 minutes. Hoffman says a few words, McQueen nothing - however - it does feature the real Charriere revisiting the set designed by people who'd worked on "2001: A Space Odyssey" and "Patton" - a full scale rebuilding of his prison - complete with gates, walls, cells and guillotine. His ruminations are not surprisingly bitter - "Society does not want free men...it wants men to march like sheep..." - all police are corrupt - the judicial system vengeful. An unexpected up is that it does at least let you see just how bad the original footage was before restoration - covered in scratches, washed out and undefined...

THE FILM:

Cited by one drama teacher in the early Sixties as "least likely to succeed as an actor" - DUSTIN HOFFMAN had just come off a stunning run of layered performances in "The Graduate" (1967), "Midnight Cowboy" (1969), "Little Big Man" (1970) and "Straw Dogs" (1971). But for me his best nerd-in-over-his-head character is in 1973's "Papillon" where he absolutely aced it again with his beautifully controlled portrayal of Louis Dega. Dega is a weedy counterfeiter given life imprisonment for money fraud that cost several members of the French Government dear. Such is the severity of life in these tropical prisons and their inhospitable environs (chained communal bedrooms to swamp detail and back again) - Dega with his sticky-taped bifocals is unlikely to live let alone make parole. When the warden warns the arriving inmates in the yard talk to "Make the best of what we offer you...and you will suffer less..." he isn't joking. Those who attempt escape (and are caught) are publicly beheaded. If he doesn't rot to death in solitary - Dega will be stabbed in his sleep for his knowledge. The only way for Louis to survive is to buy protection. In this he is unwillingly paired with Henri Charriere (played by STEVE McQUEEN) - a man claiming he's innocent because he was framed for murder - but an inmate genuinely capable of handling himself and others. Charriere sports a Butterfly tattoo on his chest ('Papillon' in French) and is a spirit that will not be contained no matter what the dehumanizing regimes throw at him (long spells in solitary on barely subsistence food). Across 14 years that feel like 40 and 8 failed escape attempts - the wildly differing duo are then finally sent to the notorious penitentiary on Devil's Island - a rock in the Atlantic off the coast of South America (owned at that time by French Guiana) that also houses a leper colony. Surrounded by cliffs and an unforgiving sea - escape (they are told) is not possible. But even bruised, battered and considerably older by the end of the film - Papillon has other ideas...

It has to be said that this is a long movie - and decades of incarceration and brutality may not be everyone's idea of a fun night in. But the fantastical twisting story (which at times beggars belief - the nun's segment in particular) and the two leads firing on all sixes - produces a damn near irresistible combination. Both McQueen and Hoffman wisely avoid the trap of a buddy-buddy movie. These are two prisoners who don't even like each other much but have to co-exist in a living Hell. Yet both actors got under the skin of their characters so much that there are moments when Dega and Charriere simply look at each other and silently 'know' - dreams of freedom must be repressed - just thinking about it is too painful and wearing...

McQueen's 'Papillon' in particular (whether based on a real man or not) is a fantastic creation. Wilful yet somehow kind - bloody-minded yet fair - his Papillon is infused with an indomitable spirit. When in one of his long solitary confinement stretches (surviving on pacing the cell and eating cockroaches) - he looks up at the shaft of light above him coming through the steel bars he can't reach and croaks with defiance "Hey! You bastards! I'm still here!" Waist-deep in stinking rivers and thick mud, bedding on hard concrete floors and traipsing around in bedraggled rags in the ever-present swelter (partially filmed in Jamaica) - McQueen suffered for the part. But he knew it had substance and soul - so he dug in to find his man...and succeeded with grace and dignity. The role even replaced Steve McQueen 'The Star' with Steve McQueen 'The Actor' - ditching his 'coolest man on Earth' persona and proving his critics wrong.

"Papillon" is a magnificent film - still resonant to this day nearly 40 years after the event. It may leave you feeling like you've taken a day-long hike through the desert with the Foreign Legion followed by a nice relaxing full body dip in a cesspool to cool down afterwards - but it's a difficult watch that is 'so' worth the difficulty.

Recommended big time...

BLU RAY Specifications:

PICTURE: 1080p High Definition, 16 x 9 and 2.4:1 Aspect Ratios (Fills Full Screen)

AUDIO: DTS-HD Master Audio, English 5.1

SUBTITLES: English for Hard-Of Hearing, French and Spanish

EXTRAS: Theatrical Trailer and a 12-minute featurette called "The Magnificent Rebel"

PS: I'm sure I speak for many film fans when I say this - my wish would be that Warner Brothers would start reissuing their superb classic back-catalogue in this 'Book Pack' style here in the UK. Why are the British and European marketplaces being so short-changed on this?

Also - if you want an idea of what titles are available Stateside that play on UK machines - see my List Number 81 on Amazon UK entitled "US BLU RAYS That Are Better Than UK (And Play Here Too)"

“O Brother, Where Art Thou?” - A Review Of The 2000 Coen Brothers Film - Now Reissued On An ‘All Regions’ BLU RAY In 2011.

*** THIS REVIEW IS FOR THE 2011 ALL-REGIONS BLU RAY REISSUE ***

"Hot Damn! It's The Soggy Bottom Boys!"

When the Coen Brothers unleashed "O Brother, Where Art Thou?" into cinemas in September 2000 - it was an audio and visual sensation. The DVD that followed in 2001 received equal praise. But little will prepare fans for this truly beautiful 2011 BLU RAY transfer - it's properly gorgeous to look at - and up there with the best this (often frustrating) format can offer...

When it was originally filmed on location - a 'lossless' digital process was used to fully realise the specific light and scenery of Depression-hit Mississippi in 1937 (beautiful gold and yellow hues). That process combined with the stunning cinematography of Roger Deakins both get to shine like never before. There are times when the visuals are quite literally breathtaking in their clarity. And the canvas to impress your eyes just keeps coming at you as the movie progresses from location to location - open fields, hay barns, twisted swamps, dust roads, river banks, inside period cars and beat-up trucks, the chain-gang detail, radio stations and bank interiors. Even in the notoriously difficult indoor scenes in ramshackle homesteads and around campfires at night - it all looks 'so' good. Add to this a blisteringly funny script full of savvy life-observations and brutal local colloquialisms - and it's hardly surprising that it was nominated for 2 Academy Awards in these areas (Best Script and Cinematography).

Defaulted to 2.35:1 aspect ratio - it has bars top and bottom of the screen - but even when stretched to full screen - it rarely loses any definition. And better news for fans around the world is that this issue is an 'ABC/All Regions' BLU RAY - so it will play on every machine (as well as PlayStation 3 consoles).

Written and Directed by brothers Joel and Ethan Coen - "O Brother, Where Art Thou?" comes across as a sort of Three Stooges Road Movie with song accompaniment. Roughly based on Homer's Greek tragedy "The Iliad" about a journey of salvation with many "ob-stack-les" along the weary way - its genius soundtrack also sparked a worldwide interest in Blues, Gospel and Old Timey Country music - much of which had been long forgotten and often derided as hick and corny (2011 saw a 2CD 'Deluxe Edition' reissue of this). The film was immediately followed by the DVD release of the "Down From The Mountain" concert in Nashville, Tennessee featuring live music played by musicians on the Grammy-winning soundtrack. Anyone who has seen it will know that it's an equally joyful and musically charged experience. This is America before the sadness and loss of 9/11 - enjoying itself and celebrating its heritage - and rightly so.

The large and varied cast is exceptional - especially the grotesque caricatures that pepper scene after scene. Quinn Gasaway as a gun-totting boy in filthy overalls, Stephen Root as the bug-eyed giggling recording studio boss, John Goodman as the dodgy Bible salesman Big Dan Teague whose ears pop up when he hears the crisp click of dollar bills in a restaurant. His eye-patch signals him as the club-wielding one-eyed Cyclops. Wayne Duvall as the hood-wearing racist Homer Stokes trying to get elected over Charles Durning - the portly but wily Governor of Mississippi - Pappy "Pass The Biscuits" O'Daniel who also hosts a radio show. So many great parts...

The story goes something like this - chained together as a trio of escaped convicts - they are driven to find a $1.2 million dollar treasure Everett is supposed to have hidden in a shack in a valley that is to be flooded in five days time to build a massive hydro-electric dam. But they are being pursued by the Devil in sunglasses with his mean dog - Sheriff Cooley (played with relish by Daniel Von Bargen). After visiting a relative of Pete's called Wash (a man who rarely does) - the boys are hounded off the farm yet again. They then meet a Negro called Tommy Johnson at a crossroads and give him a lift (superbly played by Louisiana guitarist Chris Thomas King). He explains that at midnight the night before he sold his immortal soul to the Devil in return for a guitar that he "sure can play" (like the folklore surrounding Blues legend Robert Johnson). Delmar is appalled but Everett sees a business opportunity. If they can get to a radio station on the outskirts of the State - there's a man there who'll give them money to "sing into a can". They eventually get there - pretend to be The Soggy Bottom Boys - do a charged rendition of "I Am A Man Of Constant Sorrow" - and cut a record. But unbeknown to the hapless crew - a radio hit is born that will literally save their souls (and lives) in the end. But before they can get to that redemption of sorts - all sorts of journey hilarity ensues - including a reunion between Everett and his estranged wife Penny (Holly Hunter) and their 4-strong progeny of mouthy daughters. There are gun-battles with a madcap bank robber George 'Baby Face' Nelson who shoots livestock because he hates cows (a fantastic turn by Coens' favourite Michael Badalucco) and sexy Sirens by the river who turn Pete into a horny toad. It all ends with tins of Dapper Dan pomade floating by the screen when the big flood comes (along with everything else)...

The music deserves a special mention. While audiences expected to howl with laughter and cringe at the array of unhygienic ingrates displayed on screen - what they hadn't expected was to be so moved by the old-timey music - full of ballads about heartbreak, poverty and death. A perfect example is The Cox Family singing "I Am Weary (Give Me Rest)" on a truck at a town gathering - the melody and lyrics are genuinely moving. The congregation making their way through the trees to the river to be baptised as they sing (Acapella) "Down To The River To Pray". Country and Blues musicians also have on-and-off-camera cameos - Clooney lip-synching in the recording booth is really being sung by Dan Tyminski of Alison Krauss' band Union Station - Gillian Welch asking for a copy of the song in a record shop - Alison Krauss, Gillian Welch and Emmylou Harris provide the Acapella vocals as the seductive Sirens on the river - Ralph Stanley of The Stanley Brothers singing "O Death" as Tommy is led by a lynch mob to a gallows and a burning cross - The Fairfield Four Gospel group singing as they dig graves by a log cabin...

But the movie belongs to the three principal leads - John Turturro as the permanently moaning Pete Hogwallop and Tim Blake Nelson as the less than Mensa-material Delmar O'Donnell (a role he would revive to great effect in "Flypaper" - see review). There is a rare and completely believable chemistry between them. But the big revelation here is George Clooney playing the philosophy-jabbering Everett Ulysses McGill. While he doesn't quite reach the cult-inducing peaks of Jeff Bridges as 'The Dude' in the Coens incomparable "The Big Lebowski" (a part emblazoned into cinema lover's hearts forever) - Clooney shows a deftness of touch for comedy and pathos throughout that is quite fantastic. More importantly he seemed to finally park his devastatingly handsome good looks by taking a career chance and showing the world that he was more than just a pretty face. Clooney can act his soggy pants off if given the right part (something he's proved many times since).

The only real let down is the paltry extras (those that accompanied the initial DVD issue) which last only a few minutes and leave you craving more.

Still - this is a fantastic advertisement for what BLU RAY can offer. I only wish I had a humungous home-cinema system to watch it on.

To sum up - after they fail to catch a passing train full of men with "aimless lives of wandering..." Delmar is asked by the other two squabblers to give the deciding vote on who is leader of the trio. Delmar sappily says - "I'm with you fellas!"

I wholeheartedly agree.

BLU RAY Specifications:
VIDEO: 1080p High Definition - Aspect Radio 2.35:1
AUDIO: English 5.1 DTS-HD Master Audio and Spanish 2.0 Dolby Digital
SUBTITLES: English SDH (Hard Of Hearing), French and Spanish

EXTRAS:
1. The Making Of "O Brother, Where Art Thou?"
2. Two Storyboard-To-Scene Comparisons
3. "I Am A Man Of Constant Sorrow" Music Video
4. Theatrical Trailer

PS: Isaac Freeman - the bass vocalist with the legendary Gospel/Acapella group "The Fairfield Four" (mentioned above) - released his 1^st solo album at the age of 73 in 2011 on Lost Highway Records called “Beautiful Stars”. It’s a beauty. Check it out…

 

“Ebony Woman” by BILLY PAUL (June 2012 Big Break Records (BBR) CD Remaster of his 1970 Neptune Records Album Reissued By Philadelphia International In 1973 With A Different Sleeve) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

SOUL, FUNK and JAZZ FUSION - Exception CD Remasters  

Just Click Below To Purchase for £3.95

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"...Traces Of Love Long Ago..." 

As a long-time contributor to Amazon - I've raved about Britain's BIG BREAK RECORDS before and have reviewed many of their in-depth Reissues and Remasters (see list below).

Each BBR issue has been uniformly superb - especially for those of us looking for great sound quality rather than the half-hearted efforts thrown at us by the majors these days (when they can be bothered). And once again - BBR has delivered on the sound front - even if the material isn't nearly as stellar as you'd hope for. Here are the ebony traces...

UK released 4 June 2012 (5 June 2012 in the USA) - "Ebony Woman by BILLY PAUL on Big Break Records CDBBR 0142 (Barcode 5013929044234) is a straightforward CD Remaster of the rare US Neptune Records LP from 1970 (later reissued by Philadelphia International in 1973) that breaks down as follows (35:41 minutes):

1. Ebony Woman

2. Mrs. Robinson

3. The Windmills Of Your Mind

4. Everyday People

5. Let's Fall In Love All Over

6. Windy

7. Psychedelic Sally

8. Traces

9. Proud Mary

Tracks 1 to 9 are Billy Paul's 2nd album "Ebony Woman" - released July 1970 in the USA on Neptune Records NLPS-201. Neptune was the record label started by the Soul songwriting and producing duo of Kenneth Gamble & Leon Huff. The LP received no UK release at this time. However - it was re-issued April 1973 on Philadelphia International Records KZ 32118 in the USA and on Philadelphia International PIR 65931 in the UK - but this time sporting a different front sleeve. This BBR CD Reissue uses the original 1970 artwork on the front - with the back sleeve featuring the 1973 photo of a woman's face (Grace Jones). It is this image that British Soul fans will recognise as the 1973 sleeve (reproduced in full on Page 6 of the booklet). There are no bonus tracks.

This CD reissue comes in one of those rounded-corner jewel cases and has a detailed 12-page booklet with liner notes by ANDY KELLMAN (writer for the "All Music Guide"). The A&B-sides of the lone 7" single initially issued off the album is pictured on Pages 4 and 8 - "Let's Fall In Love Again" b/w "Mrs. Robinson" on Neptune N-30 - while photos of Paul in his trademark hat pepper the text. There are also full album-credits on the last pages. But the real news for fans is the SUPERB SOUND QUALITY...

Remastered from the 1st generation tapes by NICK ROBBINS at Sound Mastering in London - the clarity is fantastic - warm bass and clean vocals.

Just out of the Sixties - the album is full of contemporary hits of the time - Simon & Garfunkel's "Mrs. Robinson", Sly & The Family Stone's "Everyday People" and Noel Harrison's "Windmills Of Your Mind" (theme from "The Thomas Crown Affair"). The single "Let's Fall In Love Again" was written by Bobby Martin (a friend of Gamble & Huff) and the title track "Ebony Woman" harks way back to 1959 when Billy Paul first sang it jazz-style.

Unfortunately most of these tracks are terribly dated and I'll admit to only having time for three songs on here - a Swingin' 60t's cover of Horace Silver's "Psychedelic Sally" (you can see some hippy chick dancing on a podium in a TV studio on this one), a piano-funky take on Creedence Clearwater Revival's classic "Proud Mary" and a truly lovely turn on The Classic IV's "Traces" (lyrics from it title this review).

To sum up - if you're a fan of the album - then you need to own this BBR reissue of it because of the fabulous sound and tasty presentation. If you're new to it and are expecting Billy Paul's "Let The Dollar Circulate" type of Philly Sound - then I'd suggest a listen 'before' you buy...

PS: Big Break Records (BBR) CD Remasters I’ve reviewed to 2015:

1. Is It Still Good To Ya – ASHFORD and SIMPSON (1978)

2. Stay Free – ASHFORD and SIMPSON (1979)

3. Central Heating – HEATWAVE (1977)

4. Hot Property - HEATWAVE (1979)

5. Candles - HEATWAVE (1980)

6. Turnin' On - HIGH INERGY (1977)

7. Harvest For The World - THE ISLEY BROTHERS (1976)

8. Go For Your Guns - THE ISLEY BROTHERS (1977)

9. In The Heart – KOOL & THE GANG (1983)

10. I Hope We Get To Love On Time - MARILYN McCOO & BILLY DAVIS (1976)

11.  I Miss You - HAROLD MELVIN & THE BLUE NOTES (1972) [known as "Harold Melvin The Blue Notes" in the UK]

12. Black & Blue - HAROLD MELVIN & THE BLUE NOTES (1973)

13. Love Is The Message - MFSB (1973)

14. Universal Love – MFSB (1975)

15. All The Faces Of... - BUDDY MILES (1974)

16. For The First Time – STEPHANIE MILLS (1975)

17. I Can See Clearly Now - JOHNNY NASH (1972)

18. In Philadelphia - O'JAYS (1969)

19. Back Stabbers - O'JAYS (1972)

20. Ship Ahoy - O'JAYS (1973)

21. Down To Love Town – THE ORIGINALS (1977)

22. Ebony Woman - BILLY PAUL (1970 and 1973)

23. 360 Degrees Of Billy Paul - BILLY PAUL (1972)

24. War Of The Gods - BILLY PAUL (1973)

25. Platinum Hook – PLATINUM HOOK (1978)

26. Love For What It Is - ANITA POINTER (of The Pointer Sisters) (1987)

27. Live: Stompin’ At The Savoy – RUFUS and CHAKA KHAN (1983)

28. Summernights – SILVER CONVENTION (1977)

29. Smoked Sugar - SMOKED SUGAR (1975)

30. Spinners – SPINNERS (1973)

31. Soul Master – EDWIN STARR (1968)

32. Involved - EDWIN STARR (1971)

33. Switch - SWITCH (1978)

34 Watercolors – THE WATERS (1980)

35. Just As I Am - BILL WITHERS (1971)

36. Heartbeats – YARBROUGH & PEOPLES (1983) 

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“Graceland 25th Anniversary CD/DVD Edition” by PAUL SIMON. A Review Of The 2012 Reissue.

PAUL SIMON and artists like him are part of my Series "SOUNDS GOOD: Exceptional CD Remasters 1970s Rock And Pop" Download Book available to buy on Amazon to either your PC or Mac (it will download the Kindle software to read the book for free to your toolbar). Click on the link below to go my Author's Page for this and other related publications:

                       http://www.amazon.co.uk/-/e/B00LQKMC6I

"...Shining Like A National Guitar..."

I'd like to add my penny's worth to the chorus of approval this superb reissue is receiving. But would also like to point out that the fantastic sounding CD is no fluke - it's a GREG CALBI remaster from 2011 (an upgrade on his 2004 version).

Calbi has a staggering 2,300 mastering, remastering, audio restoration credits to his name across decades - so he knows his way around a tape or two. He was responsible for the audiophile quality of Supertramp's revered 1970's output (recently reviewed "Breakfast In America") and received unanimous praise for his work on the Bob Dylan SACD digipak reissues of 2004 and Paul McCartney's "Band On The Run" 25th Anniversary issue from 1999 (for my money better than the Deluxe reissue). Jim White, Whiskytown, Tom Petty, Chris Whitley, Patti Smith, Colin Linden, The Allman Brothers, Willie Nile, John Mayer, Cassandra Wilson, Lizz Wright - no matter who the artist is - he has the deftest of touches when it comes to getting the best out of the tapes.

Add in the stunning "Under African Skies" DVD (perfectly complimenting the audio CD), the lovely 3-way card packaging (slightly oversized) and the reasonable price (£10 on some sites for a 2-disc set) - and you're on a winner.

A beautifully handled reissue of a classic and groundbreaking album (I saw the tour at The Royal Albert Hall in London - a cherished memory).

"...Shining Like A National Guitar..." Indeed it is.

"I'll Play The Blues For You" by ALBERT KING - October 1972 US Album on Stax Records - January 1973 in the UK (June 2012 UK Concord Music Group Inc/Universal Music Group 'Stax Remasters' Expanded Edition CD Reissue with Four Unreleased Bonus Tracks) - A Review by Mark Barry...

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"…Come On Over To The Place Where I Work…"

I'm loving these "Stax Remasters" CD Reissues even if they do seem to be a bit slow coming out (see list below). And any Albert King album from the period is nectar to my weary palate - so let's get with the details of the Blues-Soul...

Released Monday 4 June 2012 in the UK (22 May 2012 in the USA) - "I'll Play The Blues For You" by ALBERT KING on Concord Music Group, Inc/Universal Music Group/Stax 0888072337169 (Barcode 888072337169) is an 'Expanded Edition' and release number seven in the 2011/2012 'STAX REMASTERS' CD Series. It breaks down as follows (60:59 minutes):

1. I'll Play The Blues For You (Part 1 & 2) [Side 1]

2. Little Brother Make A Way

3. Breaking up Somebody's Home

4. High Cost Of Living

5. I'll Be Doggone [Side 2]

6. Answer To The Laundromat Blues

7. Don't Burn Down The Bridge ('Cause You Might Wanna Come Back Across)

8. Angel Of Mercy

Tracks 1 to 8 are the album "I'll Play The Blues For You" - released October 1972 in the USA on Stax Records STS-3009 and January 1973 in the UK on Stax Records 2325 089 

BONUS TRACKS (All Previously Unreleased):

9. I'll Play The Blues For You (Alternate Version) (8:44 minutes) 

10. Don't Burn Down The Bridge ('Cause You Might Wanna Come Back Across) (Alternate Version) (5:13 minutes)

11. I Need A Love (4:29 minutes) [Album Outtake]

12. Albert's Stomp (2:18 minutes) [Album Outtake - Instrumental]

The new 12-page booklet has very knowledgeable and affectionate liner notes by BILL DAHL who did the exceptional liner notes on Bear Family's 1961-1970 "Sweet Soul Music" CDs (10 volumes) and their 1945-1960 "Blowing The Fuse" series on R'n'B music (16 volumes). I've reviewed nearly all of them. You also get the original artwork on the front and rear of the booklet, musician and session details and the LP's original liner notes etc. But once again the big news is the NEWLY REMASTERED SOUND...

I've reviewed all the other titles in the "Stax Remasters" series (see list below) and duly raved about the fabulous sound quality on them - especially after years of lacklustre reissues in jewel cases and repro digipaks. Well this is the same. 24-bit remastered from the first generation tapes at JOE TARANTINO Mastering in Berkeley, California - the audio quality is superbly warm - especially the drum and bass (so sweet). The groove of the keyboards and punchy brass fills are both lovely - full - yet not too forced. My only compliant here would be that the vocals are ever so slightly subdued on some tracks (the title song) - buried in the back of the mix - but the overall quality of the album and the shockingly good bonus material quickly nips that minor quibble in the bud. 

Style-wise this is not so much straight-up Blues - but Soul meets Funk with some Blues guitar licks over the top of the band (a genre I can't get enough of). We open for business with one of Albert's signature songs "I'll Play The Blues For You" (written originally by Shreveport guitarist Jerry Beach for Texas Soul singer Geater Davis). It's 7:19 minutes Part 1 and 2 was cut down to a 3:20 minute 'Part 1 Edit' and issued in advance of the album as a 7" single in June 1972 on Stax STS-0135 with The Bar Kays And The Movement credited as the backing band. The slinky sound quality hits you immediately as do the ever-so-slightly cheesy talking lyrics (title above). On that subject - one of the gems on here is Track 9 - a previously unreleased version of "I'll Play The Blues For You" that runs to an extended 8:44 minutes. It removes the talking and replaces it with a great Sax solo and then a lengthy guitar jam to the end. It's brilliantly recorded and a genuine blast for King fans. How has this remained in the vaults for 40 years! I played it in the shop the other day and it had customers asking at the counter after it...

"Breaking Up Somebody's Home" was a hit for Ann Peebles in February 1972 on Hi Records (written by Al Jackson (drummer with Booker T & The MG's) and Timothy Matthews). King's version is a fabulous 7:19 minute slink-fest sounding not unlike something off "Be Altitude" by The Staple Singers (again from 1972). It was issued as an edited 7" single in October 1972 along with the LP and it's a shame that cut isn't included on here as a bonus. "High Cost Of Loving" is excellent uptempo Blues/Soul too. The only real clinker for me is the opener of Side 2 - his cover of Marvin Gaye's old Motown hit "I'll Be Doggone" where live crowd voices are added to the mix. It probably sounded cool then - but it's terribly dated now. 

Things perk up considerably with the hilariously un-PC lyrics of "Answer To The Laundromat Blues" (great guitarwork and a sleazy backing rhythm) which are thankfully sung tongue-in-cheek. Perhaps you don't want to sing "We gonna buy you washer and dryers and put you in the basement..." to the ladies in your life any day soon! The album ends is real style though with a great double-whammy - the slow funky guitar-groove of "Don't Burn Down The Bridge..." and the money-worries of "Angel Of Mercy" where Albert pleads with real feeling "...Would you please look down on me...a little mercy is all I need." 

As if the album wasn't good enough - the excellence of the 4 extras are a shock. The first two are blistering 'Alternate Versions' of album tracks while the last two are LP outakes (all in fantastic sound quality). I've discussed "I'll Play The Blues For You" above - the 'Alternate' of "Don't Burn Down The House..." is a more attacking guitar version with a huge sound. Great stuff. You can hear why "I Need A Love" was left off the record - it's good - but it sounds too much like other better tracks. The only real letdown is that the fantastically funky "Albert's Stomp" is criminally cut short at 2:18 minutes - just when you were getting into it (sounds like Ike Turner meets Booker T meets Albert King). All in all - very impressive...

So there you have it - a cracking Blues/Funk album bolstered up with four tracks actually worthy of the description 'bonus' - and all of it topped off with great sound and a value-for-money price tag.Very tasty indeed...and highly recommended.

Titles in the "STAX REMASTERS" Series are (all reviewed): 

1. Green Onions - BOOKER T. & THE M.G.'s (1962) 

2. McLemore Avenue - BOOKER T. & THE M.G.'s (1970)

3. Woman To Woman - SHIRLEY BROWN (1975)

4. Whatcha See Is Whatcha Get - THE DRAMATICS (1972)

5. Born Under A Bad Sign - ALBERT KING (1967)

6. I'll Play The Blues For You - ALBERT KING (1972)

7. Be Altitude: Respect Yourself - THE STAPLE SINGERS (1972)

8. Taylored In Silk - JOHNNIE TAYLOR (1973)

9. Do The Funky Chicken - RUFUS THOMAS (1970)

PPS: Lovers of ATLANTIC, STAX and VOLT Records should note that as of October 2012 there is a massive reissue program of classic albums going on in Japan - 100+ titles to be exact (which includes Albert King). They feature Fifties Blues and R'n'B, Sixties and Seventies Soul, Funk & Fusion. All are budget price (£7.50 per disc) and feature 2012 DSD remastering. Many of these titles are familiar - but a huge number are new to CD. For a full detailed list of these Japanese reissues - see the 'comment' section attached to this review…

“The Importance Of Being Earnest”. A Review Of The 2002 Film Now Reissued On A 2012 BLU RAY.

"…Anyone Can Play Accurately…I Play With Wonderful Expression…"

As a long-time reviewer and fan of this new format - I am constantly yo-yoing between praise for BLU RAY reissues and damning them. Some films are massively enhanced by the format’s capacity to show more  - others are either made worse by it - or have suffered at the hands of a lazy and sloppy transfer.

Well I'm pleased to say that "The Importance Of Being Earnest" is in the former - because the print on this 2012 BLU RAY reissue is TRULY GORGEOUS - shockingly so even.

Set in 1890's British upper-class society - "The Importance Of Being Earnest" was a lavish 2002 Ealing Studios/Miramax production – so the BLU RAY should shine when it comes to 'detail' - and that's indeed what you get. Dandy clothing, ladies refinery, interiors of men's clubs, alleyways in London, carriages to the country, Stately homes and their gardens, cucumber sandwiches and tea on the lawn, vicars and language tutors – it all looks beautiful.

Throw in Wilde's clever jabbing at society and a cast thoroughly enjoying themselves with witty material (especially Rupert Everett as the good-for-nothing Algernon Moncrieff and Judy Dench as the matriarchal Lady Augusta) – and you're on a reissue winner. Americans Reese Witherspoon and Frances O'Connor show a deftness of touch too, while Colin Firth is as effortlessly charming as ever. I also particularly like Tom Wilkinson and Anna Massey as the elderly couple whose courtship goes unexpressed but is so deeply touching. And Edward Fox as Lane - Algernon's old butler – constantly evading Algernon's need for praise (dialogue above) with wily replies…shutting Algernon too up by mentioning vulgar things like 'wages'…

Director Oliver Parker shows a genuine empathy to the material and his adaptation of the play is superb. But more than anything – you feel the 'presence' of genius behind it all – the master - the immortal OSCAR WILDE. Every sentence and set scene is craftsmanship - and few have ever matched him.

Some would say that "The Importance Of Being Earnest" is very slight fare for a film – fluff even – and should remain in a local theatre with a local troupe. I disagree. This big-screen version is an absolute delight and made with real affection and pride.

To sum up - if you're a fan of this lovely film – then you need to own it on BLU RAY. 

Why it's like finding a baby in a handbag at Victoria Station – first class all the way…