"The Ballad Style Of.../Alive & Well In London" by MAYNARD FERGUSON (2016 Beat Goes On CD Remaster) - A Review by Mark Barry...

"...Fire And Rain..."

Easy Listening trumpeter MAYNARD FERGUSON gets more outings from England's Beat Goes On Records – "The Ballad Style Of Maynard Ferguson" from 1969 and "Alive & Well in London" from 1971 – both originally on Columbia/CBS Records. Beautifully recorded bachelor pad schmaltz is what you get here – Andy Williams without the voice and the cardigans - seriously cheesy lounge-room schmooze - and even some Funky instrumentals Soul boys might like on album No. 2. So once more unto the cocktail cabinet my friends - here are the frilly shirts and the clinking martinis baby...

UK and USA released February 2016 – "The Ballad Style Of Maynard Ferguson/Alive & Well In London" by MAYNARD FERGUSON on Beat Goes On BGOCD 1206 (Barcode 5017261212061) offers fans 2LPs Remastered onto 1CD and plays out as follows (73:13 minutes):

1. Born Free (from 'Born Free')

2. Girl talk (from 'Harlow')

3. If He Walked Into My Life

4. The Fool On The Hill

5. The Impossible Dream (from 'Man From La Mancha')

6. Somewhere (from 'West Side Story')

7. Maria (from 'West Side Story') [Side 2]

8. As Long As He Needs Me (from 'Oliver')

9. Hushabye Mountain (from 'Chitty Chitty Bang Bang')

10. The Sound Of Silence

11. You Only Live Twice (from 'You Only Live Twice')

Tracks 1 to 11 are the album "The Ballad Style Of Maynard Ferguson" – released 1969 in the UK on CBS Records 63514 (Mono) and S 63514 (Stereo) – Stereo Mix Is Used

12. Move Over

13. Fire And Rain

14. Aquarius

15. The Serpent

16. My Sweet Lord [Side 2]

17. Bridge Over Troubled Water

18. Your Song

19. Stoney End

20. Living In The Past

Tracks 12 to 20 are the album "Alive & Well In London" – released 1971 in the USA on Columbia C 31117 and in the UK on CBS Records S 64432 (Stereo)

You get a card slipcase, a 20-page booklet with new liner notes from noted Mojo Magazine contributor CHARLES WARING with full album credits and some photos and 2015 ANDREW THOMPSON Remasters that sound great. This is a beautiful sounding CD and at least half of it warrants the lavish attention...

The first album "The Ballad Style Of..." is universally awful covers of popular musicals and film themes – all bombastic melodrama and cheesy strings punctuated by his strangulated screams on the Trumpet - hopelessly dated the lot of it. Brief moments of respite come with "Hushabye Mountain" – a gorgeous melody Dick Van Dyke sings to the children in the "Chitty Chitty Bang Bang" movie that even Ferguson can't ruin. But he somehow manages to make the cool 60ts of "You Only Live Twice" cringeworthy – impossible to do with most of John Barry's magnificent melodies from the period.

The second LP goes after singer-songwriter rock from 1970 and 1971 and is a world away from the risible predecessor - vastly better in every way. It opens with a cover of Janis Joplin's "Move Over" from her wonderful "Pearl" album that is good but doesn't quite rise above that. Way better is a surprisingly brilliant funked up Jazz-Fusion instrumental version of James Taylor's "Fire And Rain" - a very cool reinterpretation in a Alexis Korner/C.C.S. kind of way. Even better is a sitar and brass cover of Hair's "Aquarius" (originally sung by Gayle McDermott) which instrumental buffs will eat up and immediately slap on CD-R's to impress friends. His brassy take on Keith Mansfield's super-slick "The Serpent" is wild and features some serious scale climbing backed by a cool Dave Brubeck piano rhythm. His massively changed version of George Harrison's "My Sweet Lord" opens as if it's a Blood, Sweat & Tears track from 'III' and isn't nearly as dire as the idea might suggest – upping the pace to bopping Funk and somehow making it work. Neither "Bridge Over Troubled Water" nor “Your Song” does anything interesting to overplayed Simon & Garfunkel and Elton John melodies – better are his stabs at Laura Nyro's "Stoney End" and his 'let's-make-a-Top Of The Pops theme-song' take on Jethro Tull's "Living in The Past" - where once again Ferguson's band sounds like Blood, Sweat & Tears meets C.C.S. without a vocalist - but in a good way.

The first album is best left alone - but that second LP is way cooler than most would expect. Fans will love the great Audio and the classy presentation too...

"Country Class/Country Memories" by JERRY LEE LEWIS - October 1976 and November 1977 US Albums on Mercury Records (February 2016 UK Beat Goes On Records (BGO) Compilation - 2LPs onto 1CD - Andrew Thompson Remasters) - A Review by Mark Barry...

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"...Georgia On My Mind..."

Beat Goes On of the UK continue their extensive reissue campaign of the Killer’s Country albums for Mercury Records in the sixties and Seventies – this time whomping us with "Country Class" from 1976 and "Country Memories" from 1977 onto 1CD.

After a steady diet of musical mediocrity, personal scandal and the occasional nasal operation – "Country Class" and "Country Memories" at least seemed to provide long-suffering fans with some 'very brief' moments worth cheering. But the problem with both albums is that they contained much that was risible too - and time hasn't been kind to either. Here are the 'one rose you left in my heart' details...

UK released Friday 19 February 2016 – "Country Class/Country Memories" by JERRY LEE LEWIS on Beat Goes On Records BGOCD1222 (Barcode 5017261212221) offers 2LPs Remastered onto 1CD and plays out as follows (69:08 minutes):

1. Let's Put It Back Together Again

2. No One Will Ever Know

3. You Belong To Me

4. I Sure Miss Those Good Old Times

5. The Old Country Church

6. After The Fool You've Made Of Me

7. Jerry Lee's Rock & Roll Revival Show [Side 2]

8. Wedding Bells

9. Only Love Can Get You In My Door

10. The One Rose That's Left In My Heart

11. The Closest Thing To You

Tracks 1 to 11 are the album "Country Class" – released October 1976 in the USA on Mercury SRM-1-1109

12. Middle Age Crazy

13. Let's Say Goodbye Like We Said Hello (In A Friendly Kind Of Way)

14. Who's Sorry Now

15. Jealous Heart

16. Georgia On My Mind

17. Come On In

18. As Long As We Live

19. (You'd Think By Now) I'd Be Over You

20. Country Memories

21. What's So Good About Goodbye

22. Tennessee Saturday Night

Tracks 12 to 22 are the album "Country Memories" – released November 1977 in the USA on Mercury SRM-1-5004

There’s the usual card slipcase and a 12-page booklet with excellent ANDREW McRAE liner notes that tell it like it is about the musical content. ANDREW THOMPSON has done the new 2016 Remasters and they sound amazing. I wish the music warranted it...

"Country Class" opens with some genuinely awful schlock – "Let's Put It Back Together Again" – cheesy strings and even cheesier arrangements make it the kind of Country crud even Country fans hate. Things improve with "No One Will Ever Know" and his respectful cover of Jo Stafford's 1952 hit "You Belong To Me" isn't bad. But songs like "I Sure Miss Those Good Old Times" and "The Old Country Church" (associated with Hank Williams) feels tired - like Presley reaching for something safe rather than the fire of old. There's a brief moment of respite with "Jerry Lee's Rock & Roll Revival Show" where those brass and piano rolls sound more John Fogerty than Hank Snow – and in a good way. "Country Memories" only offers up more of the same – songs like "Let's Say Goodbye Like We Said Hello (In A Friendly Kind Of Way)" has a half decent melody and lyric but its drowned in syrupy backing vocalists and the ever present Pedal Steel. His boogied-up "Who's Sorry Now" is o.k. but far better is "(You'd Think By Now) I'd Be Over You" – a genuinely pretty melody that Jerry Lee sings well.

Fans will love the Audio and the Quality presentation – but everyone else should get a listen first before they buy... 

"Venus And Mars" by WINGS [featuring Paul and Linda McCartney] - 1975 LP (2014 UK MPL Communications/Hear Music 2CD Edition Remaster) - A Review by Mark Barry...

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"...Love In Song..." 

Paul McCartney's third No.1 solo album has had a murky history on CD – first turning up in 1993 with three bonus tracks on a disc that had only OK audio. Then DCC Compact Classics in the USA put out "Venus And Mars" on an Audiophile version in 1994 - followed years later by a 'DTS Entertainment' Digital Multichannel Surround Sound version that showed Stateside in 2001 – both of which improved matters. But for most ordinary chappies like you and I - this is 'the' most accessible upgrade since 1993 without having to pawn the silver.

There are several versions of this November 2014 'Paul McCartney Archive Collection' reissue - a single disc, this double and a Super Deluxe (super pricey) Multi-Disc Box Set. For my money many of the tracks on Disc 2 warrant this 2CD edition a 'best version to buy' badge over the single issue. And although it oddly refuses to state in the liner notes exactly 'who' at Abbey Road did the superb new remaster (for fear of military reprisal no doubt) – this 2014 audio overhaul is undeniably the best version to my ears so far. Disc 1 is massively improved. Murky rock tracks like "Letting Go" have more muscle and punch while the truly lovely melody of "Treat Her Gently – Lonely Old People" sounds gorgeous – piano, drums, that swirling Guitar, the voices and strings - all full and warm in your speakers (bit of a lost classic this). But the packaging is good without unfortunately being great thereby losing a lot of the original album's beautiful visual impact. So let's align the stars up tonight and rightly slap those snooker balls into their musical pocket...time for details...

UK released 3 November 2014 – "Venus And Mars" by WINGS [featuring Paul and Linda McCartney] on MPL Communications/Hear Music HRM-35650-02 (Barcode 888072356504) is the 2CD Edition and part of the 'Paul McCartney Archive Collection'. It plays out as follows:

Disc 1 – Remastered Album (43:06 minutes):
1. Venus And More
2. Rock Show
3. Love In Song
4. You Gave Me The Answer
5. Magneto And Titanium Man
6. Letting Go
7. Venus And Mars – Reprise [Side 2]
8. Spirits Of Ancient Egypt
9. Medicine Jar
10. Call Me Back Again
11. Listen To What The Man Said
12. Treat Me Gently – Lonely Old People
13. Crossroads (Theme)
Tracks 1 to 13 are the album "Venus And Mars" by WINGS – released 30 May 1975 in the UK on Apple/Parlophone PCTC 254 and in the USA on Capitol SMAS-11419. Paul and Linda McCartney wrote all tracks except "Medicine Jar" which is by Jimmy McCulloch and British session drummer Colin Allen - and "Crossroads" - a cover version of a Tony Hatch theme song to a popular ITV sitcom in the 70’s.

Disc 2 – Bonus Audio (50:36 minutes):
1. Junior's Farm
2. Sally G
Tracks 1 and 2 are the non-album A&B-sides of a 7" single – October 1974 on Apple R 5999 in the UK and Apple 1875 in the USA – peaked at No. 16 in the UK and No. 3 in the USA

3. Walking In The Park With Eloise by THE COUNTRY HAMS
4. Bridge On The River Suite by THE COUNTRY HAMS
Tracks 3 and 4 are the non-album A&B-sides of a 7" single by THE COUNTRY HAMS – Paul and Linda McCartney and his brother Mike McGear under pseudonyms. It was released October 1974 on EMI Records EMI 2220 in the UK and on EMI Records 3977 in the USA. Both are instrumentals - the A is a James McCartney song (Mike McGear) while the B is a Paul & Linda McCartney composition.

5. My Carnival (recorded at the "Venus And Mars" sessions in 1975, it was eventually released in 1985 as the B-side to the "Spies Like Us" 45 - theme to the Movie of the same name - first appearance as a bonus track on the 1993 CD reissue)

6. Going To New Orleans (My Carnival) - Previously Unreleased
7. Hey Diddle [Ernie Winfrey Mix] - Previously Unreleased
8. Let's Love - Previously Unreleased
9. Soily [From One Hand Clapping]
10. Baby Face [From One Hand Clapping]

11. Lunch Box/Odd Sox (B-side of April 1980 UK 7" single "Coming Up" on Parlophone R 6035 - first appearance as a bonus track on the 1993 CD reissue)

12. 4th Of July - Previously Unreleased
13. Rock Show [Old Version] - Previously Unreleased

14. Letting Go [Single Edit] (September 1975 USA 7" single on capitol 4145, A-side. Reissued November 2014 as part of Record Store day in a picture sleeve with its original B-side "You Gave Me The Answer" on MPL/Communications/Hear Music HRM-36608-01)
NOTES: Tracks 6, 7, 8, 12 and 13 are PREVIOUSLY UNRELEASED - the others have been on various CD compilations across the years.

WINGS was: Paul and Linda McCartney (Lead Vocals, Keyboards and Bass), Denny Laine (ex Moody Blues, Ginger Baker’s Air Force) plays Guitars, Jimmy McCulloch (ex Small Faces, Thunderclap Newman and Stone The Crows) on Guitars and Joe English on Drums. Other Musicians included Dave Mason (of Traffic) and Tom Scott playing Guitar and Saxophone on the pop single "Listen To What The Man Said" - while New Orleans keyboardist and ace songwriter Allen Toussaint tinkles the ivories on "Rock Show". Geoff Britton plays Drums on "Love In Song", "Letting Go" and "Medicine Jar" (Joe English plays on all the others).

The elaborate Hipgnosis artwork of the original 1975 vinyl LP (Gatefold Sleeve, Inner Sleeve, Two Posters and Two Stickers) is mostly intact in the 'Paul McCartney Archive Collection' card digipak – albeit in a higgledy-piggledy way. In fact apart from lyrics that are spread across several pages (wasting space mostly) and photos that reproduce the posters and inner sleeve (where are the stickers boys?) – I’d have to say that is pretty crappy stuff for a prestigious release like this. There's no liner notes - no history of where the album fits into the Wings catalogue – the huge success of "Venus And Mars" - No. 1 on both sides of the pond and pretty much the same everywhere else. There's no interviews or recollections – hell there isn't even repros of the 45 Pic Sleeves from around the world. Had a real reissue label like say Ace, Bear Family or even Cherry Red been given this project by an ex Beatle - they would have gone to absolute town on it. And the two naffly coloured CDs scuff easily as you take them in and out of their die-cut card slots while the 3-flap card digipak is in itself prone to crushing. And don't get me started on the extortionate pricing of the Super Deluxe Box Set - another rich Rock Star who doesn't need the money fleecing lifetime fans. Frankly despite looking pretty in some ways - for a supposed 'Special Edition' it all feels a tad ordinary in my book. But then you clap your cauliflower lugs on the Audio...and things improve big time...

While the opening steel-string acoustic strums of "Venus And Mars" with its high production values was always going to impress – the awkward peaks and dips in the rambling "Rock Show" was going to be the test of this Remaster – and whomever at Abbey Road has done a great job. Suddenly there's kick in those layered guitars and that riff bit is fantastic. I always thought that "Love In Song" should have been a lead off A-side single (relegated to the B-side of "Listen To What The Man Said" in May 1975) – it's one of the albums great tracks – an undeniably sweet Macca melody. The audio remaster is beautiful – that synth break and those strummed guitars – it's all so clear. The vaudevillian "You Gave Me The Answer" with its old-world treated vocal is so Beatles whimsy that it couldn’t fail to make bodies smile or wretch in equal measure. Whatever your poison (shall we dance – this is fun) – the audio is fabulous on it – so well balanced too. Even though "Magnito And Titanium Man" was a hit – I always hated its nonsensical nature and Macca's attitude that any old crap will do for lyrics. That said – there's no denying that it’s the best sounding track on this remaster – huge and alive like never before. But my crave is the Side 1 finisher – the fantastic Rock riffage of "Letting Go". It's much more powerful than before especially when those big brass fills come lurching in half way through. This album cut runs to 4:32 minutes while Disc 2 has the rarely heard 7" single edit at 3:36 minutes which I would swear is a different mix too.

Side 2 of the album opens with the pretty Reprise of "Venus And Mars" – those swirling synths and vocal pyrotechnics as it fades out are a lot clearer. It then segues into the moody and slick "Spirits Of Ancient Egypt" – a chugging guitar tune that with McCartney's backing vocals – actually feels like a 'Wings' song rather than the solo work of The Beatles' Bass Player. "Medicine Jar" is punchy enough but that terrible McCulloch lead vocal still jars - a problem that would all but ruin most of the "Wings At The Speed Of Sound" album in 1976 with substandard songs and even worse lead singers. Back to business and the album's other hidden nugget "Call Me Back Again" – now this baby sounds good – a wow even. The 'really good to see you down in New Orleans' DJ vocal on the irrepressible "Listen To What The Man Said" still sounds like fun and the track leaps out of your speakers with truly great clarity (you've forgotten how good that string break at the end is with Tom Scott soloing away). It ends on another forgotten McCartney gem "Treat Her Kind – Lonely Old People" – as poignant a song as he's even written – and sounding like a seriously undiscovered classic here. The less said about the pointless cover of Tony Hatch's "Crossroads" theme (an ITV TV show) – the better. Wish he'd put a studio version of the rocking "Soily" on here...

As you can imagine the 'Bonus Audio' of Disc 2 is a mishmash of brilliance and utter tosh. "Junior's Farm" is a typically great non-album Apple single but far more interesting is the B-side of the rare COUNTRY HAMS 45 – "Bridge On The River Suite". It's a trippy instrumental and I've put it on 70ts Fest CD-Rs only to have people ask me who the 'New Age' track is by? It's so un-McCartney it’s shocking and paved the way for "Thrillington" and his orchestral pieces to come. The cod Fats Domino/Professor Longhair R&B roll of "My Carnival" might have been fun to make but it's a pain to listen to now. A lot better is the new "Hey Diddle..." track – a pretty acoustic ditty that would have made an album-track or B-side (Linda shares vocals with Paul and it really works). For many one of the real prizes will be the simple "Let's Love" which is two minutes of McCartney at a piano getting close to a melody almost as lovely as "Blackbird" or "Mother Nature's Son". There's something great here trying to get out (but alas) and it makes for a real dip into his melodic genius. The other unreleased is the acoustic "4th Of July" – a roughly recorded demo that again feels softer and warmer that some of the tunes that made it onto the LP. Another song he's trying to work out – shame he didn't do a finished version of both.

His cover of you've got the cutest "Baby Face" is insufferable and the instrumental "Lunch Box/Odd Sox" the kind of mindless amble that gives Bonus Tracks a bad name. Better is the truly brilliant "Soily" – a fantastic riffing rocker from the 'One Hand Clapping' film. It sounds like the more snotty bastard brother of "Live And Let Die" in sheer attitude – the kind of riff that Guns N' Roses would kill a close relative to acquire. McCartney knew it worked and used it to end Wings gigs on a blaster. It's live-in-the-studio, rough around the edges and has massive punch/cool because of it. The other nugget on Disc 2 is the 7:09 minute version of "Rock Show" – an early version that is just straight rocking throughout – and for my money actually betters the more-showy finished cut. And the single edit of "Letting Go" is a genuine Bonus for fans after all these years...

To sum up - the 2014 'Paul McCartney Archive Collection' 2CD Version of 1975's "Venus And Mars" sounds great - even if the visuals let the side down a tad (docked a star for lack of effort). Buy and enjoy. Happiness in the homeland...

"Excitable Boy" by WARREN ZEVON (2007 Asylum/Rhino 'Expanded' CD Remaster) - A Review by Mark Barry...

"...Rub The Pot Roast All Over His Chest..." 

Like most Warren Zevon fans - I bought the March 2010 "Original Album Series" 5CD Mini Box Set to have the albums "Warren Zevon" (1976) and "Bad Luck Streak In Dancing School" (1980) on some form of CD. But despite its wickedly good content and cheap price – I was disappointed to find that all five titles are non-remasters - especially given that Rhino did stunning audio versions of "Excitable Boy" (1978), "Stand In The Fire (Live)" (1981) and "The Envoy" (1982) way back in 2007 and could have used those (all three were first-time-on-CD Expanded Remasters).

So as I own them I thought it time to return to my fave – the spiked, tender and yet wickedly contemporary "Excitable Boy". And rubbing pot roast all over my chest is exactly how a feel. What a winner this 2007 single disc CD reissue is. Here are the wet-haired two-fanged details...

UK and USA released late March 2007 – "Excitable Boy" by WARREN ZEVON on Asylum/Rhino 8122-79997-7 (Barcode 081227999773) is an 'Expanded' CD Remaster with Four Bonus Tracks and play out as follows (41:59 minutes):

1. Johnny Strikes up The Band

2. Roland The Headless Thompson Gunner

3. Excitable Boy

4. Werewolves Of London

5. Accidentally Like A Martyr

6. Nightime In The Switching Yard [Side 2]

7. Veracruz

8. Tenderness On The Block

9. Lawyers, Guns And Money

Tracks 1 to 9 are his 2nd album "Excitable Boy" – released 24 January 1978 in the USA on Asylum 6E-118 and March 1978 in the UK on Asylum K 53073. It peaked at No. 8 in February 1978 on the US album charts – but didn’t chart in the UK - Singer Jackson Browne and Guitarist Waddy Wachtel Produced.

BONUS TRACKS:

10. I Need A Truck (Outtake)

11. Werewolves Of London (Alternate Version)

12. Tule's Blues (Solo Piano Version)

14. Frozen Notes (Strings Version)

Tracks 10 to 14 are PREVIOUSLY UNRELEASED

The 20-page booklet is a pleasingly substantive affair – DAVID FRICKE's superb liner notes making much of Jackson Browne's friendship and musical patronage of Zevon who in 1975 was a complete unknown. Browne had already three charted US albums under his belt "Jackson Browne - aka "Saturate Before Use" (1972), "For Everyman" (1973) and the stunning "Late For The Sky" (1974) – so when he announced at a September 1975 Philly gig that this Warren Zevon friend of his was going to be 'big news' – people took notice and cheered (Browne then played several of Warren's songs including an early version of "Werewolves Of London"). Some years later the album "Excitable Boy" containing that winning song both sat pretty on the American charts. The 'empty shell-casings of bullets' and the 'gun on a dinner plate' photos that made up the inner US sleeve are reproduced on Pages 11 and 20 as are the lyrics to the album tracks (oddly not the bonus cuts). The song-by-song musician credits show his core band as – WARREN ZEVON on Piano, Guitars and all Lead Vocals, WADDY WACHTEL on Guitars and Vocals, LELAND SKLAR on Bass and RUSSELL KUNKEL on Drums with Guests (discussed below). There's even an advert for the Book "I'll Sleep When I'm Dead: The Dirty Life And Times Of Warren Zevon" by Crystal Zevon...

But the really big news for fans is the DAN HERSCH and BILL INGLOT Remaster. The audio on this sucker kicks you in the nuts – and its not loudness for the sake it. Every track is improved - given muscle and clarity - and the listen is so much better for it right across the board (this Expanded Edition also features four tasty Previously Unreleased Bonus Tracks dropped from the "Original Album Series" Box Set version).

Asylum launched three singles around the album in the UK – "Werewolves Of London" b/w "Tenderness On The Block" (February 1978, Asylum K 13111) – "Nighttime In The Switching Yard" b/w "Roland The Headless Thompson Gunner" (May 1978, Asylum K 13124) and finally "Excitable Boy" b/w "Veracruz" (October 1978, Asylum K 13140) – none charted. In the USA they faired better when "Werewolves Of London" lead the charge as the album's debut 45 with "Roland The Headless Thompson Gunner" on the flipside (Asylum E-45472). It rose to a respectable No. 21 on their pop charts in May 1978 giving the album a sustained bout of sales long after its February 1978 placing. They also issued "Lawyers, Guns And Money" with "Veracruz" on the B-side in May 1978 (Asylum E-45498) - but like "Nighttime In The Switching Yard" b/w "Johnny Strikes Up The Band" in October 1978 on Asylum E-45526 – neither charted.

The "Excitable Boy" album is a sensation really. All the potential that had shown up on his guest-heavy 1976 self-titled Asylum Records debut "Warren Zevon" came screaming to fruition on record number two. Admittedly at 31:49 minutes and with only 9 songs – it wasn't exactly a musical War & Peace. But there isn't a bad track on "Excitable Boy" and many of these quirky songs would become synonymous with Zevon and beloved by fans. And it didn't take a Mensa membership card to hear that beneath all that humour and blood and sex lurked the niggling ongoing aspects of his zigzag personality peeking through the lyrics like a cut he couldn’t plaster – his addictions to alcohol and pills that would take years to beat...

The bloodthirsty and kooky "Werewolves Of London" features Mick Fleetwood and John McVie of Fleetwood Mac on Drums and Bass while Linda Ronstadt and Jennifer Warnes lend backing vocals to the giddily macabre "Excitable Boy" with Waddy Wachtel chopping that axe and sessionman Jim Horn blowing a mean Saxophone. Karla Bonoff does lovely Harmony Vocals on "Accidentally Like A Martyr" while his long-time musical cohort Jorge Calderon plays Spanish Guitar on the hurting "Veracruz". Waddy Wachtel's Acoustic guitar work makes the gorgeous "Tenderness On The Block" - a song that always makes me think of our growing teenagers who aren't kids anymore (she's all grown up – she has a young man waiting). And who doesn't laugh at the touch-and-go 'gambling in Havana' wit of "Lawyers, Guns And Money" where the you-know-what has unceremoniously hit the fan...(send help Daddy please). There's an ache too in "Accidentally Like A Martyr" where "...the hurt gets worse and the heart gets harder..." But for me and second-only to the lovely "Tenderness..." is one of the album's true hidden nuggets - the hard-core Talking Heads guitar-funk of "Nighttime In The Switching Yard" – a song I used to constantly put on 70ts Fest CDR's when I worked at Reckless Records in Soho's Berwick Street. Without fail its funky-as-gnat's-underpants rhythms would bring excited kids to the counter – Who the Hell is this?

The Bonus Tracks are typically eclectic – the entirely Acapella "I Need A Truck" has him singing alone into an echoed microphone for less than a minute about trucks to haul his guns, his bad thoughts, Percocet tablets and Gin. Any version of "Werewolves Of London" is good news by me - and the 3:42 minute Alternate is just as quirky and rocking as the finished article. It doesn't say who's playing the Guitar – sounds like Wachtel – and the Bass is more pronounced too. It's like they’re almost there but still working out the kinks (and that 'ah ooooh' howl at the end is a hoot). "Tule's Blues" is probably the real prize here – a ballad named after his 1st wife about a relationship falling apart. It's a piano led melancholic thing – lovely and sad at the same time with lyrics like "...I hear a child's voice...does he ask if I'll be coming home soon..." The orchestral strings in "Frozen Notes" add a huge poignancy to another hurting song.

Zevon succumbed to Cancer in September 2003 aged only 56 – defiant, whimsical and thoughtful to the end. And as I replay the truly gorgeous and deeply wise "Tenderness On The Block" - I'm tearful. I for one am glad that this criminally overlooked CD only hammers home Warren Zevon's undeniable lifeforce and the rich legacy of his music. Be with the Boogie Angels you hard-knocks traveller...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 250 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

"Original Album Series" by WARREN ZEVON - 1976, 1978, 1980, 1981 and 1982 Albums on Asylum Records (March 2010 UK Asylum/Rhino ORIGINAL ALBUM SERIES - 5CD Capacity Wallet with Mini LP Repro Artwork Card Sleeves) - A Review by Mark Barry...

 

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"...Excitable Boy..."

Like Randy Newman it's a testament to Warren Zevon's extraordinarily witty and sharp songs that so many quality artists have covered him - Linda Ronstadt, Bob Dylan, Jimmy Buffett, Jackson Browne, Counting Crows and even Ireland's Freddie White to name but a few. And while his "Excitable Boy" set from 1978 will probably be the most familiar album to people on here – the stunning kick-ass live LP "Stand In The Fire" (recorded across five nights at The Roxy with a super tight band) is just one of the gems to discover in this cheap-as-a-politician’s-castle-moat-repair-bill 5CD mini box set. Time to rip your lungs out Jim for the original Werewolf Of London...

UK released March 2010 (reissued September 2012) – "Original Album Series" by WARREN ZEVON on Asylum/Rhino 8122 79837 1 (Barcode 081227983710) is a 5CD Capacity Wallet with Five Mini LP Repro Artwork Card Sleeves that plays out as follows:

Disc 1 – "Warren Zevon" (38:28 minutes):

1. Frankie And Jesse James

2. Mama Couldn't Be Persuaded

3. Backs Turned Looking Down The Path

4. Hasten Down The Wind

5. Poor Poor Pitiful Me

6. The French Inhaler

7. Mohammed's Radio [Side 2]

8. I'll Sleep When I'm Dead

9. Carmelita

10. Join Me In L.A.

11. Desperados Under The Eaves

Tracks 1 to 11 are the debut album "Warren Zevon" – released June 1976 in the USA on Asylum 7E-1060 and in the UK on Asylum K 53039

Disc 2 – "Excitable Boy" (31:49 minutes):

1. Johnny Strikes up The Band

2. Roland The Headless Thompson Gunner

3. Excitable Boy

4. Werewolves Of London

5. Accidentally Like A Martyr

6. Nightime In The Switching Yard [Side 2]

7. Veracruz

8. Tenderness On The Block

9. Lawyers, Guns And Money

Tracks 1 to 9 are his 2nd album "Excitable Boy" – released January 1978 in the USA on Asylum 6E 118 and March 1978 in the UK on Asylum K 53073

Disc 3 – "Bad Luck Steak In Dancing School" (35:35 minutes):

1. Bad Luck Streak In Dancing School

2. A Certain Girl

3. Jungle Work

4. Empty-Handed Heart

5. Interlude No. 1

6. Play It All Night Long

7. Jeannie Needs A Shooter [Side 2]

8. Interlude No. 2

9. Bill Lee

10. Gorilla, You're A Desperado

11. Bed Of Coals

12. Wild Age

Tracks 1 to 12 are his 3rd album "Bad Luck Streak In Dancing School" – released March 1980 in the USA on Asylum 5E 509 and in the UK on Asylum K 52191

Disc 4 – "Stand In The Fire – Recorded Live At The Roxy" (42:35 minutes):

1. Stand In The Fire

2. Jeannie Needs A Shooter

3. Excitable Boy

4. Mohammed's Radio

5. Werewolves Of London

6. Lawyers, Guns And Money [Side 2]

7. The Sin

8. Poor Poor Pitiful Me

9. I’ll Sleep When I'm Dead

10. Bo Diddley's A Gunslinger/Bo Diddley

Tracks 1 to 10 are the album "Stand In The Fire – Recorded Live At The Roxy" – released January 1981 in the USA on Asylum 5E-519 and in the UK on Asylum K 52265

Disc 5 - "The Envoy" (32:16 minutes):

1. The Envoy

2. The Overdraft

3. The Hula Hula Boys

4. Jesus Mentioned

5. Let Nothing Come Between You

6. Ain't That Pretty At All [Side 2]

7. Charlie’s Medicine

8. Looking For The Next Best Thing

9. Never Too Late For Love

Tracks 1 to 9 are his 5th album "The Envoy" – released August 1982 in the USA on Asylum 9 60159 1 and in the UK on Asylum AS K 52365

All of these "Original Album Series" sets are visually the same - a flimsy outer card slipcase houses 5 x 5" single card repro sleeves each aping the front and rear artwork of the original vinyl LPs. Each disc has generic Rhino colouring, song credits (including writers) and some basic recording info on the label – but that's it (no booklet). They look great it has to be said and are space saving for sure...

Audio-wise there's good news and bad news. In 2007 - Asylum/Rhino reissued "Excitable Boy" (1978), "Stand In The Fire" (1980) and "The Envoy" (1982) as first time CD Remasters with bonus tracks on each – but they have 'not' been used here (I own them and can immediately hear the difference). Having said that - the good news is that for the brilliantly recorded "Stand In The Fire" and "The Envoy" albums both of the non-remastered CDs don't represent such a dramatic dip in Audio quality (they sound pretty good and are more than acceptable). But "Excitable Boy" couldn't be more different. Like "Warren Zevon" and "Bad Lad Streak In Dancing School" - older non-remastered standard versions have been used in this box and subsequently the drop in Audio quality is very marked. When you hear the fantastic Dan Hersch and Bill Inglot 2007 Remaster of "Excitable Boy" (Asylum/Rhino 8122-79997-7 - Barcode 081227999773) – the Audio is awesome – all the power and muscle and clarity you would want from what is probably his best album. But what you get here is a weedy audio effort and unfortunately "Warren Zevon" and "Bad Luck..." are the same. Don't get me wrong – they're acceptable - and at roughly two quid per CD – bloody good value for money. But if Rhino had only used the three Remasters they already have and done two new ones for "Warren Zevon" and "Bad Luck..." – what an "Original Album Series" addition this would have been. It's a point worth pointing out. Now let's get to the other good news – the musical quality of what's actually on offer...

The debut album features an astonishing list of guest musicians. Check out the backing vocalists alone - Phil Everly of The Everly Brothers on "Frank And Jessie James" and "Hasten Down The Wind", Jackson Browne on "Mama Couldn't Be Persuaded" and "Desperados Under The Eaves" (also plays piano "Join Me In L.A."), Lindsey Buckingham and Stevie Nicks of Fleetwood Mac on "Mohammed's Radio" (Lindsey also sings on "Poor Poor Pitiful Me" and plays Guitar on "Backs Turned Looking Down The Path"), Bonnie Raitt and Rosemary Butler sing on "Join Me In L.A." while Glenn Frey and Don Henley of The Eagles sing on "The French Inhaler" (Frey also plays guitar on "Carmelita") and Carl Wilson of The Beach Boys is just one of the voices behind "Desperados Under The Eaves". Ace horn player Bobby Keys of Rolling Stones fame provides Saxophone on "Mohammed's Radio" and "Join Me In L.A." - while stalwarts of his band Waddy Watchel and David Lindley plays guitars and fiddle.

The "Excitable Boy" album is a sensation really. All that potential on "Warren Zevon" came screaming to fruition on a record where there isn't a bad track (many would become synonymous with him). The bloodthirsty and kooky "Werewolves Of London" features Mick Fleetwood and John McVie of Fleetwood Mac on Drums and Bass while Linda Ronstadt and Jennifer Warnes lend backing vocals to the giddily macabre "Excitable Boy" with Waddy Watchel chopping that axe and sessionman Jim Horn blowing a mean Saxophone. Karla Bonoff does lovely Harmony Vocals on "Accidentally Like A Martyr" while his long-time musical cohort Jorge Calderon plays Spanish Guitar on the hurting "Veracruz". Waddy Watchel's guitar work makes the gorgeous "Tenderness On The Block" - a song that always makes me think of my growing kids (who aren't kids anymore). And who doesn't laugh at the touch-and-go 'gambling in Havana' wit of "Lawyers, Guns And Money" where the you-know-what has unceremoniously hit the fan...(send help Daddy please). 

"Bad Luck Streak In Dancing School" continues themes of nutjobs, society outcasts and his own personal and physical demons (drink and women). But while the mournful ballad "Empty-Handed Heart" with wonderful counter harmony vocals from Linda Ronstadt and the punk-cocky "Jeannie Needs A Shooter" (co-written with Bruce Springsteen and featuring Joe Walsh on Guitar) both sound like the two light and dark facets of Warren Zevon's music that fans love – the awkward Ernie K-Doe cover of "A Certain Girl" (written by Allen Toussaint) seems like its reaching - almost foolish (Jackson Browne on Backing Vocals with Don Felder of The Eagles on Guitar). "Jungle Rock" once again features Joe Walsh on Guitar (Solo) but the weedy CD lacks the musical punch this rather good little New Wave tune deserves. I've always liked the short but sweet 'string' interludes (even if they're sad and weirdly placed). But then you get the utterly brilliant and savage "Play It All Night Long" where he jabs at Lynyrd Skynyrd's big "Sweet Home Alabama" hit and farming life in general - giving us harsh lyrics like "...grandpa pissed his pants again...he don't give a damn...brother Billy has both guns drawn...he ain't been right since Vietnam..." The recently passed Glenn Frey of The Eagles adds his vocals to the piano hurt of "Bill Lee" - but Side 2 is let down by the cod reggae vibe of "Gorilla, You're A Desperado" where not even Jackson Browne on Guitars/Vocals with Don Henley on Backing Vocals can save it. The sleeping on a "Bed Of Coals" is good but also a tad maudlin for him (nice vocals though from Linda Ronstadt and J.D. Souther). The difficult third album is that – difficult - but still with its nuggets in-between the emotional nails...

No such problem with the barnstorming live set "Stand In The Fire..." This sucker rocks and has a HUGE audio presence that makes you wish you were there. There are two new songs in amongst the "Mohammed's Radio" perennials and the Bo Diddley Medley that ends the album – the wicked opener "Stand In The Fire” and "The Sin" on Side 2. The band too is 'so tight' – like they've rehearsed these things to within an inch of their lives. It feels contemporary too – like Graham Parker and The Rumour on fire. Special mention has to go to the blistering band that barely puts a foot wrong – David Landau and Zeke Zirngiebel on Guitars, Bob Harris on Keyboards, Robert Pinon on Bass and Vocals and Marty Stinger on Drums. Warren plays 12-String Guitar, Piano and of course sings all Lead Spots. Suddenly songs like "Jeannie Needs A Shooter" explode into riffage life – but its when we get to "Werewolves Of London" followed on Side 2 by "Lawyers, Guns And Money" that the gig really erupts – the excitement in the whooping audience is literally palatable. Thankfully the expertly produced original audio (Zevon and Greg Ladanyl did the honours) on this disc is far better than "Bad Luck..." - but my 2007 Remaster is fantastic and contains four bonuses from the gig that are absolutely having too.

On a more down-note. I once saw Zevon live in Dublin at the Dublin Stadium in the early 80ts (it was after the release of "Stand In The Fire"). But it was easily one of the worst concerts I've ever seen. The Promoter used the "Stand In The Fire" album in radio adverts (with that band and that huge sound). But when the packed stadium lights went down – Zevon came out on his own without a band to do an acoustic gig and just couldn't cut it. Worse - he was clearly not aware it hadn't been promoted as a solo gig - so after a couple of songs the dissatisfied audience grew ever more restless and started to heckle his every move. Every song needed the muscle of a group. But when he then did the folk ditty "Cum By A" (the Boy Scouts song) – the audience had had enough and started booing big time. He did one forced encore where he poured Bourbon over his harmonica in rage – but by then people where out trying to get their money back from a terrified promoter. It was awful. I'd rather remember Warren Zevon like this – standing in the fire - kicking and vital – genuinely exciting – one of my songwriting heroes...

I loved and hated "The Envoy" on its release in 1982. The contrasts between the gorgeous love songs like "Let Nothing Come Between You" and "Never Too Late For Love" and the political jabbing of "The Envoy” (wrestling guns in Damascus), the hatred of Drugs, Junkie Life and all its lies in "Ain't That Pretty At All" beside the stark and tender beauty of "Jesus Mentioned" made the whole album one big contrast of styles. But that's its strength. You think something like "The Hula Hula Boys" is a flippant indigenous folky lightweight - but its way deeper than that. Same applies to the menacing "Charlie's Medicine" where someone's pill hook-up has been shot in Beverley Hills by a crazed Doctor. Zevon sings of Charlie and his pharmaceutical supplies with self-loathing also - "...I gave him all my money...what the hell was I thinking of..." We get a crazed but thoroughly effective backing vocal from Lindsey Buckingham of Fleetwood Mac on the topical "The Overdraft" – the banks screwing the little guy. And his visit to Elvis' home in "Jesus Mentioned" predates Paul Simon's "Graceland" by three or four years...

You could argue that it's better to buy the 2007 Asylum/Rhino versions of "Excitable Boy", "Stand In The Fire" and "The Envoy" for the vastly improved audio and excellent bonus tracks (they're easily available and reasonably priced too) – but "Warren Zevon" and "Bad Luck Streak In Dancing School" are must-owns in their own patchy ways.

"...All alone on the road to perfection...at the inspection booth they tried to discourage me..." - Warren Zevon sang on the uplifting "Looking For The Next Best Thing". Despite its audio niggles – I'd say look no further and dig in...

"Guy Clark/The South Coast Of Texas/Better Days" by GUY CLARK - 1978, 1981 and 1983 Albums (June 2015 UK Beat Goes On Records (BGO) Compilation - 3LPs onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

"...Lone Star Hotel..."

With his first two favourably-received albums under his belt at RCA Records – "Old No.1" in August 1975 and "Texas Cookin'" in October 1976 – Singer-songwriter GUY CLARK signed a new deal with Warner Brothers and slowly sneaked out this trio of affectionately-remembered Country LPs across the next five years (1978, 1981 and 1983). 

Quickly acquiring a reputation as a Texas-Born Troubadour down with the drunks, the broken marriages and the outlaw fringes of society – Guy Clark saw his biggest chart success in the early Eighties. But more than that - his albums (like those of say John Hiatt, Chris Smither and John Prine) were also greeted with huge affection by other artists and became a wellspring – a provider of catchy tunes for the likes of Johnny Cash, Vince Gill, Waylon Jennings, Nicolette Larson, Emmylou Harris and Ricky Scaggs (to name but a few). Fellow Texan and lifelong friend Rodney Crowell produced both the 80's LPs – co-writing "The Partner Nobody Chose" and the US Country No.1 "She's Crazy For Leavin'" on "The South Coast Of Texas" album.

England's Beat Goes On Records (BGO) has licensed these three long-deleted albums from WEA and presents them here in their usual classy way – a card slipcase, quality remastered sound and decent liner notes. There’s a lot on offer – so let’s get to the jailhouse now...

UK released June 2015 (July 2015 in the USA) – "Guy Clark/The South Coast Of Texas/Better Days" by GUY CLARK on Beat Goes On BGOCD1190 (Barcode 5017261211903) is a Compilation that provides 3LPs Remastered onto 2CDs and breaks down as follows:

Disc 1 (69:29 minutes):

1. Fool On The Roof [Side 1]

2. Fools For Each Other

3. Shade Of All Greens

4. Voila, An American Dream

5. One Paper Kid

6. In The Jailhouse Now [Side 2]

7. Comfort And Crazy

8. Don't You Take It Too Bad

9. The Houston Kid

10. Fool On The Roof Blues

Tracks 1 to 10 are his 3^rd studio album "Guy Clark" – released May 1978 in the USA on Warner Brothers BSK 3241 and in the UK on Warner Brothers K 56565

11. Who Do You Think You Are [Side 1]

12. Crystelle

13. New Cut Road

14. Rita Ballou

15. South Coast Of Texas

16. Heartbroke [Side 2]

17. The Partner Nobody Chose

18. She's Crazy For Leavin'

19. Calf-Rope

20. Lone Star Hotel

Tracks 11 to 20 are his 4^th studio album "The South Coast Of Texas" – released February 1981 in the USA on Warner Brothers BSK 3381 and in the UK on Warner Brothers K 56902.  

Disc 2 (31:30 minutes):

1. Blowin' Like A Bandit [Side 1]

2. Better Days

3. Homegrown Tomatoes

4. Supply & Demand

5. The Randall Knife

6. The Carpenter [Side 2]

7. Uncertain Texas

8. No Deal

9. Tears

10. Fool In The Mirror

Tracks 1 to 10 are his 5^th studio album "Better Days" – released 1983 in the USA and Europe on Warner Brothers 9 23880-1.

The card slipcase that is now standard with all BGO releases lends the whole thing a classy feel and look while the pleasingly chunky 24-page booklet features the original album credits, inner sleeve artwork spread across the text and the lyrics to all three records at the rear. Inbetween is a typically superb and detailed analysis of his whole career by noted-writer and long-time BGO-collaborator JOHN O'REGAN. The "Better Days" album sleeve is used as the back inlay on the inside. The remasters are by ANDREW THOMPSON and sound gorgeous – the production values of NEIL WILBURN ("Guy Clark") and RODNEY CROWELL (the other two) shining through – not to mention the long line of quality players including names like Buddy Emmons, Albert Lee, Don Everly and KT Oslin.

The self-titled Warner Brothers debut has six Clark originals with the other four being covers of old and new songs – "In The Jailhouse Now" (Jimmie Rogers), "Voila, An American Dream" (Rodney Crowell), "One Paper Kid" (Walter Cowart) and "Don't You Take It Too Bad" (Townes Van Zandt). 

Guy Clark, Rodney Crowell and Irishman Phillip Donnelly provide the acoustic and electric guitars for most tunes but England's Albert Lee puts in lead (once with Heads, Hands & Feet and later The Crickets). And along with Dave Briggs and the legendary Buddy Emmons on Pedal Steel Guitars and Mickey Raphael on Harmonica – the sound was slicker and dare-we-say-it more radio-friendly Country than that of the first two records. There are a lot of broken-hearted lovers in these tunes and people who are just plain out of luck – the accusations fly in slyly lovely "Fools For Each Other" as Clark croons with a side-order of blasé "...who took off when their heart got broke..." while an innocent local dreamer is taken out by a drunk-driver in "One Paper Kid" and now sings in a place where "...it's legal to dream..." 

The prettiness of "Shade Of All Greens" is about as languid as Country Rock gets with Buddy Emmons adding so much to the song as he slides up and own those pedal steel strings in the background. For me one of the album highlights is the sad yet hopeful "One Paper Kid" which Emmylou Harris would cover that year on her "Quarter Moon In A Ten Cent Town". Side Two opens with Jimmie Rogers' fun as he camps up the pace with "In The Jailhouse Now" which The Coen Brothers would have Tim Blake Nelson sing in their 2000 movie "O, Brother Where Art Thou?" (credited as "The Soggy Bottom Boys"). Soft and gentle comes at you twice on Side 2 – his own "Comfort And Crazy" and his delicious cover of Townes Van Zandt's "Don't You Take It Too Bad" with both Don Brooks on Harmonica and Kay T. Oslin on Duet Vocals making the song.

His 4^th album “The South Coast Of Texas” from 1981 saw some high-profile (soon to be stars) contributions – Ricky Scaggs plays Fiddle and sings on “Heartbroke”, Roseanne Cash sings on “Crystelle” and Vince Gills puts in Vocals too. Emmylou Harris’ Hot Band made up the backing musicians – Hank DeVito on Guitars, Ricky Scaggs on Fiddle, Emory Gordy and Glen Hardin on Keyboards. “The South Coast Of Texas” has pleasing tunes on it like the chipper “New Cut Road” and the line-dancing shuffle of “Rita Ballou” – but on the underage song “Crystelle” and the title track – there feels like some of the magic of the “Guy Clark” album is somehow lost. The almost poppy “Heartbroke” is a clear aim at commercial Country but again it feels ordinary – while I find it inexplicable as to why “She’s Crazy For Leavin’” made it to Number One. Perhaps his love for his wife Susanna Clark (his lifetime partner) imbibed the Warners debut with something special that the follow up three years later didn’t have.

The “Better Days” album opens with a winning melody “Blowin’ Like A Bandit” where taking a boat out to sea will guarantee all occupants become shark-bait in the morning (Reggie Young on Lead Guitar). Once again Vince Gill and Hank DeVito bring their guitars to the backing group and the remaster is gorgeous on the “Better Days” title track. Paul Kennerley (who worked a lot with The Judds) provides Bass Vocals on the ever-so-slightly hick “Homegrown Tomatoes” but better is the side finisher “The Randall Knife” where Clark sounds and sings like John Prine’s younger brother (a great storytelling song about his father). Crowell sings on “Uncertain Texas” where again he sounds like John Prine circa 1991’s “The Missing Years”. It ends on the funky guitar chug of “Fool In The Mirror” where he bemoans that he’s putting on a little bit of weight because his “baby’s gone”.

So there you have it – three good albums sounding real sweet on one 2CD quality remaster/reissue. In 2014 Guy Clark’s album “My Favorite Picture Of You” pulled the Grammy for ‘Best Folk Album Of The Year’.

20-albums into a 40-year career and still a class act...