"Magical Mystery Tour" by THE BEATLES (2014/2015 Japan-Only SHM-CD Reissue in Mini LP Repro Artwork) - A Review by Mark Barry...

"...Goo Goo G'Joob..."

How could 'any' Beatles album be classed as 'overlooked' - especially in Britain?

When the UK saw the release of "Magical Mystery Tour" on 8 December 1967 - it was a 7" single book-pack - a double 2 x 45 'EP' on Parlophone MMT 1 (Mono) and SMMT 1 (Stereo) with only 6-songs - all culled from the movie of the same name.

Our American pals had it different and a couple of weeks earlier too. Theirs was the full 11-track album on Capitol MAL 2835 (Mono) and Capitol SMAL 2835 (Stereo). Released 27 November 1967 – the US LP used the 6-songs of the British double-EP as Side 1 and added five sides of three UK 45s The Beatles issued in 1967 as Side 2.

In short – the Yanks have always had the album. But in Blighty - and I genuinely have to double-take on this factoid whenever I see it - "Magical Mystery Tour" the LP (as we know it) wasn't officially released by EMI until the 19th of November 1976! There were original 1967 US import copies on Capitol Records of both LP variants brought into UK shops - but they weren't that common. So as far as most British fans were concerned - "Magical Mystery Tour" was 'that ditty' The Beatles did at the end of a very productive year (June's "Sgt. Peppers..." was just ending a long number 1 LP run when the "...Tour..." Double EP was released in December). The "Magical Mystery Tour" album in their native land has always seemed like some kind of afterthought - a sort of 'best of 1967 tracks' compilation given a more cohesive name.

Which brings us to the album and the music. By adding on those five tracks onto Side 2 - the Americans turned a good UK 45-release into an LP-platter of friggin' genius. In fact you could argue that you simply take a look at the track list for this LP - and the review is already done. "Hello Goodbye", "Strawberry Fields Forever", "Penny Lane", "All You Need Is Love", "The Fool On The Hill" and "I Am The Walrus" - all on one album! And of course there's those other nuggets like the trippy instrumental "Flying" (too many magic mushrooms boys) and equally groovy spiralling of "Blue Jay Way" (other substances on top of the mushrooms) and Paul's poppy "Your Mother Should Know" - a song that wouldn't have gone amiss on "Peppers".

This Japanese variant of "Magical Mystery Tour" cost me - but is so beautiful that it deserves uber-praise. Here are the Semolina Pilchards climbing up the Eiffel Tower...

Released 17 December 2014 (reissued 15 April 2015) and using the 2009 Remaster done at Abbey Road Studios - this Japan-only SHM-CD of "Magical Mystery Tour" by THE BEATLES on Universal/Apple UICY-76974 (Barcode 4988005867513) is a straightforward transfer of the 14-Track STEREO album. It’s presented in a limited edition 5” Mini LP Repro Artwork and will be deleted in June 2016 (total playing time 36:32 minutes).

Side 1:

1. Magical Mystery Tour

2. The Fool On The Hill

3. Flying

4. Blue Jay Way

5. Your Mother Should Know

6. I Am The Walrus

Side 2:

7. Hello Goodbye

8. Strawberry Fields Forever

9. Penny Lane

10. Baby You’re A Rich Man

11. All You Need Is Love

Using the 09/09/09 STEREO MIX of the album – this Japanese SHM-CD reissue also decides to keep it simple and loses the enhanced CD track called "Magical Mystery Tour Mini Documentary" that came with the 09/09/09 releases (wasn’t up to much anyway). The Super High Materials CD (SHM-CD) does not require special audio equipment – it will play on all devices and Toshiba claim that it offers a better form of disc with increased retrieval details. As someone who owns about 20 of them - I've found that claim to be true. The audio on this sucker through my Marantz CD/AMP combo (paired up with Tannoy Mercury V4 speakers) is just beautiful. The accumulative effect is to have even the most jaundiced ear sit up and take notice. Then there's the sexy artwork...

The chunky EMI 36-page colour booklet returns as a separate entity - but there's also the usual 22-white-page Japanese booklet too that features some unreadable Japanese liner notes followed by the lyrics in English and a back page that pictures all 16 titles in this SHM-CD Reissue series. The attention to detail on the actual 1967 album-sleeve is delicious. You get a hard card repro of the USA STEREO LP artwork (Capitol SMAL 2385) complete with its hard-card gatefold sleeve with attached booklet. The label reflects the rainbow coloured variant of the American Capitol Records original LP – even aping the paste-on effect of the front and inner artwork. There’s a white inner bag, a protective plastic for the SHM-CD within that and an OBI strip around the edge of the sleeve – mine being Blue in colour for the 'Encore' reissue series of 2015 (see list below). Holding it all together is a resealable plastic that is prone to tearing – so be careful removing the goodies.

The Audio Quality on the 09/09/09 CD Remaster was and is magnificent. Both GUY MASSEY and STEVE ROOKE remastered the first generation stereo master tapes and to say they've done a good job is like saying the Great Wall of China is an ok building-project. Their work here is fabulous – monumental almost - it really is. The sound quality is glorious throughout - clear, warm, detailed - every single track a revelation.

"...See how they snide..." - John sings on the wonderfully potty and acidic "I Am The Walrus" and follows it with words about Expert Textperts and Elementary Penguins singing Hare Krishna. Paul warbles about The Fool on A Hill, The Man With A Thousand Voices and people on a bus being strange kinds of Egg Men...

How can you overlook and not own “Magical Mystery Tour”! Barking Nuts has never looked nor sounded so damn good as it does on this wonderful Japanese SHM-CD reissue. Seek it out and prepare to fork out for the rest of the series...

PS: For info purposes:

There are 16 STEREO titles in THE BEATLES Japanese SHM-CD Reissue Series. 

The first wave came in December 2014 and then a repress in April 2015. Purchasers should note that 'both' issues have the same catalogue numbers and barcodes. The way to recognise the difference is the sticker colour on the front plastic. 1st Issues come with Red Stickers and were released 17 December 2014 - 2nd 'Encore' Reissues come with Blue Stickers and were released 15 April 2015. I’ve provided Barcodes but to locate the right pressing CD on Amazon - but you will need to check with your seller first to see which pressing you're getting (most sellers will identify as either 1st or Encore so there’s no confusion).

1. Please Please Me (Universal/Apple UICY-76966) – Barcode 4988005867438

2. With The Beatles (Universal/Apple UICY-76967) – Barcode 4988005867455

3. A Hard Day’s Night (Universal/Apple UICY-76968) – Barcode 4988005867452

4. Beatles For Sale (Universal/Apple UICY-76969) – Barcode 4988005867469

5. Help! (Universal/Apple UICY-76970) – Barcode 4988005867476

6. Rubber Soul (Universal/Apple UICY-76971) – Barcode 4988005867483

7. Revolver (Universal/Apple UICY-76972) – Barcode 4988005867490

8. Sgt. Peppers Lonely Hearts Club Band (Universal/Apple UICY-76973) – Barcode 4988005867506

9. Magical Mystery Tour (Universal/Apple UICY-76974) – Barcode 4988005867513

10. The Beatles [aka The White Album] (Universal/Apple UICY-76975 & 6) - Barcode 4988005867520

11. Yellow Submarine (Universal/Apple UICY-76977) – Barcode 4988005867599

12. Abbey Road (Universal/Apple UICY-76978) – Barcode 4988005867605

13. Let It Be (Universal/Apple UICY-76979) – Barcode 4988005867612

14. Past Masters (Universal/Apple UICY-76980 & 1) – Barcode 4988005867629

15. 1962-1966 (Red Album) (Universal/Apple UICY-76982/3) – Barcode 4988005867636

16. 1967-1970 (Blue Album) – (Universal/Apple UICY-76984/5) - Barcode 4988005867643

"There’s A Riot Goin’ On” by SLY & THE FAMILY STONE (Inside The 2010 and 2013 Epic/Legacy 'Original Album Classics' 5CD Mini Box Set Remasters) - A Review by Mark Barry...

"…It's A Family Affair…"

1971's iconic Soul LP "There's A Riot Goin' On" by SLY & THE FAMILY STONE was yet another winner in a long line of album releases (their 5th LP and a USA R&B No.1).

The 2007 Sony/Legacy CD reissue of it features a 'best we can do' BOB IRWIN and VIC ANESINI Remaster. Thankfully this is also used in the 2010 5CD "Original Album Classics" Mini Box Set (reissued in Europe in 2013). I mention this because the Mini Box sets weigh in at about ten quid – two pounds per album – ludicrously great value for money. And in the case of the Funky-Soulful manic maestro Sly Stone – too much is never enough (if ya know what I mean baby...sorry about that)...

First appearing in 2010 in the USA as part of Sony's "Original Album Classics" series of 5CD mini box sets (Catalogue No. 8869770802) – the 2013 repackaged version out of Europe uses different (some would say prettier) artwork and sports a new catalogue number (88883743022). Although you get a flimsy card slipcase (as opposed to the hard card of the original American issues) - the best news is that you also get the 2007 BOB IRWIN/VIC ANESINI CD remasters – with all five of the albums retaining their expanded bonus tracks. Here are the Luv N’ Haight details…

Euro released August 2013 – "Original Album Classics" by SLY & THE FAMILY STONE on Epic/Legacy 88883743022 (Barcode 888837430227) is a 5CD Mini Box Set in a Card Slipcase that contains "There's A Riot Goin' On" on Disc 5 and plays out as follows:

Disc 5 (65:32 minutes):

1. Luv N' Haight

2. Just Like A Baby

3. Poet

4. Family Affair

5. Africa Talks To You (“The Asphalt Jungle”)

6. There’s A Riot Goin’ On

7. Brave & Strong [Side 2]

8. (You Caught Me) Smilin’

9. Time

10. Spaced Cowboy

11. Runnin’ Away

12. Thank You For Talkin' To Me, Africa

Tracks 1 to 12 are their 5th album "There's A Riot Goin' On" – released November 1971 in the USA on Epic KC 30986 and January 1972 in the UK on Epic S EPC 64613). Although the title is famously listed as "There's A Riot Goin' On" at the end of Side 1 on the original vinyl album – the song is in fact not there (no seconds – no playing time). In order to acknowledge its presence however - the CD reissue gives it a playing time of 4 seconds of silence (hence the confusion with people feeling it’s a mastering mistake/track missing – it’s not)

BONUS TRACKS:

13. Runnin’ Away (Single Version)

14. My Gorilla Is My Butler (Instrumental)

15. Do You Know What? (Instrumental)

16. That’s Pretty Clean (Instrumental)

The card repro sleeves are lovely to look at for the first three upbeat Soul albums - but with "Stand!" having a virtually blank rear and "There's A Riot Goin' On" missing its gatefold (with all the recording info on the inner) – there’s nothing to get your teeth into reading wise. And as fans will know – there have been almost entire books devoted to the recording, release of and posthumous importance of the acidic and incoherently trippy "There's A Riot Goin' On" LP alone. This is one of those times in this value-for-money series where you wish a half-decent booklet accompanied the release – because there’s much to say (and learn).

The 2007 BOB IRWIN and VIC ANESINI Stereo remasters are thankfully used and are typically superb - this time making the best of a bad lot. Even on the notorious overdubbed tape mess that is 1971's "Riot" where Sly went over things so many times that to this day there is 'muddiness' to the whole recording that cannot be removed (and some would say cannot be improved upon either). Even that is audibly improved (to a degree). That blurred sound to the brass work on "Runnin' Away" is a good example and the mumbling druggy crap that he spouts in “Spaced Cowboy” is almost coherent (almost).

The album opens with "Luv N' Haight" – a song so influential – a Funk and Soul reissue label took it as their moniker – Luv N Haight Records. The clavinet funkiness continues with "Just Like A Baby". But that's trumped up by the fantastic groove of "Poet" where Sly mumbles about his only weapon being words and music – a songwriter with his weapon of music. It sounds like Stevie Wonder's "Innervisions" (1973) and Jeff Beck's "Blow By Blow" (1975) years before those Funky events. November 1971 also saw the monster "Family Affair" track become their 3rd No. 1 single on the Pop charts. Huge like the album was – it still raises a smile and a butt wiggle.

But then you get magnificence like the nine-minute funk of "Africa Talks To You…" with its drum/keyboard/vocal layers that amble but yet somehow work. The CD audio is excellent here compared to my battered British vinyl original where turning it up back in the day only elicited walls of hiss. Admittedly "Brave And Strong" sounds compromised on the Audio front – kind of strangulated and lacking in clarity. Better is "(You Caught Me) Smilin'" where Sly lets out a few of his best Al Green screams as the Guitars do battle with Funky Horns. The laid back and shuffling "Time" is the kind of Sly Stone ramble I love – a mouthful of mumble turned into a groove. It goes out on the seven-minute Funkathon that is "Thank You For Talkin' To Me Africa" – a monster track amongst Jazz Funk aficionados. The Audio dips in and out as it used to – but the CD is still better than my record – and that Bass line is chugging and chunky in my speakers.

A pioneer, a hero, a drugged-up nutjob – Sly Stone was all of these and more. Mostly though you’re left impressed and wanting more…and that’s a complaint I’ll take any day of the week…

"Nilsson Sings Newman" by NILSSON (Inside 2013's "The RCA Albums Collection" 17CD Box Set - Vic Anesini Remasters) - A Review by Mark Barry...

"...Living Without You..."

With the LPs "Pandemonium Shadow Show" (October 1967), "Aerial Ballet" (June 1968) and "Harry" (July 1969) under his album belt and hits like "Everybody's Talkin'" from the smash movie "Midnight Cowboy" and “I Guess The Lord Must Be In New York City” endearing him to anyone and everyone – Brooklyn’s Harry Nilsson then took a sharp left turn for his next project. He ups and makes a smart musical choice - giving the then relatively unknown RANDY NEWMAN a whole album of cover versions. But it turns out to be a commercially disastrous pick – almost stalling his career.

"Nilsson Sings Newman" by NILSSON was released in the USA January 1970 on RCA Victor LSP-4289 in Stereo only (March 1970 in the UK) and was received with rave trade reviews and almost total public indifference (it didn't go Top 100 in either the UK or the USA). The premise is simple - a whole LP of Randy Newman songs - most old - some new - and with the great Author himself guesting on Piano on every song - Harry Nilsson at the microphone throughout.

It's cliché I suppose to say that some records deserved a better fate - got overlooked. But in the sunny pre-Brexit honeymoon days of June 2016 and with the benefit of hindsight and nearly five decades – this is one of those lost records that absolutely demands your attention. One reviewer has described this album as 'beautiful' - and that's both accurate and apt. But I'd go further - there are songs on this LP like "Caroline" and "Living Without You" where the combo of Nilsson's voice and arrangements sided by Newman's trademark low-key piano notes produces something bordering on sublime. Both written especially for the album - "I'll Be Home" and "Caroline" are in my all-time Top Ten cover versions - with Nilsson's delicate takes on The Beatles 'White Album' ballads “Blackbird” and "Mother Nature's Son" lagging not far behind.

But some reissue history first: after a February 1989 RCA fuddle on the new fangled format (ND 90305) - the first decent CD remaster came in July 2000 from the USA on Buddah 74465 99703 2 (Barcode 886972493527) - a CD that boasted five previously unreleased outtakes/alternate versions.

That stand-alone disc is still widely available - but I'd advise going for the album within the NILSSON "The RCA Albums Collection" RCA/Legacy 17-Disc Box Set from July 2013 (Barcode 886979155022). It offers the same line-up - the original 10-track LP from 1970 and those five bonus tracks - but this time the liner notes claim it's been newly remastered for that set by an Audio Engineer hero of mine - VIC ANESINI. He did the Remasters at Battery Studios in New York – and he's a name I've sung the praises of before. Anesini has handled very prestigious SONY catalogue – Elvis Presley, Simon & Garfunkel, The Byrds, Stevie Ray Vaughan, Carole King, Janis Joplin, Blood, Sweat & Tears, Santana, Paul Simon, Mountain, Lou Reed, Roy Orbison and The Jayhawks to name but a few. Clean – full of presence and warmth – this thing is a joy to listen too – mostly piano and lead vocals with some overdubbed voices and other keyboards. Beautiful. Let’s get to the music...

1. Vine Street
2. Love Story
3. Yellow Man
4. Caroline
5. Cowboy
6. The Beehive State [Side 2]
7. I'll Be Home
8. Living Without You
9. Dayton, Ohio 1903
10. So Long Dad
Tracks 1 to 10 are the album "Nilsson Sings Newman" - released January 1970 in the USA on RCA Victor LSP-4269 and March 1970 in the UK on RCA Victor SF 8166. Produced by HARRY NILSSON - Nilsson sings and RANDY NEWMAN plays Piano. Other musicians not credited.

BONUS TRACKS:
11. Snow
12. Love Story (Alternate Version)
13. Cowboy (Alternate Version)
14. I'll Be Home (Alternate Version)
15. Living Without You (Alternate Version)
Tracks 11 to 15 first appeared as 'Bonus Tracks' on the 2000 CD reissue of "Nilsson Sings Newman"

"Vine Street" was first aired by Van Dyke Parks on his December 1967 LP "Song Cycle" - whilst five songs "Love Story", "The Beehive State", "Cowboy", "Living Without You" and "So Long Dad" first showed on Newman's June 1968 debut album "Something New Under The Sun" on Reprise Records. He would tackle "Yellow Man" himself on his 2nd LP - April 1970's "12 Songs". The rest were written for the album. "Vine Street" opens with a great bopping tambourine followed by clever layered vocals - but soon settles into a different 'that's a take' slow pace. Probably seemed like a good idea at the time but I wished they'd settled on one groove or another. Things start to shine with the lovely yet weirdly sad "Love Story" with its 'you and me' chorus. That acidic social commentary voice of Randy Newman comes sailing through "Yellow Man". How many songwriters can pen lyrics like "...eating rice all day...while the children play...you see he believes...in the family...just like you and me..." and still sound like he's slagging off the rednecks who would put down any colour or creed that isn't white.

I can't be rational about "Caroline" - I was mesmerised by it 46 years ago - and not much has changed. The way he arranges it - the melody - the gorgeous delicate layering of the vocals - not intrusive strings to syrup up proceedings. I could never understand why RCA didn't pick this masterpiece as a 45 on either side of the pond (no 7" singles off the album). A lonesome chill wind brings in Nilsson's voice in "Cowboy" but then he adds others vocal layers - and along with Newman's sweet piano playing - it aches. Politics rears its ugly head again in the Kansas Farmer song "The Beehive State" where locals are getting shafted again by silver tongues from Utah in slick suits and cars that can get away fast once they've made all those false promises. Another beauty is "I'll Be Home" - a song that almost feels like a Prayer rather than a love song. "When you're felling down and need some sympathy...and there's no one else around to keep you company...you can count on me...I'll be home..." Many feel "Living Without You" may well be one of Nilsson's best undiscovered-moments - a gorgeous ache floating through those polite and softly pressed piano notes. You just 'know' this man is dying inside - 'so hard' living without you. It ends on a double set of goodies - the friendly neighbours and simpler times of "Dayton, Ohio 1903" and the goodbye to all that loss of "So Long Dad".

The incredibly bleak outtake "Snow" is ropey audio-wise (not a madly great song either) - but its cool to hear Newman and Nilsson both talk and note that the ending was 'bad' as the songs fades out. The following four 'Alternate Versions' are fabulous stuff - beautiful clarity and each carrying real vocal differences between them and the released versions. At 2:18 minutes the Alternate of "Cowboy" is shorter than the released take of 2:58 minutes - but still feels epic for its short duration. Both "I'll Be Home" and "Living Without You" feature a floating organ that hurts - Nilsson trying out different vocal approaches towards the end of each song ("I'll Be Home" has dialogue between Newman and Nilsson at the close). These are Bonus Tracks actually worthy of the moniker.

I know it's a lot of money to buy "The RCA Albums Collection" to access just one NILSSON album (even if the Audio is fabulous). But of course there's so much more on offer in there - an embarrassment of riches really (and unfortunately some embarrassments in the later albums - see my separate review).

NILSSON was an extraordinary talent and apparently legend has it that RANDY NEWMAN and he fought over the arrangements and numbers of takes needed - to the point where the album and their collaboration didn't seem like such a good idea anymore. Whatever is true - "Nilsson Sings Newman" is an overlooked car-full-of-tunes LP that cries out to be driven again. "Without You" - don't be without this...

"I Never Loved A Man The Way I Love You" by ARETHA FRANKLIN (1995 Rhino 'Expanded' MONO CD Remaster) - A Review by Mark Barry...

"...A Soul Serenade..."

"Sock it to me! Sock it to me! Sock it to me!" That famous refrain in a groovy take on Otis Redding's "Respect" opens Aretha Franklin's March 1967 Atlantic Records debut album "I Never Loved A Man The Way I Love You". And by the time you make it to Track 2 - a gorgeously arranged cover of Ray Charles' 1956 Atlantic R&B weeper "Drown In My Own Tears" – and that amazing title track at No. 3 - those arbitrary accolades of 'Best Soul Album Ever Released' actually start to make total sense.

Even now in sunny June 2016 - Aretha's first album for the mighty Atlantic Records is an awesome thing to behold - so many great tracks, so much feel and it's damn moving too (I rate her own "Baby, Baby, Baby" as one of 'the' best songs on the iconic record). Let's get to Soul Music's real deal...

UK, Europe and USA released June 1995 - "I Never Loved A Man The Way I Love You" by ARETHA FRANKLIN on Rhino/Atlantic Remasters 8122-719340-2 (Barcode 081227193423, UK and Europe issue) is a CD Remaster of the 1967 11-track album with four Bonus Tracks and plays out as follows (41:26 minutes):

Side 1:
1. Respect (Otis Redding song)

2. Drown In My Own Tears (Danny Glover song, Ray Charles cover)

3. I Never Loved A Man (The Way I Love You) (Ronny Shannon song)

4. Soul Serenade (Curtis Ousley/Luther Dixon song)

5. Don't Let Me Lose This Dream (Aretha Franklin/Ted White song)

6. Baby, Baby, Baby (Aretha and Carolyn Franklin song)

Side 2:
7. Dr. Feelgood (Love Is A Serious Business) (Aretha Franklin/Ted White song)

8. Good Times (Sam Cooke cover)

9. Do Right Woman - Do Right Man (Dan Penn/Chips Moman song)

10. Save Me (Curtis Ousley/Aretha and Carolyn Franklin song)

11. A Change Is Gonna Come (Sam Cooke cover)

Tracks 1 to 11 are the album "I Never Loved A Man The Way I Love You" - released 10 March 1967 in the USA on Atlantic 8139 (Mono) and Atlantic SD 8139 (Stereo) and June 1967 in the UK on Atlantic 587 066 (Mono) and Atlantic 588 066 (Stereo). 

The MONO MIX is used for this CD reissue. Arranged and Directed by TOM DOWD and Produced by JERRY WEXLER - the LP was recorded in January and February of 1967 in the FAME Studios in Muscle Shoals, Alabama. It peaked at No. 2 in the USA on the Pop charts (No. 1 on the R&B charts) and No. 36 in the UK on the Pop charts.

BONUS TRACKS:

12. Respect (Stereo Version)

Mono Version used for the USA 7" single of "Respect" released 16 April 1967 on Atlantic 2403 - Pop and R&B No. 1

13.  I Never Loved A Man (The Way I Love You) (Stereo Version)

Mono Version used for the USA 7" single of "I Never Loved A Man The Way I Love You" released 10 February 1967 on Atlantic 2386, A-side - Pop No. 9 and No. 1 R&B

14. Do Right Man - Do Right Woman (Stereo Version)

Mono Version used for the USA 7" single of "Do Right Woman - Do Right Man" released 10 February 1967 on Atlantic 2386, B-side

The players:

ARETHA FRANKLIN - Vocals and Piano

SPOONER OLDHAM - Organ and Electric Piano

JIMMY JOHNSON - Guitar (All Tracks except 3 and 10)

CHIPS MOMAN - Guitar (Tracks 3 and 10)

TOMMY COGBILL - Bass

ROGER HAWKINS - Drums (All Tracks except 4, 7 and 8)

GENE CHRISSMAN - Drums (Tracks 4, 7 and 8)

MELVIN LASTIE, KEN LAXTON, DAVID HOOD, CHARLIE CHALMERS, KING CURTIS, JOE ARNOLD and WILLIE BRIDGES - Horns

ARIF MARDIN - Vibes

CAROLYN FRANKLIN, ERMA FRANKLIN and CISSY HOUSTON - Backing Vocals

The 8-leaf foldout inlay has liner notes from noted writer and Soul historian DAVID NATHAN followed by Jerry Wexler's original album liner notes. You get a detailed history of the Muscle Shoals sessions and how the whole thing together. There are also full album credits and reissue details. The mighty duo of DAN HERSCH and BILL INGLOT carried out the MONO Transfers and Remaster and it sounds just great - punchy and vibrant - air around the loose sessions. The three STEREO versions of the big single sides are only icing on a very tasty cake.

Knowing they were onto something special - Atlantic rush-released the title track "I Never Loved A Man The Way I Love You" on the 10th of February 1967 as an American 45. Recorded a few weeks prior on the 24th of January and written by Detroit's Ronny Shannon - it's a song that is so synonamous with Aretha that its entered into legend and myth by now. But the moment that wicked Spooner Oldham electric piano starts on those slinky notes - you're hooked and then moved - and that's rare. "Soul Serenade" and "Don't Let Me Lose This Dream" continue that Bluesy Soul vibe with only the cha-cha shuffle of "Don't Let Me Lose This Dream" feeling slightly awkward and actually out of place.

But then you're whacked with sheer magic - her own "Baby, Baby, Baby". As she sings "...I didn't mean to hurt you..." - you 'feel' it - the power of the lyrics given that extra oomph by the three ladies giving it some backing vocals (Erma and Carolyn Franklin with Cissy Houston). Atlantic used the wickedly sexy "Dr. Feelgood" as the B-side to "Respect" on Atlantic 2403 in April 1967. My other craves are the fab groover "Save Me", Dan Penn's magnificent "Do Right Woman-Do Right Man" which he returned to on his June 1994 CD album "Do Right Man" (see separate review) ands the final nod to the master - a heartbreakingly beautiful take of Sam Cooke's progress anthem "A Change Is Gonna Come" - the perfect ending to the most rounded of Soul LPs from the period.

"...Woman's only human...you should understand..." - Aretha sang on "Do Right Woman - Do Right Man". Not sure there's anything 'human' about this superhuman LP. A CD you should treasure - never mind own...

"Do Right Man" by DAN PENN (1994 Sire/Warmer Brothers/Blue Horizon CD Album) - A Review by Mark Barry...

"...I Leave Myself Wide Open..."

It's one thing to be able to write great songs that are name-checked as masterpieces some 45 years later (Penn has scribed many as you will find out) – but it's another ball of wax to find out that the man can actually sing 'Soulful' too - gargle warmth and personality with the best of them –reminding you at times of great unsung white male singers with black Soulful voices like Eddie Hinton and Terry Reid.

The premise here is this – Alabama’s DAN PENN - a 60ts and 70ts gifted white boy in-house songwriter working with huge names in the Soul and Rock world in Rick Hall’s legendary powerhouse FAME STUDIOS in Muscle Shoals – revisits his old hits in his old stomping ground with his playing buddies at his side. He will do 'his' versions of songs made famous by icons like Aretha Franklin - her 1967 smash "Do Right Woman, Do Right Man" on Atlantic Records, James Carr's 1967 hurting "The Dark End Of The Street" on Goldwax, Percy Sledge's 1966 heartbreaker "It Tears Me Up" on Atlantic, James and Bobby Purify's 1966 ode to devotion "I'm Your Puppet" on Bell Records and "You Left The Water Running" - a song so popular it was first done by Barbara Lynn, Otis Redding, Maurice & Mac, Sam & Dave, Ralph Jackson and Wilson Pickett. In fact in the case of "I'm Your Puppet" - a song also done by Dionne Warwick and as a duet with Marvin Gaye and Valerie Simpson - I'd argue that the new 1994 Penn version excels the sublime original and all other retellings - instilling the new take with incredible pathos, genuine beauty and feel. I play this sucker into the ground - always moving me. But let's get to the technical details first...

UK released 31 October 1994 - "Do Right Man" by DAN PENN on Sire/Warner Brothers/Blue Horizon 9362-45519-2 (Barcode 093624551928) was Produced by DAN PENN and GEORGE DRAKOULIAS, Recorded and Mixed at MUSCLE SHOALS SOUND STUDIOS in Sheffield, Alabama and Mastered by STEPHEN MARCUSSEN (he handled the 2009 Rolling Stones Remasters). The 16-page booklet has liner notes from noted R 'n' B and Soul Writer/Historian PETER GURALNICK and its ten-tracks plays to 37:15 minutes:

1. The Dark End Of The Street

2. Cry Like A Man

3. It Tears Me Up

4. You Left The Water Running

5. Do Right Woman Do Right Man

6. Memphis Women And Chicken

7. Zero Willpower

8. He'll Take Care Of You

9. I'm Your Puppet

10. Where There's A Will (There's A Way)

The band reunites Penn with:

REGGIE YOUNG and JIMMIE JOHNSON on Lead Guitars

BOBBY EMMONS, SPOONER OLDHAM, DAVID BRIGGS and CARSON WHITSETT on Keyboards

DAVID HOOD on Bass

ROGER HAWKINS on Drums.

The MEMPHIS HORNS on all cuts are:

WAYNE JACKSON on Trumpet, HARVEY THOMPSON on Tenor Sax

DOUG MOFFET on Baritone Sax (Flute on "He'll Take Care Of You")

CHARLES ROSE on Trombone

BACKING SINGERS on all cuts are:

AVA ALDRIDGE, CINDY RICHARDS-WALKER, LENNY LeBLANC, BUZZ CASON and GEORGE SOULE

DELBERT McCLINTON plays Harmonica on "Memphis Women And Chicken"

It's true that the new songs are competing with tunes so ingrained in your consciousness that it's hard to think of the newbees as anything you could compare favourably with the old - but I'd argue that Penn succeeds. His interpretations of "Dark End Of The Street", "It Tears Me Up" and especially "Do Right Woman Do Right Man" are spine-tinglingly good. And that "I'm Your Puppet" just does me in. Not to be outdone there are 'new' old songs too - tunes he's returned to that apparently lay unfinished - some for over twenty years.

There's the slow groove of "Cry Like A Man" - maybe an answer song to "Cry Like A Baby" - a Penn tune picked up by Arthur Alexander and Cher in 1969. The jaunty greasy food song "Memphis Women And Chicken" and the truly gorgeous "Zero Willpower" - a song you'd swear has to have been done by some Soul giant back in the Sixties but turns out to be new - a modern day classic (lyrics from it title this review). It ends on the Funky Brass groover "Where There's A Will (There's A Way)" which is good rather than being great.

He would tour this album with just Spooner Oldham - voices and keyboards - simple, eloquent and Soulful. And in some ways that's how you would sum up this overlooked beauty of an album – an eloquent slice of Modern Day Soul by a songwriter who helped shape its very foundations.

Get the 'Do Right Man' into your life soon as poss...