"'74 Jailbreak" by AC/DC (2003 Epic/Albert Productions 'ConnecteD Technology' Digipak CD - George Marino Remaster) - A Review by Mark Barry...

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"...A Bullet In His Back..."

In truth the 5-track mini LP "'74 Jailbreak" released October 1984 in the USA on Atlantic Records should more accurately be called "Australian AC/DC 1975 and 1976" because that’s what you’re actually getting.

This Bon Scott era compilation was sandwiched between 1983’s "Flick Of The Switch" and 1984’s "Fly On The Wall" to satiate the hunger by fans for more of the biggest (and loudest) Rock band in the world - AC/DC – fronted of course at that time by Brian Johnson who'd come on board for 1981's groundbreaking "Back In Black" album.

But don't be under any illusion just because it has only five 'old' songs – one of which is a Big Joe Williams R&B cover – don't think that this is isn't primo stuff. With Scott's crushing loss still in living memory - to me at the time "'74 Jailbreak" was kind of a magical little number – a timely reminder as to why I fell in love with the Australian Hard Rock band in the first place. Let's get to the CD details first before we go into the song origins..

UK released May 2003 - "'74 Jailbreak" by AC/DC on Epic/Albert Productions 510758 2 (Barcode 5099751075820) is a 5-Track CD reissue and new remaster of the 1984 US compilation LP and plays out as follows (24:23 minutes):

1. Jailbreak

2. You Ain't Got A Hold On Me

3. Show Business

4. Soul Stripper

5. Baby, Please Don't Go

Tracks 1 to 5 are the album "'74 Jailbreak" – released 19 October 1984 in the USA on Atlantic A1-80178. It was first issued in the UK and Europe on CD in 1990.

Some explanation about the song make-up of this compilation... When the first two AC/DC albums were released on Albert Productions in Australia - "High Voltage" in February 1975 (Albert Productions APLP.009) and "T.N.T." in December 1975 (Albert Productions APLPA.016) – they had radically different track lists to their UK, USA and International issues (and different artwork too). Four of the five tracks from "'74 Jailbreak" come from the Ozzy incarnation of the "High Voltage" album - "You Ain't Got A Hold On Me", "Baby, Please Don't Go", "Soul Stripper" and "Show Business". The fifth track "Jailbreak" and its B-side "Fling Thing" were recorded in Australia in January 1976 and released as a stand-alone 7" single in 1976 in various territories.

If you want to sequence the first two Australian LPs and both sides of the stand-alone "Jailbreak" single - you’ll actually need three of these 2003 CD reissues - "'74 Jailbreak", "High Voltage" and "Dirty Deeds Done Dirt Cheap" and two Box Sets - "Bonfire" from 2003 and "Backtracks" from 2009...

Their 8-track Oz original of "High Voltage" looked like this...

Side 1:

1. Baby Please Don't Go (on "'74 Jailbreak" 2003 CD)

2. She's Got Balls (on "High Voltage" 2003 CD)

3. Little Lover (on "High Voltage" 2003 CD)

4. Stick Around (on "Backtracks" 2009 Box Set)

Side 2:

1. Soul Stripper (on "'74 Jailbreak" 2003 CD)

2. You Ain't Got A Hold On Me (on "'74 Jailbreak" 2003 CD)

3. Love Song (on "Backtracks" 2009 Box Set)

4. Show Business (on "'74 Jailbreak" 2003 CD)

While the 9-track original of "T.N.T." looked like this...

Side 1:

1. It's A Long Way To The Top (If You Wanna Rock 'n' Roll) (on "Backtracks" 2009 Box Set)

2. The Rock 'n' Roll Singer (on "High Voltage" 2003 CD)

3. The Jack (on "High Voltage" 2003 CD)

4. Live Wire (on "High Voltage" 2003 CD)

Side 2:

1. T.N.T. (on "High Voltage" 2003 CD)

2. Rocker (on "Dirty Deeds Done Dirt Cheap" 2003 CD)

3. Can I Sit Next To You Girl (on "High Voltage" 2003 CD)

4. High Voltage (on "High Voltage" 2003 CD)

5. School Days (on "Backtracks" 2009 Box Set)

"Jailbreak" b/w "Fling Thing"

June 1976 Australian 7" Single on Albert Productions AP-11135 in label bag

August 1976 UK 7" single on Atlantic K 10805 in label bag

March 1980 UK reissued 7" single on Atlantic K 10805 in picture sleeve

A-side on "'74 Jailbreak" 2003 CD – B-side on "Backtracks" 2009 Box Set

AC/DC was:

BON SCOTT – Vocals

ANGUS YOUNG – Lead Guitar

MALCOLM YOUNG – Rhythm Guitar

MARK EVANS - Bass

PHIL RUDD – Drums

So what do you get here? This Epic CD 5-track reissue has what they call 'ConnecteD Technology' which allows you to access online content via your computer but I'm buggered if I've ever bothered. The card digipak is the same for all of these reissues - very tasty and tactile. There’s a picture CD to the right (the cover art of Angus) and a 12-page booklet housed on the left in a pocket pouch. The booklet It's crammed full of period colour photos - a stunner of the boys up beside a derelict house wall and a gatefold spread of Angus in full schoolboy glory holding a pint of milk! They miss a trick by repeating the US picture sleeve of "Jailbreak" with "Soul Stripper" on its B-side twice when they could have used the UK sleeve -

 or even the rare UK original label. There are other great unpublished live shots too of Bon and Angus. MURRAY ENGLEHEART provides the informative and and enthusiastic liner notes. There is another photo of the band in full denims and teeshirt mode (Angus with his velvet suit and 'A' hat) on the inner gatefold and a solo shot of Bon looking suitable leery beneath the see-through CD tray (great fun the lot of it). The GEORGE MARINO Remaster (done in the USA) is from 'original master tapes' and sounds HUGE - fuller than the 1990 remaster I've had for years. Despite their age - tracks like "Soul Stripper" and "Jailbreak" have lost none of their Rock 'n' Roll power.

I’m always amazed that the truly barnstorming "Jailbreak" (a Young, Young and Scott composition) never did the business as a single in the UK – a country that adores it hooky Rock Classics. Admittedly I can't actually remember seeing the first 1976 pressing of Atlantic K 10805 in its distinctive orange and yellow label – I bought the 1980 picture sleeve reissue with Angus dashing across some stage somewhere semi-naked and sweating like a politician at a tax audit. You could argue that they should have stuck the B-side "Fling Thing” on this compilation – but it’s a Scottish Traditional air instrumental of two minutes that is probably the most throwaway track in their entire cannon – so no real loss there (you take the low road and I'll be in Scotland before you have to hear this). The remaster brings out that fantastic riffage though of "Jailbreak" – the rakish Bon singing the praises of a non-PC mate of his whose doing 16-years in Hell for murder - breaking rocks on the chain gang. He makes it out all right - but with a treacherous bullet in his back (an ideal dinner guest I'm thinking). 

After the sheer pulse-increasing blinder of "Jailbreak" - the ever-so slightly weedy "You Ain't Got A Hold On You" comes as a minor disappointment. But that's immediately wiped away by the Thin Lizzy-sounding rocker "Show Business" - a raucous tirade at robbers in their chosen profession. It's typically leery, fun and Rock 'n' Rolls like a goodun. "Soul Stripper" has a very "High Voltage" vibe in its similar riff - great back beat as Bon regales his tale of a lady tingling his spine who then produces a knife and makes him say things he didn't want to say (oh yeah Bon). They miscredited the Big Joe Williams classic "Baby, Please Don't Go" to Big Bill Broonzy on first pressings of their Australian debut album "High Voltage" - but that doesn't stop this being another rocking fave of mine - the band sounding like Budgie who also covered this slide tune on their 1973 album "Never Turn Your Back On A Friend" (Metallica would return the cover favour years later too). I love that Bon/Angus guitar/voice battle that romps the R&B dancer home.   

"'74 Jailbreak" is short I know and not all undiluted AC/DC riffing genius - but for me it was so sweet to hear Bon again - letting rip with that sense of humour of his and the best rock band on the planet backing him up.

It was a long to the top if you wanted to Rock 'n' Roll - but man their climb was filled with magnificence. Break some rocks with the original chain gang folks and bring this saucy little bust-out into your home...

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"Joan Armatrading" by JOAN ARMATRADING - August 1976 Third Studio Album on A&M Records (September 1997 UK A&M 'ReMasterPieces' CD Reissue with Roger Wake Remaster) - A Review by Mark Barry...

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MORE THAN A FEELING 

1976

Your All-Genres Guide To 

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"...I'm Open To Persuasion..." 

I can recall vividly the first time I heard "Love And Affection" in the Autumn of 1976 – sophisticated, hurting, layered – it was truly jaw-dropping stuff. And this most famous of her songs has pretty much remained a Radio stalwart ever since. 

Her third album – the self-titled "Joan Armatrading" is coming up on a 50th anniversary in 2026 so deserves to have its considerable praises sung "...once more with feeling..."

UK released September 1997 – "Joan Armatrading" by JOAN ARMATRADING on A&M CDMID 104 (Barcode 082839322829) is a straightforward mid-price CD transfer of the album on the label's 'A&M ReMasterPieces' Series and plays out as follows (42:05 minutes):

1. Down To Zero [Side 1]

2. Help Yourself

3. Water With The Wine

4. Love And Affection

5. Save Me

6. Join The Boys [Side 2]

7. People

8. Somebody Who Loves You

9. Like Fire

10. Tall In The Saddle

Tracks 1 to 10 are her third LP "Joan Armatrading" – released August 1976 in the UK on A&M Records AMLH 64588 and September 1976 in the USA on A&M SP-4588. The album peaked at No. 12 on the UK album charts (No. 67 in the USA) in September 1976. The CD Remaster was carried out by ROGER WAKE at Bourberry & Wake and is very clean – beautiful in places. Unfortunately the inlay is a gatefold slip of paper with musician credits and bugger all else which is a damn shame (early days of CD reissues).

THE BAND:

JOAN ARMATRADING – 6 and 12-string Acoustic Guitars & Lead Vocals

JERRY DONAHUE – Lead Electric Guitar (all tracks except "Somebody Who Loves You" and "Like Fire")

BRYN HAWORTH – Mandolin on "Somebody Who Loves You" and Slide Guitar on "Like Fire"

PETER WOOD – Piano and Organ (all tracks except "Somebody Who Loves You" and "Like Fire")

DAVE MARKEE – Bass on All Tracks

DAVE MATTACKS – Drums on All Tracks except "Down To Zero" and "Help Yourself"

KENNEY JONES – Drums on "Down To Zero" and "Help Yourself"

Duel drums with Dave Mattacks on "Water With The Wine", "Join The Boys" and "People"

B.J. COLE – Steel Guitar on "Down To Zero"

GRAHAM LYLE (of Gallagher & Lyle) – 12-String Guitar on "Down To Zero"

JIMMY JEWEL – Saxophone on "Love And Affection"

LEROY CHAMPAIGN and CLARKE PETERS – Backing Vocals on "Love And Affection"

Following on from her debut LP "Whatever's For Us" on Cube Records HIFLY 12 in November 1972 and her 2nd effort "Back To The Night" on A&M Records AMLH 68305 in April 1975 – "Joan Armatrading" didn't so much launch her but explode the West Indies lady (by way of Birmingham in the UK) onto a world stage. The self-titled LP was everywhere by Christmas and being praised as one of 'the albums of the year' by admirers in the music press on both sides of the pond and everywhere else for that matter.

Side 1 opens with the magnificent "Down To Zero" – a regular on "Best Of" and "Anthology" compilations and easy to hear why. A gorgeous production by Glyn Johns sees those acoustic guitars up front until Jerry Donahue from Fairport Convention kicks in with that great lead guitar. Kenney Jones (of Small Faces, Faces and The Who) and Dave Markee (of Centipede) both play blinders on the Drums and Bass too. But its those "...first class scene-stealer...brand new dandy..." lyrics that cut into you – announcing with bravado that this is no sappy love song nor is the writer a teenage sucker. The sweet sounds continue with the deceptive "Help Yourself" – and just as you're getting comfortable with it acoustic sway – the song goes funky and angry - genius.

"...Met him on a Monday and he said he loved me so..." she sings warily on "Water With The Wine" and by the time you get halfway though the song you get the uneasy feeling that things aren't going to work out for this Joe Schmo. It's funny now to think of that deep bass vocal on "Love And Affection" as being Detective Lester Freamon in HBO's 'The Wire' TV Series who used to bawl out Dominic West's character McNulty every week. But the other unsung hero on this classic is surely Jimmy Jewell of Jake & The Family Jewels - whose Saxophone work elevates the song into the majestic. Everything about this ode to love is aching like an open wound – longing for a taste of the real thing - and even after 40 years "Love And Affection" still has the emotional mojo to move a soul.

Side 2 opens with the funky Rock of "Join The Boys" where Joan declares her musical motley crew is "...second to none even on a bad night..." – great piano and organ fills from Peter Wood throughout with both Kenney Jones and Dave Mattacks whacking those skins. I've always had a soft spot for anything Bryn Haworth plays on – a fantastic guitar player who used to be with Freakbeat darlings Fleur Des Lys in the 60ts. Haworth had just put out two solo albums on Island "Let The Days Go By" in 1974 and "Sunny Side Of The Street" in 1975 (see my review for this pairing on Gott Discs). Haworth's mandolin playing is sweetly complimentary to "Somebody Who Loves You" bringing out the warmth of the song - while his menacing chunky Slide on "Like Fire" perfectly underscores Joan's fantastic funky Acoustic Guitar playing. The record ends on the quietly hopeful "Tall In The Saddle" which features a wildly effective guitar solo from Jerry Donohue.

If you want more of her great material – the "Gold" 2CD set from Universal has beautiful 2005 remasters from Erick Labson – but at present this is the only way to get the whole album with 'that' song on it.

I'd love to hear outtakes from these sessions or demos and I can't help thinking that a 2CD 50th Anniversary Deluxe Edition of "Joan Armatrading" is due in 2026? Here's hoping...

"Show Some Emotion" by JOAN ARMATRADING (1997 A&M 'ReMasterPieces' CD – Roger Wake Remaster) - A Review by Mark Barry...

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"...Shelter In A Storm..." 

After the artistic and commercial high of her 3rd studio platter "Joan Armatrading" in the autumn of 1976 – an album resplendent with the magnificent showstopper single "Love And Affection" amidst its classy ranks – the 1977 follow-up "Show Some Emotion" was generally considered to be somewhat of a disappointment.

I'd argue "Show Some Emotion" is an overlooked wee beauty. And in 2017 – Joan Armatrading's fourth studio album is coming up fast on a 40th anniversary – so as the good lady would say "...once more with feeling..." Here are the CD Remaster details

UK released September 1997 – "Show Some Emotion" by JOAN ARMATRADING on A&M CDMID 105 (Barcode 082839466325) is a straightforward mid-price CD transfer of the 10-track 1977 album on the label's 'A&M ReMasterPieces' Series and plays out as follows (37:35 minutes):

1. Woncha Come On Home [Side 1]

2. Show Some Emotion

3. Warm Love

4. Never Is Too Late

5. Peace In Mind

6. Opportunity [Side 2]

7. Mama Mercy

8. Get In The Sun

9. Willow

10. KIssin' And A Huggin'

Tracks 1 to 10 are her fourth studio album "Show Some Emotion" – released September 1977 in the UK on A&M Records AMLH 68433 and October 1977 in the USA on A&M SP-4663. Produced by GLYN JOHNS - the album peaked at No. 12 on the UK album charts and No. 52 in the USA.

THE BAND:

JOAN ARMATRADING – 6 and 12-string Acoustic Guitars, Thumb Piano and Lead Vocals

JERRY DONAHUE – Lead Electric or Acoustic Guitar on all tracks except "Woncha Come On Home" where all instruments are by JA

GEORGIE FAME – Fender Rhodes Electric Piano on Tracks 2, 3, 4, 5, 7 and 9

JOHN 'RABBIT' BUNDRICK – Organ on Tracks 2, 4, 7 and 8

TIM HINKLEY – Organ on Track 5 and Piano on Track 10

MEL COLLINS – Saxophone on Tracks 7 and 10

BRYAN GAROFALO – Bass on Tracks 2, 4, 5, 7, 8, 9 and 10

DAVE MARKEE – Bass on Tracks 3 and 6

DAVID KEMPER - Drums on Tracks 2, 4, 5, 7, 8 and 9

KENNEY JONES – Drums on Track 6

HENRY SPINETTI – Drums on Tracks 3 and 10

PETE CLARKE and JOE SCOTT – Backing Vocals on Tracks 6 and 8

BRIAN ROGERS – Strings Arranged and Conducted on “Willow”

The CD Remaster was carried out by ROGER WAKE at Bourberry & Wake and is very clean – even beautiful in places. Unfortunately the inlay is a gatefold slip of paper with musician credits only and bugger all else - a damn shame really.

Following on from her debut LP "Whatever's For Us" on Cube Records HIFLY 12 in November 1972 and her 2nd effort "Back To The Night" on A&M Records AMLH 68305 in April 1975 – "Joan Armatrading" didn't so much launch JA but explode the West Indies lady (by way of Birmingham in the UK) onto a world stage. The self-titled LP was everywhere by Christmas 1976 and being praised as one of 'the albums of the year' by admirers in the music press on both sides of the pond and everywhere else for that matter. The pressure was on to produce an equal. And in 1977 tracks like "Show Some Emotion", "Willow", "Kissin' And A Huggin'" and "Warm Love" absolutely delivered on the emotional and musical sucker-punches – but despite its No. 6 chart position in the UK (six notches better than her more famous predecessor) many felt the rest of the record somehow lacked. I'd disagree.

Another gorgeous production from Glyn Johns sees those acoustic guitars up front while high calibre guests like Jerry Donahue of Fairport Convention, Rhodes Piano R&B star Georgie Fame, John ‘Rabbit’ Bundrick who’d done a stint with Free, Kenney Jones of The Small Faces, The Faces and The Who, Saxophonist Mel Collins of King Crimson, Tim Hinkley of The Bo Street Runners, Jody Grind and Snafu and Dave Markee of Centipede – all contribute immensely to the overall classy feel.

The opener "Woncha Come on Home" is gorgeous – just Joan on Acoustic Guitar and a plinking Thumb Piano singing almost Acapella on a song where she’s scared at night and pining for her beau. "Show Some Emotion" is the first tune to show the full playing range of her band – all Jazz-Funky but in a Rock way. The Bassist Bryan Garofalo who gives the track such a great groove later sessioned on Joe Walsh's "So What" and did stints for John Stewart, Kim Carnes and Glenn Frey. But the first true moment of greatness on the album arrives with the beautiful "Warm Love" which A&M lifted as a 45 in March 1978 (AMS 7346) with "Get In The Sun" from Side 2 as its flipside. It seems amazing even now that such a genuinely pretty love song with obvious heart in its very DNA did no business on either side of the pond.

Thinks Funk-Up with "Never Is Too Late" – Jerry Donahue on Electric Guitar with Ja on Acoustic – both chugging away at the neck-jerking rhythm. She switches to Acoustic Piano for the mellow "Peace In Mind" – a song about plans people pursue that don’t work out. JA then takes an impressive Lead Acoustic on "Opportunity" – bending those strings as Jerry sneaks around in the background on a Slide Electric – sinister and cool - while Pete Clarke speaks in a deep dark voice about worldwide adventures and opportunities to make money out of other people's misery. Over on Side 2 things get Jazz-Funky as the band swing and sway on "Get In The Sun" – Joan working some clever vocals phrases in the upper register. The final two - the stunning mellow declaration of love in "Willow" and the sexy took-my-baby-walking of "Kissin' And A Huggin'" - are amongst the best tracks on the album and regularly appear on 'Best Of' and 'Anthology' CD compilations.

If you want more of her great material – the "Gold" 2CD set from Universal has beautiful 2005 remasters from Erick Labson – an Audio Engineer who has over 1000 mastering credits to his name including huge swathes of the Universal catalogue. In the meantime invest in this 'whole' album that's gotten lost over the years.

"...Come running to me when things get out of hand...running to me when it's more than you can stand...I'm strong...straight...willing...to be a shelter in a storm...your willow..."

Ain't that just beautiful...

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"The Works 1969-1971: Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS MAGIC THEATRE (April 2017 Cherry Red Records 3CD Mini Box Set) - A Review by Mark Barry...

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"...Amused The Magic Throng..."

You have to love John Peel. Named after a batty relative of the percussionist Lyn Edwards (Lyn is pictured furthest to the right on the back cover of the "Soundtrack" LP) - Principle Edwards Magic Theatre were the first act signed in early 1969 to the witty DJ's new record label - Dandelion Records. And you have to wonder was Peely (and all 14 of the ensemble for that matter) on mushrooms not necessarily destined for tins of Heinz Soup. Re-listening to this music in April 2017 and it's bleeding obvious that this group stood no chance of chart success. Or maybe that was the point…

Part theatre, part Prog, part Folk Rock – PEMT incorporated all that was counter-culture in those halcyon years - hippy-lore, eastern mysticism, tie-dye shirts and dollops of ancient literature. Their sound was a hybrid of The Incredible String Band and Curved Air – a sort of Prog variant of Folk-Rock with a woman out front singing ponderous lyrics about rhododendrons in your midst while rainbow bridges lead to giants and interlunar caves (don't you just hate that). Musically it's like Traffic, The Amazing Blondel and Quintessence engaged in a summer solstice threesome at the foot of Stonehenge and nine months later (on a full moon of course) – a lovechild is brought forth that none of them know what to do with (yikes).

For sure PEMT will not be for everyone (critics of the time called them naïve at best and pretentious at worst) - but those who do love their mishmash sound married to theatrical visuals will have to get their grubby mitts on this wicked new release from those champions of all things eclectic and awkward - Cherry Red Records. They've done this most British of bands a proper solid and of course for Pink Floyd fans - there's the tie-in of Nick Mason on album No. 2. Here are the enigmatic insomniac machines (and that's just Side 1 of the first album)...

UK released Friday, 14 April 2017 (21 April 2017 in the USA) - "The Works 1969-1971: Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS MAGIC THEATRE on Cherry Red Records CDTRED 704 (Barcode 5013929170438) is a Remastered 3CD set housed in a card slipcase (three card sleeves and a booklet) that plays out as follows:

Disc 1 - "Soundtrack" - 53:32 minutes:

1. Enigmatic Insomniac Machine [Side 1]

2. Sacrifice

3. The Death Of Don Quixote

4. Third Sonnet To Sundry Notes Of Music [Side 2]

5. To A Broken Guitar

6. Pinky: A Mystery Cycle

Tracks 1 to 6 are their debut album "Soundtrack" - released August 1969 in the UK on Dandelion Records S 63752 and Elektra Records D9-103 in the USA. The US album featured a 'face' as its artwork - that shot is used as Page 1 of the booklet.

BONUS TRACKS:

7. Ballad (Of The Big Girl Now And The Mere Boy)

8. Lament For The Earth

Tracks 7 and 8 are both non-album tracks - their debut UK 7" single on Dandelion Records 4406 released July 1969

Disc 2 - "The Asmoto Running Band" - 40:24 minutes:

Side Three/The Asmoto Side

1. McAlpine's Dream [Side 1]

2. McAlpine Versus The Asmoto

3. The Asmoto Running Band (Hou'Amih)

4. Asmoto Celebration

5. Further Asmoto Celebration (After The Ball)

Side Four/The Gambini Side

6. Total Glycerol Esther [Side 2]

7. Freef ('R) All

8. Autumn Lady Dancing Song

9. The Kettering Song

10. Weirdsong Of Breaking Through At Last

Tracks 1 to 10 are their 2nd studio album "The Asmoto Running Band" - released January 1971 in the UK on Dandelion Records DAN 8002 (no USA issue). The album was produced by NICK MASON of PINK FLOYD.

Disc 3 - "Hidden Treasure: Sessions, Live and Demos" - 74:06 minutes:

1. The Ballad (Of The Big Girl Now And The Mere Boy) - Top Gear, 1969

2. Third Sonnet To Sundry Notes Of Music - Top Gear, 1969

3. Pinky: A Mystery Cycle - Top Gear, 1969

Tracks 1 to 3 recorded 24 February 1969 at the BBC for the John Peel 'Top Gear' Show - broadcast 3 March 1969. Taken from an off-air recording made by Eddy Duffy

4. King Of The - Top Gear, 1970

5. The Fortieth Day Of Winter - Top Gear, 1970

Tracks 4 and 5 recorded at the BBC 13 January 1970 for John Peel's 'Top Gear' Show - broadcast 17 Jan 1970 - taken from Original Master Tapes

6. Vollabast

7. Two Women

8. Weasel (In The Wardrobe)

9. Scarlett HalfMan

10. The Egg And The Antrobus

Tracks 6 to 10 recorded live at Hampstead Theatre in the UK, September 1971 - tapes transferred and mixed by Richard Jones

11. Rainy Day Anne

12. Dear John & Mary (A State Of Affairs)

13. Ministry Of Madness

Tracks 11 to 13 are demos recorded at Morgan Studios in London, October 1971 - supervised by Nick Mason of Pink Floyd.

Tracks 4 to 13 are all PREVIOUSLY UNRELEASED

PRINCIPAL EDWARDS MAGIC THEATRE was:

VIVIENNE McAULIFFE and MARTIN STELLMAN – Lead Vocals and Recorders

ROOT CARTWRIGHT – Guitars, Recorders and Bass Guitar

BELINDA 'BINDY' BOURQUIN – Violin, Recorder, Piano and Organ

JEREMY ENSOR – Bass

DAVID JONES – Percussion (and Lyrics)

LYN EDWARDS - Percussion

ROGER SWALLOW – Drums on "The Asmoto Running Band" only

Associated:

Dan Leatherbarrow - Lyrics (Tracks 3 and 5 on Disc 2)

Monica Nettles – Dancer and Speaking Voice

John McMahon Hill – Dancer

Eva Darlow – Dancer

Gillian Hadlev – Choreography and Writer

Leslie Adley – Lights

Harry Housman – Stage, Road Manager and Designer

Christopher Runciman – Lights

Chrissie Morris – Lightshows and Effects

Terry Budd – Drums on Track 7, Disc 3

Beth Wood – Vocals and Recorder on Track 6, Disc 3 – Violin on Track 9

Joe Read – Bass Guitar and Recorder on Track 7, Disc 3

You get three single card sleeves slotted inside a card slipcase with a 20-page booklet sat alongside them. The first two card sleeves show the front and rear artwork for "Soundtrack" from 1969 and their second studio platter from early 1971 - "The Asmoto Running Band" – both on Dandelion Records. Fans will know they were originally gatefold sleeves on vinyl and carried lyric inserts so Cherry Red have reproduced the lyrics and the booklet's first page carries the different 'face' artwork of the USA issue for "Soundtrack" on Elektra Records – nice touches and attention to detail. The third CD uses a period black and white photo of their stage show as its artwork – while MIKE BARNES provides the in-depth liner notes that include interviews with keeper of the flame – Root Cartwright. And all three CDs are picture discs. It's all very tastefully done.

The audio is down to ALAN WILSON – and it's very pretty indeed. While some passages feature whig-out guitars – a lot of it is Trippy Acoustic veering into Folk-Rock so benefits from a good transfer and that's what you get. Some of the tracks on Disc 3 are ropey for sure but are here for obvious reasons - rarity value (previously unreleased). Let's get to the music...

Their debut album "Soundtrack" had only six tracks - three to either side - each half of the record dominated by one long track. "Enigmatic Insomniac Machine" starts proceedings with a flute, acoustic guitars and light marching percussion - like Tyrannosaurus Rex about to take a tab of acid and want to rock. You immediately notice Vivienne McAuliffe's voice that is akin to Bridget St. John (another Dandelion folky worth checking out – see separate review) or Sonja Christina of Curved Air. She starts rattling off lyrics about a mascara man who doesn't understand that she can't sleep for worry about the world. Things turn decidedly Heavy Prog Rock with the guitar riffage opening of "Sacrifice" - but it soon settles down into a more Folk-Rock amble with the droning voice of the band's other singer - Martin Stellman - soon joined by McAuliffe. Unfortunately its obvious why Vivienne is given the bulk of the singing chores - Stellman's voice is the kind of deadpan hippy drone that might induce a stoning from a less than sympathetic audience. The song is good though and has interesting stoner parts towards the end. The staggeringly wordy "The Death Of Don Quixote" is a near fourteen-minute Folk-Rock tour de force - violin, voice, acoustic guitar and words - pages of them. You could leave – paint the front room – and when you return – Vivienne will still be singing about a pleased witch in a mill in a tone that you suspect says she approves (Peel even gets a line himself).

Shakespeare provides the lyrics for "Third Sonnet To Sundry Notes Of Music” where its duet vocals and generally hippy nature is saving by a wicked rocking guitar break half way through the monk-like chants and ye olde wordage. "To A Broken Guitar" is a short acoustic ode from Cartwright and Leatherbarrow to their instrument of choice. The guitar work in the 10-minute "Pinky: A Mystery Cycle" is superb and will raise a chill amongst collectors – but it's partially negated by a spoken ending from Vivienne that unintentionally verges on the laugh-out-loud. The two non-album single sides are very hippy Folk of the period (pretty and ponderous) and collectors will appreciate their presence here. To sum up - the debut LP is a typically eclectic start – part loveable, part cack.

The second album "The Asmoto Running Band" brought on board two heavyweights in different departments – Hipgnosis did the cover art while Nick Mason of Pink Floyd fame did the Production. The Drummer Roger Swallow - who did stints with Harsh Reality, Matthews Southern Comfort and would later be with The Albion Country Band – also joined the ranks for album number two - even bringing the excellent "Freef ('R) All" track with him as collateral. The moment you play "McAlpine’s Dream" you hear the upgraded sound – Vivienne and Martin voices clear while the recorders get all fairy-lore on our ears. The largely instrumental "McAlpine Versus The Asmoto" shows amazing maturity in their compositions and playing – part Captain Beefheart, part Flock – all crooked pianos and violins one moment – then beauty the next (and the Audio is fantastic too). Other Prog-leaning winners include "Asmoto Celebration" and the undeniably pretty "The Kettering Man" which is heading towards Mellow Candle in its complex beauty. The second album is an unsung hero in their catalogue and its cool to hear it sound so good here.

The three Top Gear tracks from 1969 are acoustic and live - the audio good rather than being great - a few clicks and pops here and there. "Ballad..." is introduced as the new single and they sound like Sandy Denny doing a Demo. The Shakespeare poem 'Third Sonnet' is given an acoustic going over too with both vocalists. Far better sonically is "King Of The" and "The Fortieth Day Of Winter" from 1970 - taken from real tapes - Martin Stellman (unfortunately) taking lead vocals on both where PEMT sound like a lighter version of "This Was" Jethro Tull. "Vollabast" turns out to be six minutes of Funky keyboards against a very Prog backdrop. But the big prize here is the 13-minute "Weasel (In The Wardrobe)" - Duncan Browne sounding Spanish acoustic guitar carrying Vivienne McAuliffe and more pages of words. Best amongst the demos is "Rainy Day Anne" which shows a more Steeleye Span direction.

Principal Edwards Magic Theatre will not be for everyone by any stretch of the imagination and some of those early hippy incantations might bring some rockers out in a rash that not even real ale will cure. But amidst all of that loopy ensemble Folk Rock and somewhere in those Prog theatrical flourishes lies beauty and daring. And reissue hero Cherry Red is to be praised for putting all that Kettering quackery back out there and in such style too...

"Bandstand" by FAMILY (February 2006 Repertoire 'Limited Edition' CD Remaster of 4000 in Mini LP Repro Artwork) - A Review by Mark Barry...

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"...My Friend The Sun...Looks Good On The Run..."

England's FAMILY and its productive 1968 to 1974 Reprise Records back catalogue has had its fair share of reissue go-rounds (See For Miles, Essential, Charly's Madfish and more). But for me - these dinky Repertoire repro sleeves from 2006 - sporting quality CD remasters and relevant bonus tracks - are just what I need.

The German reissue label Repertoire re-released just three of these titles in February and March 2006 - each a limited edition of 4000 non-numbered copies - 1970's "Anyway" on Repertoire REPUK 1082 (Barcode 4009910108222) - 1971's "Fearless" on Repertoire REPUK 1083 (Barcode 4009910108321) and 1972's "Bandstand" on Repertoire REPUK 1081 (Barcode 4009910108123). The barcodes were in fact only on the shrink-wrapped stickers that accompanied each reissue - so many got lost once that was ripped open.

As each original FAMILY album (Reprise Records in the UK, United Artists in the USA) came in unique and beautiful packaging - each of these seminal Rock-Prog albums have been ripe for Repro Artwork fiends. Which brings us to one of their most underrated records - 1972's "Bandstand" – here in all its old TV sleeve splendour ("My Friend The Sun" indeed). Here are the semi-naked Burlesque details...

UK and Europe released February 2006 (April 2006 in the USA) - "Bandstand" by FAMILY on Repertoire REPUK 1081 (Barcode 4009910108123) is a Limited Edition CD Reissue of 4000 Copies with Full Mini LP Repro Artwork (shaped vintage TV sleeve with die-cut plastic screen and shaped inner) and Four Bonus Tracks (53:57 minutes):

1. Burlesque [Side 1]

2. Bolero Babe

3. Coronation

4. Dark Eyes

5. Broken Nose

6. My Friend The Sun [Side 2]

7. Glove

8. Ready To Go

9. Top Of The Hill

Tracks 1 to 9 are their 7th album "Bandstand" - released September 1972 in the UK on Reprise Records K 54006 and October 1972 in the USA on United Artists UAS-5644. Produced by FAMILY and GEORGE CHKIANTZ - it peaked at No. 15 in the UK LP charts and No. 183 in the USA. Tracks 1, 2, 5, 6, 7, 8 and 9 written by Chapman/Whitney - Track 3 written by Chapman/Whitney/Wetton with Track 4 written by Chapman/Palmer.

BONUS TRACKS:

10. The Rockin' R's

Track 10 is the non-album B-side of a UK 7" single "Burlesque" released September 1972 on Reprise K 14196 (peaked at No. 13)

11. No Mules Fool (Live)

12. Good News – Bad News (Live)

13. The Weaver's Answer (Live)

Tracks 11 to 13 first appeared on the February 2004 CD Reissue of "Bandstand” on Mystic MYS CD 173 (Barcode 604388621828)

FAMILY was:

ROGER CHAPMAN - Lead Vocals, Guitars and Percussion

CHARLIE WHITNEY - Guitars, Mandolin and Percussion

JOHN 'POLI' PALMER - Keyboards, Vibes, Flute and Percussion

JOHN WETTON - Guitars, Vocals, Contracts and Keyboards

ROB TOWNSEND - Drums, Paiste Cymbals and Percussion

Both the UK and American original vinyl LPs came in a beautifully visual 'shaped vintage TV set' sleeve with a plastic die-cut centre for the screen and a shaped Inner Bag cut to the contours of the cathode TV packaging. For this reissue Repertoire have faithfully repro'd that shaped artwork making it a gatefold too so you can see the inner shaped flap (inside the TV) that houses the foldout inlay and CD. They've put the lyrics on one side while the flip is filled with superlative liner notes from an old hand at these things – JOHN TRACY (John did many of the booklets on the early Decca and Deram CD reissues in the late 80s and early 90s – Savoy Brown, Thin Lizzy, Them, Keef Hartley, Moody Blues, Cat Stevens etc). The rear cover of REPUK 1081 also states a 'Limited Edition' of 4000 (the barcode is only on the outer shrink-wrap and not on the repro). It’s one of the loveliest repro’s I’ve ever seen.

It doesn't say which Remaster has been used for "Bandstand" or who did it – but I've never found any Repertoire CD Reissue to be anything other than banging – and their 2006 version of "Bandstand" is no different (see my separate reviews for David Clayton-Thomas, Merry Clayton, CCS and All Kooper/Shuggie Otis on Repertoire). This thing sounds great. Let's get to the music...

Prepping the public for the album in September - 18 August 1972 saw the fabulous "Burlesque" issued as a 45 in Blighty on Reprise K 14196 with the non-album "The Rockin' R's" on the B-side (Track 10 in the four Bonus cuts). With such a hooky riff and those rollin' 'n' tumblin' Roger Chapman vocals (a fine lady in a Leicester nightclub was the inspiration) - it's hardly surprising that the raunchy rock-classic "Burlesque" was an immediate adrenaline-rush. The UK 7" single enjoyed a twelve-week run peaking at No. 13 and is beloved to this day. Bad timing and musical differences saw the band take a hit with Bassist John Wetton leaving for King Crimson - Jim Cregan from Blossom Toes and Spud brought in as a speedy replacement. No sooner had the album hit the shops and all hands needed for a tour – Family also lost Poli Palmer who was replaced with Tony Ashton of The Remo Four and "The Resurrection Shuffle" trio of Ashton, Gardner & Dyke. "Bolero Babe" sounds like its title - a rumbling lead in of keyboard sounds is accompanied by marching drums and trippy vocals rounded off as it ends by clever string arrangements that give the relentless groove an epic feel (I've always loved this track).

"Coronation" is the first of set of 'mellow' Family songs - Chapman controlling the vocal hysterics as he sings of "...Jenny laughing on the phone..." and "...A Coronation mug of mine...heirlooms from a bygone age...in an open drawer..." It's a fabulous groove with great use of the electric piano where the music has Family feel like The Faces meets Genesis at times. The short but powerful "Dark Eyes" is essentially a Piano and Acoustic Guitar duet with doubled-vocals – another winner that’s over too quick for me. "Broken Nose" goes back to the "Burlesque" sound and vibe - but ups it a notch - Chapman letting rip with barely disguised venom about a society lady whose tips would pay his rent. The wild rhythm section is supplemented by a Moog solo that would make Rick Wakeman itch.

But then we're hit with my all-time fave-rave - the stunning "My Friend The Sun" - the kind of tune a smart bloke Robert Elms would play on his daytime radio show as he reminisces about Seventies clobber and its importance to hip 'n' happening London kids. "My Friend The Sun" is the kind of tune that makes me weep and still sends those chills up my arms - gorgeous acoustic guitars flit in and out around a harmonium as the words sing about the 'chances you've had' and a sun that 'looks well on the run'. It still amazes me that the January 1973 single of "My Friend The Sun" with "Gloves" on the flipside (Reprise K 14218) didn't chart at all - how did British DJs miss this? Speaking of good songs - if any other LP cut was to be chosen to show the band's growing maturity in the songwriting stakes – it's the accomplished "Glove". Rock, Melody and Strings combine in one lethal assault - a song that may be about a prostitute or even a cross-dresser smiling at the 'young man' kindness of a stranger. "Ready To Go" is the funky number on the album - a chap wanting to break free from the crap and the labels and the scowling men in pulpits. The LP ends on the epic "Top Of The Hill".

The BONUS TRACKS are a very mixed bag of the good and the awful. "The Rockin' R's" is a great B-side - Family does Rock 'n' Roll in a Prog-Rock way (if that makes sense). It's a dash-off about their love for blue suede shoes and slippin' and slidin' on a Saturday night in Leicester's finest emporiums. But the three 'live' cuts are dismissible - "No Mules Fool" feels like a BBC Session or rehearsal outtake and is OK - "Good News - Bad News" is probably the heaviest of the three (more Hard Rock than Prog) but the production values are crap. "The Weaver's Answer" is the same only burdened with even higher layers of tape hiss. It’s bootleg standard at best and feels more like a burden than a bonus track. After the class of the 9-track album - the three live cuts tagged on at the end feel like obvious filler - and bad ones at that. In some respects I wish Repertoire had stuck with the non-album B-side alone – keeping the overall impact sweet as...

This most British of bands would go on to form their own Raft Records and put out the final Family album "It's Only A Movie" in 1974 - before Chapman and Whitney called it a day and formed Streetwalkers - moving over to Vertigo. But I'd remember them this way - Family in their Reprise Records heyday.

"...There'll come a time when you remember it well..." - Roger Chapman sings on the beautiful "My Friend The Sun".

"Bandstand" is a criminally neglected Family album featuring the classic line-up of the band - Rock Music with elements of Prog, Harmony and Balladry that deserves rediscovery and is worth shelling out on. 

And despite those audio dogs at the end of this particularly visual TV set - Repertoire's CD reissue is a very cool way to remember it and them...