“Brief Encounter” – A Review Of The 1945 British Classic, Now Fully Restored & Reissued On BLU RAY in 2009.

"…I’ve Fallen In Love…I Didn’t Know That Such Violent Things Could Happen To Ordinary People…"

London in 1945 is a world of Watney's Brown Ale, Sunlight Soap and Capstan's Full Strength Cigarettes. There are usherettes in cinemas, sticky buns under glass, stippled pigskin handbags and big-wheeled perambulators. And into the Refreshment Rooms of Milford Junction Train Station step a man and a woman catching the 5:40 to Churley and the 5:50 to Ketchworth who sip tea and say things like "rather" and "beastly" and "most awfully sorry". And into our forbidden romantic consciousness lodges David Lean's terribly British morality tale and cinematic legend..."Brief Encounter".

STORY/LOCATION:
Lean picked up the option on Noel Coward's 1935 short play "Still Life" and quickly extended and renamed it "Brief Encounter" with the help of Anthony Havelock-Allen and Ronald Neame. It was then decided by both its backers and the British Government to locate the shoot at Carnforth Train Station in Lancashire (the Second World War was winding down at this point in history, but night-bombing was still a very real threat in London). Filming began in February 1945 and was shot at night after the stations business day had ended. UK released in November 1945 (1946 in the USA), it received three Academy Nominations - Best Actress, Screenplay and Director (a first for a British Director).

ACTORS:
Cyril Raymond plays Laura's rather soppy husband Fred Jesson who on seeing Laura in distress offers to help her by inviting her to do the Times Crossword Puzzle with him. He is a nice man and they are a 'happily married couple' - but he is clearly unaware of the hurricane taking place in London every Thursday between his demure wife and a total stranger. Long-time Ealing Comedy regular Stanley Holloway plays Milford Station's Senior Ticket Collector Albert Godby whose heart and fancy extends to Myrtle Bagot the haughty Refreshment Room head-lady played by Joyce Carey. Myrtle primly refutes but secretly enjoys Albert's 'saucy' advances ("I'm sure I don't know to what you are referring...") while Dolly Messiter is also brilliant as Everley Gregg - Laura's 'gossiping acquaintance' who talks 'nineteen to the dozen' in the café and on train home.

But the movie belongs to its two leads - Celia Johnson and Trevor Howard. Neither were classic Hollywood hunks - and in some respects it was their very ordinariness that gave their performances such power - even danger. Celia Johnson plays Laura Jesson - suburban housewife to Fred and mother to their plumy-mouthed children - Bobby and Margaret. Every Thursday she wanders into London on the steam train from her suburban home in Ketchworth for a day out. Trevor Howard plays Dr. Alec Harvey who commutes from a practice in Churley to a London hospital that specializes in preventative medicine (he will leave England shortly for South Africa). He is married to Madeleine (whom we never see) and also has two children. The Doctor and the Housewife meet one Thursday by chance in the train station's tearooms and after only a few weeks - fall passionately in love. But they are already married. And these are honourable people who don't want to be dishonourable. So they're faced with a predicament their respective decencies know will cause real heartache if they go ahead with their flight of fantasy (run off with each other to exotic places - as she dreams on the train). They must make an agonizing decision and ultimately sacrifice their 'true' love...

The other big star of the film is Noel Coward's screenplay. Coward was of course 'gay' in a Britain that barely tolerated a napkin out of place - and with this in mind, you can't help but feel that the thread of unrequited love runs throughout the entire piece. It is Oscar Wilde's famous phrase moulded into a film - Laura and Alec's illicit passion is "the love that dares not speak its name".

PRINT:
Which brings us to this 2009 BLU RAY reissue. The black and white stock has been fully restored by The British Film Institute (BFI) in conjunction with ITV Studios/The David Lean Foundation and CINEIMAGE - and their combined work here is exceptional. Even as the open credits show a speeding steam train race through a station while Rachmaniov's Piano Concert No. 2 plays - the difference is shocking. Forget all the old line-riddled scratch-filled versions you've seen down through the decades, this wonderfully clean restoration is the best the film has ever looked. The original 4:3 letterbox aspect is used as default (centred on your screen) - and even if you opt for Wide or Full Screen mode, it doesn't stretch the image to any real detriment. Here are some examples of how good it looks...

* The close up on Dolly's lips on the train - you can now see her make-up and lipstick
* Laura at home sewing in a chair - her perfectly pressed blouse and big buttons - her gold bracelet - all incredibly clear
* The mirror scene in Laura's bedroom when she first lies to her husband - the clear reflection in the glass - the music and script - all gives it a new 'world-closing-in-on-you' feel
* Laura and Alec go out for a clandestine drive in the country and stop at a bridge over a stream - you can see the glinting of the water on their coats - beautifully clear
* As Laura runs away from the flat owned by Stephen (Alec's Doctor colleague) where she might have given in to her emotions for Alec - she runs in the rain down a city street at night - the picture quality is beautiful (so noir)
* In a telephone kiosk in a tobacconist shop telephoning her husband to say that she's going to be late - beautiful shadows and light
* Sitting down on the bench beside the War Memorial - cold and ashamed - as a lone London Bobby approaches her and asks how she is

PACKAGING/LANGUAGES/EXTRAS:
The red and gold outer card-wrap has embossed script on it - the scene in the Regent Park's boathouse when he is drying his clothes and he so eloquently confesses his love for her - "I love your wide eyes...and the way you laugh at my jokes..." There isn't a booklet which is a bit of a visual let down, but there are extras worth noting - "A Profile Of Brief Encounter" which features an interview with the young waitress in the tea room - actress Beryl Walters and a history of the shoot (the teahouse was a stage built beside the Carnforth Train Station). There's also the Theatrical Trailer, a Stills Gallery and a piece on the restoration process. Subtitles are only in English and English for the Hard Of Hearing.

Another point worth mentioning is that Celia Johnson's character is given the ingenious device of a 'voiceover' - blocking out the jabbering busybody or the intrusive world in general. It allowed Johnson to say heavy things off screen but more importantly it gave us Laura's 'true' thoughts - and ultimately a way to empathize with her yo-yo feelings of elation and recrimination. The dialogue too was also so subtly full of suggestion - "I hardly know him at all really..." (querying her affections) - "You could never be dull..." (his growing passion for her) - her joy after they've shared their first kiss "And I'd said I loved him. And it was true..."

It's an innocent world really, so it was probably genuinely shocking to the audience of the day when Laura disembarks towards the end of the film from the train home only to run to Alec who is waiting in his friend's flat (a doctor called Stephen played so coldly by Valentine Dyall). Are they going to consummate their love - regardless of the cost? Will they be so cruel to their partners and especially to their children? What does 'one' do? Well buying this classic on Blu Ray at a penny less than nine pounds is a good start...

In the decades that have since passed, David Lean's 'frightfully' downbeat British romance has been parodied relentlessly and beloved with a passion in equal measure. And yet it still holds a powerful resonance even today and is likely to make 'one' reach for a handkerchief - and not because there's some grit in your eye...

"Brief Encounter" on BLU RAY is a triumph and both The British Film Institute and CINEIMAGE are to be congratulated on this reissue and its wonderfully restored print. In Celia's words "I want to remember every minute...always...always...to the end of my days..."

Well now we can.

PS: for other superb restorations on BLU RAY, see also my reviews for "The Italian Job", "Saturday Night, Sunday Morning", "The Loneliness Of The Long Distance Runner", "North By Northwest", "Cool Hand Luke", "The Dambusters", "The Prisoner - The Complete (UK TV) Series In High Definition", "Braveheart", "Snatch", "The Ladykillers", "The African Queen", "Chitty Chitty Bang Bang", "Back To The Future Trilogy" and "Kelly's Heroes".

"Gwen Guthrie" by GWEN GUTHRIE. A Review Of Her 1982 Island Records Debut Album Now Reissued Onto A PTG/Vinyl Masterpiece CD In 2008.

This review is part of my "SOUNDS GOOD: Exceptional CD Remasters Soul, Funk & Jazz Fusion" Download Book available to buy on Amazon to either your PC or Mac (it will download the Kindle software to read the book for free to your toolbar). Click on the link below to go my Author's Page for this and other related publications:

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"…Get Ready For The Best Time In Your Life…"

After initial backing-vocals with Aretha Franklin in 1974 on her superb “Let Me In Your Life” LP for Atlantic and co-writing Ben E King’s Soul smash “Supernatural Thing” in 1975 (again on Atlantic) – Gwen Guthrie went on for several years doing just that – working sessions (Sister Sledge and Luther Vandross among others). She then had her own composition “God Don’t Like Ugly” featured on the huge “Roberta Flack Featuring Donny Hathaway” LP in 1979 (Gwen returns to it here for her own version).

A chance meeting with Peter Tosh’s friends, producers and backing band – Sly Dunbar and Robbie Shakespeare – made the trio friends. After more session work with the boys in the famous Compass Point Recording Studios in Nassau in the Bahamas – Sly and Robbie began in early 1982 on what would become her rather lovely and chipper debut LP - “Gwen Guthrie”. And that’s where this first-time-on-CD peach comes in…

Released March 2008 in the UK, PTG/Vinyl Masterpiece PTG 34046 breaks down as follows (51:27 minutes):

Tracks 1 to 8 are the vinyl album “Gwen Guthrie” released in the USA in September 1982 on Island 90004-1 and in the UK on Island ILPS 9699. It was produced by Sly and Robbie (who also played Drums, Bass, Percussion and Piano) and featured a host of other guest musicians…
WALLY BADEROU on Keyboards
STICKY THOMPSON on Percussion
MIKEY CHUNG plays guitar on “Is This Love?”, “God Don’t Like Ugly” and “Your Turn To Burn”
DARRYL THOMPSON plays guitar on “It Should Have Been You”, “Getting Hot” and “For You (With A Melody Too)”
MONTE BROWN plays guitar on “Getting Hit”, “Dance Fever” and “Peek-A-Boo”

Tracks 9 and 10 are bonuses:
Track 9 is a version of the Darryl Thompson penned dancefloor stepper “It Should Have Been You” which was released on a 12” single in advance of the album on both sides of the pond. The 'remix' has been done by Paradise Garage DJ LARRY LEVAN - which extends the album cut from 4:21 to 7:05 minutes.
Track 10 is ‘Extended 12” Version’ of the 2nd single from the album “Peek-A-Boo” – which extends the album cut from 4:23 to 6:26 minutes

The gatefold slip of paper that is the inlay has knowledgeable notes by VINCE ALETTI but it’s hardly something to write home about (not even a catalogue number mentioned). It’s a shame there wasn’t more pictures used – those tasty Island 12” singles maybe. But that’s quickly forgiven by the sound quality…

Although it doesn’t state who remastered what or where, the copyright date is Island Records 1982 so we’re presuming the original tapes were used because the sound quality is fabulous – really clean and full of punch (without being overly done). Being a 1980’s production, the dreaded drum machine 'feel' appears sporadically, but mostly it sounds great – and not nearly as dated as you might think.

The album has a real ‘up’ feel – the obvious dancefloor fillers like “Peek-A-Boo”, “Dance Fever” and the ever popular “It Should Have Been You” are offset against lovely laid-back melodies like “For You (With A Melody Too)” and the lyrically biting “God Don’t Like Ugly”. But for me there’s a lethal double-whammy that segue into each other – “Getting Hot” and “Your Turn To Burn”. The opening flicking guitar and drums of the infectious “Getting Hot” (lyrics above) is about as good as Eighties Disco-Soul gets – a sort of irresistible Kool & The Gang vibe and vocal. It then slinks into the bass-funky-soul of “Your Turn To Burn” and you’re already won over. It’s not all genius of course – the cover of Bob Marley’s “Is This Love?” is not something I’ll be playing again soon. Still - you keep coming back to the steppers – lovely stuff – and more than a few of them too.

Gwen sadly died of cancer in 1999 in the USA aged only 48 – but has since seen a renaissance of interest in her overlooked Eighties output.

"Gwen Guthrie" is a confident and cool album that still stands up to this day – and this Vinyl Masterpiece reissue of it onto CD does the lady proud.

Nice one boys - recommended.

"California Mudslide (And Earthquake)" by LIGHTNIN' HOPKINS (December 1994 Ace Records CD Reissue and Remaster) - A Review by Mark Barry...

"…Don't Work In No Kind Of Kitchen…Don't Sell No Chewing Gum…"

Recorded in May 1969 in Los Angeles for the obscure Vault Records label (Vault 129) - "California Mudslide (And Earthquake)" is a forgotten gem in Lightnin' Hopkins extraordinary discography. It was released in the UK October 1970 on Liberty LBS 83293 in Stereo but sold zip.

Remastered from the original tapes by NICK ROBBINS at Ace's own Sound Mastering Studios in the UK - this mid-priced December 1994 CD on Ace CDCHM 546 (Barcode 029667154628) is a bare-bones reissue of that 11-track vinyl rarity (36:02 minutes).

The inlay is a gatefold slip of paper reproducing the front and rear of the original album sleeve - complete with its short but affectionate liner notes by admirer and Monument Records star - TONY JOE WHITE.

1. California Mudslide

2. Rosie Mae

3. Los Angeles Blues

4. Easy On Your Heels

5. New Santa Fe

6. Jesus, Will You Come By Here

7. No Education

8. Antoinette's Blues

9. Change My Way Of Living

10. Los Angeles Boogie

11. Call On My Baby

Of the 11 tracks - most are simply Lightnin' singing along to his miked-up guitar giving accounts of Sixties USA - "California Mudslide", "Rosie Mae", "New Santa Fe", "No Education", "Change My Way Of Living" and "Call On My Baby". He went over to Piano and vocals for "Los Angeles Blues" and "Antoinette's Blues" (lyrics above). The only tune that has a band of sorts on it is the rocking "Easy On Your Heels" - it features John Howard on Bass and Bill Brown on Drums with Lightnin' on Guitar and vocals.

The only real clunkers on here are two slightly experimental tracks - "Jesus, Will You Come By Here" and "Los Angeles Boogie" where he is featured with a huge sort of cabaret organ sound - like they were going for some sort of Booker T & The M.G.'s vibe, but it just doesn't work...

The sound quality isn't audiophile territory by any means and there's a lot of 'hiss' surrounding the naked tracks in particular. But - and rather smartly - Ace clearly haven't engineered the air around the performances out of existence in the Remaster precisely because it has left the HUGE almost eerie feel of the original recordings intact. In fact, whenever I play this CD at the job in the shuffle - it always fills the place with a wicked BIG BLUESY vibe - pure and real - customers love it and ask after the singer every time. And how shockingly good is his wonderful piano-playing on "Los Angeles Blues" - so full of atmosphere and crafty little fills - it feels like there's a band in the room - but it's just him and the keys - amazing.

I'm sure Lightnin' Hopkins thought it was just another session, and would be tickled pink at us pouring over every detail now. But in hindsight it is his very purity of playing and singing that gives the whole record such mojo...

There is something wonderfully evocative about "California Mudslide" - a simple straight-up blues album with some minor variants in between. Lovely stuff and recommended like a cold beer after a hard day's work...

"Restless Heart – The Ultimate Singles Collection 1952-1959" by LLOYD PRICE. A Review Of The 2011 Jasmine Label 2CD Compilation.

"…Mailman…Mailman…Tell Me What You Got For Me…"

Offering up a huge 57-tracks, this 2CD set covers almost all of the 45" single output for the American Rhythm'n'Blues singer Lloyd Price on the Specialty, KRC and ABC-Paramount labels in the USA between 1952 and 1960 (despite the title saying 1959).

Released in the UK/Europe in February 2011, here's a breakdown of Jasmine JASCD 552…

Disc 1 (72:43 minutes):
1 and 2 are Specialty 428 (May 1952) Number 1 USA R’n’B charts
3 and 4 are Specialty 440 (October 1952) Number 4 USA R’n’B charts
5 and 6 are Specialty 452 (February 1953) Number 8 USA R’n’B charts
7 and 8 are Specialty 457 (1953)
9 and 10 are Specialty 463 (1953)
11 and 12 are Specialty 471 (1953)
13 and 14 are Specialty 483 (1953)
15 and 16 are Specialty 494 (1953)
17 and 18 are Specialty 535 (1953)
19 and 20 are Specialty 540 (1954)
21 and 22 are Specialty 576 (1956)
23 and 24 are Specialty 578 (1956)
25 and 26 are Specialty 582 (1956)
27 and 28 are Specialty 602 (1956)
29 and 30 are KBC 587 and ABC-Paramount 9792 (1957) Number 3 USA R’n’B charts

Disc 2 (64:37 minutes):
1 and 2 are ABC-Paramount 9653 (1957)
[Stereo Re-Recordings of Tracks 3 and 2 on Disc 1]
3 and 4 are KRC 301 (1957)
5 and 6 are KRC 303 (1957)
7 and 8 are KRC 305 (1957)
9 and 10 are KRC 5000 (1957)
11 and 12 are KRC 5002 (1957)
13 and 14 are ABC-Paramount 9972 (December 1958) Number 1 USA R’n’B charts
15 and 16 are ABC-Paramount 9997 (March 1959) Number 4 USA R’n’B charts
17 and 18 are ABC-Paramount 10018 (May 1959) Number 1 USA R’n’B charts
19 and 20 are ABC-Paramount 10032 (October 1959) Number 15 USA R’n’B charts
21 and 22 are ABC-Paramount 10062 (November 1959) Number 2 USA R’n’B charts
23 and 24 are ABC-Paramount 10075 (February 1960) Number 3 USA R’n’B charts
25 and 26 are ABC-Paramount 10102 (April 1960) Number 16 USA R’n’B charts
27 is the A-side of ABC-Paramount 10123 (July 1960) Number 5 USA R’n’B charts
[All recordings are Mono - except 1 and 2 on Disc 2 - which are Stereo]

Like all of the other Jasmine 2CD sets in this on-going 'Singles' series, the compilation and annotation have been put together by BOB FISHER (small but very informative liner notes on a three-way fold-out inlay) with the CD Mastering done by TALL ORDER of the UK.

Hailing from Louisiana (born in 1933), as you can see from the chart details provided above, Price had an extraordinary Rhythm'n'Blues and Pop crossover career with many large-selling Number One singles. He even introduced the explosive Little Richard to Art Rupe’s Specialty Records (only to be outshone by him). He also had ties with soulster legends Howard Tate and Wilson Pickett and the early recordings of Reggae Giant Bob Marley. Price even became one of the first R’n’B artists to own his own label – KRC Records – he was an astute businessman.

I wish I could say that the sound quality on these recordings is worth writing home about – it isn’t – it’s good rather than being great – and tracks on Disc 2 in particular sound muddy and distant. To put this into a context - there’s a BEAR FAMILY 34-track CD called "Rocks" from 2008 with a superlative 52-page booklet (1st legimate CD on his material) - which has the track “Hello Little Girl” on it for instance... Bear’s version is from the real tapes and sounds fantastic – the version here is muffled and lifeless. The re-recording Stereo cut of “Mailman Blues” (lyrics above) fares better and is excellent, but the same muddiness afflicts Disc 1. Also the material dips in quality big time by the time you get to the early Sixties recordings which feature awful girly backing vocals drowning out any passion or rocking vibe…

So - lots of tracks for sure and its cheaper, but the audio and inlay are only OK at best. I’d say that even though it costs a couple of quid more - Bear Family’s “Rocks” is a far better buy - both presentation and soundwise.

PS: Jasmine have also done "The Five Keys", "The Flamingos" and "Roy Hamilton" in this 2CD series - see separate reviews

"Kooper Session: Al Kooper Introduces Shuggie Otis" by AL KOOPER and SHUGGIE OTIS (2007 Repertoire CD Remaster Of The Rare 1970 US Album) - A Review by Mark Barry...

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"...Double Or Nothing..."

An impossibly cool album from the beginnings of 1970 (recorded in 1969) - and one that’s too bleeding difficult by far to find on original vinyl LP anyway – this fantastic CD reissue comes to our Bluesy rescue in 2014.

Originally released July 2007 (reissued 2014) - "Kooper Session: Al Kooper Introduces Shuggie Otis" by ALL KOOPER and SHUGGIE OTIS on Repertoire RES 2336 (Barcode 40009910233627) comes in natty CD card digipak repro sleeve and breaks down as follows (40:46 minutes):

THE SONGS (Side 1):

1. Bury My Body [Al Kooper song] - Al Kooper on Organ, Piano & Lead Vocals, Shuggie Otis On Guitar, The Harris Robinson Singers on Backing Vocals

2. Double Or Nothing [Instrumental cover of a Booker T. & The M.G.'s song from 1967] - Al Kooper on Organ, Mark "Moogy" Klingman on Piano, Shuggie Otis On Guitar

3. One Room Country Shack [Cover of a 1949 Blues song on Specialty Records by Mercy Dee Walton] - Al Kooper on Organ, Guitar & Lead Vocals, Shuggie Otis On Guitar

4. Lookin' For A Home [Cover of a 1961 Blues Song by 'Little Buster' Forehand]

THE BLUES (Side 2):

1. 12:15 Slow Goonbash Blues [Al Kooper & Shuggie Otis song] - Al Kooper on Organ and Piano, Mark "Moogy" Klingman on Piano, Shuggie Otis On Guitar

2. Shuggie's Old Time Dee-Di-Lee-Di-Leet-Deet Slide Boogie [Al Kooper & Shuggie Otis song] - Al Kooper on Piano, Shuggie Otis On Guitar

3. Shuggie's Shuffle [Al Kooper & Shuggie Otis song] - Al Kooper on Organ and Piano, Mark "Moogy" Klingman on Piano, Shuggie Otis On Guitar

Tracks 1 to 7 are the album "Kooper Session - Al Kooper Introduces Shuggie Otis" which was first released in January 1970 in the USA on Columbia Records CS-9951 and a few months later on CBS Records S 63979 in the UK.

"Kooper Session" featured a sensational new guitar prodigy called Johnny "Shuggie" Otis Jnr - son of the Fifties Rhythm 'n' Blues legend Johnny Otis - playing alongside Al Kooper and a group of complementary blues musicians (see credits above).

Capitalizing on his success with Stephen Stills, Mike Bloomfield and the first Blood, Sweat & Tears LP, Al Kooper was not only able to get the 15-year old Shuggie signed to a major label - he then produced and played on his debut album - and used his more famous name to get Shuggie noticed. Loose and even ramshackle in places, the record showcased the young wire-haired Californian guitar player and his extraordinarily accomplished playing. And it was hip and bluesy too...

The inner-flap of the digipak reproduces the Al Kooper liner notes on the rear of the original American album, while the 8-page booklet features in-the-studio photos of the session with new notes by respected UK music-writer CHRIS WELCH.

Side One was called "The Songs" and featured structured tunes - mostly blues covers - but Side Two called "The Blues" was instrumental loose jams (you can literally hear Shuggie say "...Take 1..." at the beginning of the superb instrumental "12:15 Slow Goonbash Blues"). Stu Woods from the group ARS NOVA played Bass, while Mark Klingman played organ and piano (would later become "Moogy" Klingman in TODD RUNDGREN'S UTOPIA) - but most of the time it was a duet guitar/vocal blues battle between Al Kooper and Shuggie Otis. The false 78" crackle added onto to National Steel Guitar blues of "Shuggie's Old Time..." may have seemed like a good idea at the time, but it sounds gimmicky now and gets in the way of hearing the great guitar chops on show...

It doesn't say who did the remaster, but the sound is superb - full and none too trebled to the nines for effect. One or two of the tracks on Side 1 are a little hissy but I suspect that reflects the loose nature of the original recordings. Stateside they even tried a 7" single edit of "Bury My Body" (lyrics above) with "One Room Country Shack" as its B-side - but it made little headway. The album was well received though and paved the way for his solo debut proper - 1970's superlative "Here Comes Shuggie Otis".

"Kooper Session" is a good bluesy-based album and this reissue is a very reasonable way of getting a now hard-to-find vinyl album (especially in the UK)...

"For The Children" by LABI SIFFRE. A Review Of His 1973 LP On Pye Records Now Reissued And Remastered Onto A 2006 UK EMI CD.

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

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"….If You Have Faith…Then That’s All You Need…"

Labi Siffre's 4th album "For The Children" was released in the UK on the Pye Label in 1973 (NSPL 28182). Its predecessor "Crying Laughing Loving Lying" contained the two huge hits "It Must Be Love" and the album title track "Crying Laughing Loving Lying", so the LP charted reasonably well. "For The Children" was the follow-up album but it had no hit singles in its 10 tracks, so failed to dent even the Top 50. It is - and has been for years - difficult to find on vinyl. This is its first proper release ever on CD anywhere in the world and I consider it to be a bit of a lost classic.

The original gatefold sleeve artwork makes up the first and last page on the booklet of this June 2006 EMI CD Remaster - with the family snapshots collage that was the inside of the gatefold reproduced as the centre pages in the booklet - a nice touch. The lyric insert that came with original copies is also reproduced.

Born in London in 1945 to a Belgian/Barbadian mum and Nigerian father, Labi had his demos sent to a music publisher in late 1969 which resulted in a publishing contract and the recording and release of his first album on Pye Records early in 1970 (Pye Records at that time was home to The Kinks and Status Quo). His style for the first 5 albums he did on Pye is more singer-songwriter than soulster, though the tracks themselves are often very soulful in their nature - sort of a Bill Withers meets Gilbert O'Sullivan vibe. Many were just him and his acoustic guitar and his high falsetto voice. He's often lumped in with easy-listening here in the UK, which does his superb song-writing talents a huge disservice - and like Gilbert O'Sullivan, he is another 'soft' songwriter of the Seventies not given nearly enough credit for his brilliance in penning a truly touching tune, but beloved still by fans and those who like their singers to be on the side of Gordon Lightfoot and James Taylor.

Increasingly his songs are being name-checked and used by R'n'B soul boys of the last few years who have realized that Labi's songs offer a wealth of good source material - KAYNE WEST sampled "My Song" from "Crying Laughing Loving Lying" on his "I Wonder" track from 2007's "Graduation", while both JAY-Z and EMINEM have famously sampled the stunning bass break that happens half way through "I Got The..." (deliberately spelt that way) on "Remember My Song" from 1975.

Tracks 1-10 make up the original album with Track 11 "So What!" being the sole bonus track (previously unreleased on CD, it hails from 1975). All songs are written by Siffre (included the extra track) and are uniformly excellent. I've bought all 5 of his Pye Label albums in this re-issue series and the REMASTERED SOUND QUALITY IS SUPERB ON ALL - amazingly clear - none of the hiss and muddiness that went with previous budget label issues.

The liner notes though are a little strange - each issue repeats the same notes from Siffre himself instead of say, an ongoing interview. I don't want the same notes 5 times! There is, however, a few extra notes on the album in hand and the nature of the bonus track/tracks.

Songs like the inspirational and moving "If You Have Faith" (lyrics above) and the Hey Jude feel of the nine-minute epic "Let's Pretend" have languished in obscurity for far too long. But what most fans, however, will thrill too - is the fabulous remastering sound job EMI has done on each release. Beautifully clear – muscular – this CD is a revelation. I've treasured this album along with his others for years on vinyl, and to finally hear it given this kind of sound quality is a joy. "Odds & Ends" and the short but oh so sweet "Prayer" have never sounded this good. An album that is ripe for rediscovery I reckon.

Each title is mid price too and can be picked up for next to nothing online. Highly recommended!

PS: The other original Seventies albums in this series are:
1. Labi Siffre (1970 debut)
2. The Singer & The Song (1971, his second album)
3. Crying Laughing Loving Lying (1972, his 3rd album) (SEE REVIEW)
4. Remember My Song (March 1975, his fifth album)
("Remember My Song" contains the funky track "I Got The..." sampled by EMINEM on his "My Name Is" chart hit)

There was one last album in the Seventies for EMI called "Happy?" released in November 1975 - it's 10-tracks are available on CD, but under another name. The EMI compilation that they’re on is called "The World Of..." and it also contains part of the "Remember My Song" album. Siffre retired for a few years, but then returned in 1987 with "(Something Inside) So Strong" on China Records, a magnificent Anti-Apartheid anthem and as moving a song as you're ever likely to hear.

In this re-issue campaign, there's also "The Last Songs" CD. It was recorded and released quietly in 1998, it's a live set of NEW songs and is also re-released as a Remaster - and along with the "Best Of" set that preceded the whole campaign, all 7 CDs were released in 2006.

PPS: His website is fascinating also - packed with poetry, political observations, extremely active fan exchanges etc... Check it out on www.intothelight.info