"It's Like You Never Left" by DAVE MASON (of traffic) (2014 Beat Goes On CD Remaster) - A Review by Mark Barry…

DAVE MASON 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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"...Troubles To Mend..."

This is a smart reissue by Beat Goes On of the UK. Mason’s 4th Solo album after Traffic has been languishing in digital Purgatory for years (with an early issue garnishing a hefty price tag). And second to his “Alone Together” album on Harvest in 1970 and the wonderful duet album with Mama Cass on Probe in 1971 – 1973’s “It’s Like You Never Left” has long been a fan favourite. Well they’re going to love this beautifully handled remaster with its exceptional sound quality. Here are the cat-on-the-lap details…

UK released 9 June 2014 – "It's Like You Never Left" by DAVE MASON (of Traffic) on Beat Goes On BGOCD 1153 (Barcode 501726211538) is a straightforward CD Remaster of the album and plays out as follows (34:46 minutes): 

1. Baby…Please
2. Every Woman
3. If You’ve Got Love
4. Maybe
5. Head Keeper
6. Misty Mountain Stranger
7. Silent Partner
8. Side Tracked
9. The Lonely One
10. It’s Like You Never Left
Tracks 1 to 10 are the album “It’s Like You Never Left” – originally released October 1973 on vinyl LP in the UK on CBS Records S 65258 and Columbia Records KC 31721 in the USA

The outer card wrap is a nice touch and gives all of these BGO reissues a classy look and feel. The 16-page booklet has superb liner notes by noted writer and music lover JOHN O’REGAN (before and after the album history) and comes complete with lyrics, photos of foreign 45s (Traffic included) and repro details of the inner gatefold sleeve of the original album. But it’s the fabulous new 2014 ANDREW THOMPSON remaster that will thrill – it’s gorgeous and reflects the staggeringly professional self Production job Mason did back in the day. Instruments are warm and clear and there’s no compression to my ears – it’s an album unleashed (bit of a lost class vibe going on too). 

Three tracks on Side 1 feature the superb harmony vocals of Graham Nash adding real back-up punch – the opener “Baby…Please”, then “Every Woman” and the excellent Side finisher “Head Keeper”. A careful listen to the zippy “If You’ve Got Love” and you can quickly name-check the distinctive guitar playing style credited on the sleeve to ‘Son Of Harry’ – it’s George Harrison Of The Beatles using a pseudonym for contractual reasons. 

But there’s much better than that. The sheer melody and acoustic guitar playing on “Maybe” is more than impressive (lyrics from it title this review). The aching words could be a road map to Dave Mason’s life – bad management – restrictive contracts – drug and alcohol abuse – relationship meltdowns. As a song - its extraordinarily pretty music – yet at its core is a strange darkness and pleading that I’ve always found moving (and haunting with phrases like “strangers until our dying day…”).

Vocally too – Mason is also more confident than ever on this album – like he knows the material warrants his best – and the whole shebang is certainly helped by that thoroughly professional Production polish. 

The two Side 2 openers are particular strong – “Misty Mountain Stranger” and the religious “Silent Partner” – both featuring blistering guitar work on Electric and Acoustic - sounding not unlike Emitt Rhodes at his Probe Records best. The funky “Side Tracked” has always been a soft touch for me - a sort of Peter Green/Fleetwood Mac instrumental Rock tune on a Soulful tip. With the rhythm section of Jim Keltner on Drums and Greg Reeves on Bass – it plays up a blinder.  

“The Lonely One” features the distinctive Harmonica of Motown’s legendary Stevie Wonder throughout and is easily the most commercial track on here. CBS Records issued it as a UK 45 in May 1974 on CBS S 2153 with “Misty Morning Stranger” as its B-side (delayed from April). It was a strong song-combo - but of course it went nowhere in Blighty at the time. Perhaps the “God’s Eternal Son…” lyrics of peace and love were out of step with the changing Rock/Pop/Disco landscape. 

So there you have it - a great album given a proper dust off and polish for 2014. Fans will need this and the curious should dig in and give it a lash. 

There’s a lot of quality songmanship and mature playing on Dave Mason’s “It’s Like You Never Left” – and its very sweetly presented too. Nice one…

PS: see also my separate reviews for "Alone Together" (his debut solo LP from 1970) and "Dave Mason And Cass Elliot" (his duet LP with The Mamas and The Papas singer from 1972) – both reissued and remastered by Rev-Ola with superb audio...

"Led Zeppelin III: Deluxe Edition" by LED ZEPPELIN - October 1970 UK Third Studio Album on Atlantic Records (2014 UK Atlantic/Swan Song 'Deluxe Edition' 2CD Jimmy Page Remasters) - A Review by Mark Barry...

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"...That's The Way..."

I suspect like many fans - I bought all three of these 2CD DELUXE EDITIONS on the day of release (Monday 2 June 2014 here in the UK). And after the initial disappointment of the "Led Zeppelin" debut version with its questionable sound on some tracks and its rubbish bootleg-sounding live bonus disc - I'm thrilled to say that "II" and "III" are entirely different beasts.

For me it's not the more applauded and revered "II" that tickles my spine - but the fabulous 'Acoustic' expansion of the British Super Group's songwriting chops on "III" that puts them head and shoulders above all the rest. This beauty has always made my eyes water and my quadruple bypass beat a little faster. Well - "III" now sounds fabulous - and the 'Companion Audio' CD actually warrants the word 'bonus' with some truly spine-tingling new additions. Here are the Tiny Flowers and Hangman Riding Many A Mile details...

UK released 2 June 2014 (3 June in the USA) – "Led Zeppelin III: Deluxe Edition" by LED ZEPPELIN on Atlantic/Swan Song 8122796449 (Barcode 081277964498) is a 2CD Reissue/Remaster and plays out as follows...

Disc 1 (43:11 minutes):

1. Immigrant Song

2. Friends

3. Celebration Day

4. Since I've Been Loving You

5. Out On The Tiles

6. Gallows Pole [Side 2]

7. Tangerine

8. That's The way

9. Bron-Y-Aur Stomp

10. Hats Off To (Roy) Harper

Tracks 1 to 10 are the vinyl album "Led Zeppelin III" - originally released 5 October 1970 in the USA on Atlantic SD-7291 and Atlantic 2401 002 in the UK

Disc 2 (41:33 minutes):

1. The Immigrant Song (Alternate Mix)

2. Friends (Track - No Vocal)

3. Celebration Day (Alternate Mix)

4. Since I've Been Loving You (Rough Mix Of First Recording)

5. Bathroom Sound (Track No Vocal)

6. Gallows Pole (Rough Mix)

7. That's The Way (Rough Mix With Dulcimer - Backwards Echo)

8. Jennings Farm Blues

9. Key To The Highway/Trouble In Mind

Tracks 1 to 9 are PREVIOUSLY UNRELEASED 'Rough/Alternate Mixes' of Seven album tracks with two New Songs - the Instrumental "Jennings Farm Blues" (which turns out to be an early rockier version of "Bron-Yr-Aur Stomp") and a stunning new double cover-version outtake called "Keys To The Highway/Trouble In Mind".

The three-way foldout Mini LP Sleeve Repro has its problems. The original rear sleeve photo is now placed in the centre and that rear shot of their four faces has been replaced with a rather garish 'negative' artwork shot giving you the feeling that the thing 'just doesn't look right'. Worse - the 'moveable wheel' on the front flap is stationary unlike those beautiful Japanese SHM-CD repro’s of the original vinyl LP – so the fun of turning those photos underneath is lost. Don’t get me wrong – this 2CD DE version is pretty to look at - but I have the Japanese SHM-CD from September 2008 on WPCR-13132 and with its over-sized artwork faithful to the original is a thing of genuine beauty (as was the original 1970 vinyl LP). And what would it have taken to have the original British Atlantic Records Plum Label design on CD 1 (as the Japanese issue does) and the Green and Orange colour on the new CD2?

The 3-way gatefold card sleeve also features alternative colour artwork on the rear with a stuck-on track list (these new releases now reflect their Swan Song label as well as Atlantic Records for the first time). The 16-page booklet has gorgeous black and white/colour photos of the band live at the time (the three sat doing an Acoustic set), relaxing in Wales in the tiny knackered-looking 18th Century Cottage 'Bron-Yr-Aur' where much of the album was written/inspired by. But like "I" and "II" - there are only two pages at the rear that give you the basic track info - bugger all else. There's no liner notes - no history of the album and its importance (a huge fan favourite) - and nothing from Page or Plant. It's good - but it could have been great - and frankly why isn't it?

As Zep fans know the album was conceived in deepest Wales where the band was recovering after extensive world touring (recorded in Headley Grange). Perhaps all that head-banging abroad and rural lack of running water/electricity brought out the 'inner calm' in our heroes - because setting aside the Rock of "Immigrant Song" and the straight-up Blues of "Since I've Been Loving You" - the album primarily featured softer acoustic tracks (ballads even)  - and is so much the better for it.

I moaned about the sound quality on some tracks on the debut - that problem doesn't appear here. From the opening "1, 2, 3..." count-in on "The Immigrant Song" you'll be hammering those Speaker Gods of yours with a possible neighbourhood disturbance restraining order. It's HUGE. The double-whammy "Friends/Celebration Day" leaps out of each channel with new details while the squeaking of Bonham's drum seat can now be clearly heard on the lead-in to the mighty "Since I've Been Loving You". Ending Side 1 - "Out On The Tiles" has wonderful presence - especially on the "All I need is you and all your love...ooh yeah" sung chorus.

Now the magic starts - "Gallows Pole" has always sent fans - and 44 years later - it just blows you away. The mandolin and banjo build up are followed with Bonzo's manic drums - shooting the whole Acoustic/Rock song up into the stratosphere - fantastic stuff and aurally spiffing. "Tangerine" is gorgeous and the sloppy count-in only adds atmosphere to the tenderness. But then I'm in tears. I recently reviewed Mott The Hoople's 1974 CBS album "The Hoople" with the gorgeous Ian Hunter ballad "Trudi's Song" on it. It got me to compiling a 70's FEST CD-R called "Songs To Make A Grown Man Cry" (see separate review and list). Top of that bawl-crawl is Led Zeppelin's gorgeous "That's The Way" - which in its new 2014 guise will make true fans blub like a big girl's blouse. This is what I've waited decades to hear (Cameron Crowe too). And then it all ends with a chipper "Bron-Yr-Aur Stomp" and the slightly throwaway "Hats Off To (Roy) Harper". Job done.

But there's better to come. Disc 2 is a stunning addition. You get Alternate Mixes of "The Immigrant Song" and "Celebration Day" with Rough Mixes of "Since I've Been Loving You" and "Gallows Pole" - all of which feature fascinating different guitar parts and the occasional vocal flourish. "Bathroom Sound" is an early run through of "Out On The Tiles" without vocals and "Jennings Farm Blues" turns out to be a first version of "Bron-Yr-Aur Stomp" with Page feeling for the song (it's very cool). But then you're hit with a solar plexus - the fabulous Big Bill Broonzy/Big Joe Turner double cover of "Key To The Highway/Trouble In Mind". It's a two-man show - Page on Acoustic guitar in the left speaker with Plant on treated warbling vocals and heavy harmonica on the right. It's just stunning - with Robert Plant blowing some truly hair-raising Blues Harp - fans will flip for it. Downside - the fab non-album B-side "Hey Hey What Can I Do Now" to the American 45 of "Immigrant Song" is AWOL - when in remastered form - it would have been a rather tasty cherry on top (it’ll undoubtedly be on a massively expanded “Coda” reissue to come).

So there you have it. Not just brilliant but a legend intact and expanding (despite those packaging niggles).

Were Led Zeppelin really as good as we remember them? And in 1970 - were they even the best band in the world?

You bet your hairy-assed airship-sized balls they were...

PS: see also reviews for the 2CD DELUXE EDITION versions of "I", "II", "IV", "Houses Of The Holy", "Physical Graffiti" and the Very Best Of set "Mothership"

"Led Zeppelin II: Deluxe Edition" by LED ZEPPELIN (2014 Atlantic/Swan Song 2CD 'Deluxe Edition' Jimmy Page Remasters) - A Review by Mark Barry...

"...Whole Lotta Love..."

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Rock, Pop and Genres Thereabouts
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After the initial disappointment of the "Led Zeppelin" debut 2CD DELUXE EDITION with its questionable sound on some tracks and its rubbish live bonus disc - I'm thrilled to say that "II" is an entirely different beast. It sounds great and the 'Companion Audio' CD actually warrants the word 'bonus' (mostly).

UK released 2 June 2014 (3 June in the USA) - "Led Zeppelin II: Deluxe Edition" by LED ZEPPELIN on Atlantic/Swan Song 8122796453 (Barcode 081227964535) is a 2CD Remaster set and breaks down as follows...

Disc 1 (41:40 minutes):

1. Whole Lotta Love

2. What Is And What Should Never Be

3. The Lemon Song

4. Thank You

5. Heartbreak [Side 2]

6. Living Loving Maid (She’s Just A Woman)

7. Ramble On

8. Moby Dick

9. Bring It On Home

Tracks 1 to 9 is the vinyl album "Led Zeppelin II" - originally released 22 October 1969 in the USA on Atlantic SD-8236 and Atlantic 588 198 in the UK

Disc 2 (32:44 minutes):

1. Whole Lotta Love (Rough Mix With Vocal)

2. What Is And What Should Never Be (Rough Mix With Vocal)

3. Thank You (Backing Track)

4. Heartbreaker (Rough Mix With Vocal)

5. Living Loving Maid (She’s Just A Woman) (Backing Track)

6. Ramble On (Rough Mix With Vocal)

7. Moby Dick (Backing Track)

8. La La (Intro/Outro Rough Mix)

Tracks 1 to 8 are PREVIOUSLY UNRELEASED 'Rough Mixes' of Seven album tracks with one New Song - the Instrumental "La La"

The 3-way gatefold card sleeve features alternative colour artwork on the rear with the original LP gatefold inner spread on the inside flaps - sided by two new photos of the band during recording. There's a stuck-on track list on the rear and the artwork now reflects the Swan Song label as well as Atlantic. The 16-page booklet has gorgeous black and white/colour photos of the band live at the time - but there are only two pages at the rear that give you the basic track info - but bugger all else. There's no liner notes - no history of the album and its importance (once rated as Britain's favourite Rock album) - and nothing from Page or Plant. It's good - but it could have been great - and frankly why isn't it?

I moaned about the sound quality on some tracks on the debut - that problem doesn't appear here. From the opening wallop of "Whole Lotta Love" - it feels huge and detailed. The cymbals and bass of "What Is And What Should Never Be" are wonderfully clear and "The Lemon Song" sounds suitably grungy (as it was intended). The fade in of "Thank You" is lovely - but it's the sheer power riffage of "Heartbreaker" and its various mad guitar breaks that puts hairs on your chest. Both "Maid" and "Ramble On" have accentuated power (especially in the breaks that feature Bonzo's drums) - and of course it finishes with the lethal one-two sucker punch of "Moby Dick" (crystal clear John Bonham solo) and the Harmonica Blues Boogie of Willie Dixon/Sonny Boy Williamson's "Bring It On Home". Job done.

Disc 2 is a genuine blast - backing tracks with different guitar parts and the occasional vocal jab from Plant. It's a fascinating insight into how they worked and built a tune. It's clear these versions were good - just not good enough. The solos in "Heartbreaker" bear this out - most of the finished solo flourishes that we know and love are in there but some aren't quite 'there' - so presumably Page simply kept working them later until he got those licks to his satisfaction. And it's bizarre to hear the first guitar part of "Moby Dick" - then hear it suddenly stop (no solo) and Bonham then count in the drums as the second guitar part finishes the song. The "La La" outtake with its Motown organ bop and wild acoustic/electric guitar breaks is interesting - but feels most throwaway of the lot.

I also bought 1970's "III" this morning and frankly it's the best of the bunch - with fantastic outtakes and two cool new tracks - one of which has me drooling (see separate review).

Were Led Zeppelin really as good as we remember them? Were they even the best band in the world?

With airship-sized knobs on...and then some...

PS: see also reviews for the DELUXE EDITION versions of "I", "III", “VI”, “Houses Of The Holy”, “Physical Graffiti” (3-Discs) and “Mothership: The Best Of” (3-Discs)

"Led Zeppelin" [aka "Led Zeppelin I"] by LED ZEPPELIN (2014 Atlantic/Swan Song 2CD 'Deluxe Edition' Jimmy Page Remaster) - A Review by Mark Barry...

"…Good Times Bad Times…" 

 

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WHOLE LOTTA LOVE - 1969
Rock, Pop and Genres Thereabouts
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When the CD first arrived as a format in 1984 - few Led Zeppelin fans would have thought it would take 30 years for decent remasters of the fave crave - but unfortunately after hearing these dreadfully dull-sounding new versions - they may want to wait another thirty. It's not all bad of course but I'd swear that the "Mothership" 2007 remasters sound way better and far more alive - and the 2012 Japanese SHM-CD again features better sound. Anyway here are the details...

UK released 2 June 2014 (3 June in the USA) - "Led Zeppelin: Deluxe Edition" by LED ZEPPELIN on Atlantic/Swan Song 8122796457 (Barcode 081227964573) is a 2CD 'Deluxe Edition' Remastered by the band's guitarist JIMMY PAGE and breaks down as follows...

Disc 1 (44:56 minutes):

1. Good Times Bad Times

2. Babe I’m Gonna Leave You

3. You Shook Me

4. Dazed And Confused

5. Your Time Is Gonna Come [Side 2]

6. Black Mountain Side

7. Communication Breakdown

8. I Can’t Quit You Baby

9. How Many More Times

Tracks 1 to 9 are their debut album "Led Zeppelin" - originally issued 12 January 1969 in the USA on Atlantic SD-8216 and 31 March 1969 in the UK on Atlantic 588 171 on vinyl LP

Disc 2 – LIVE AT THE OLYMPIA (71:16 minutes):

1. Good Times Bad Times/Communication Breakdown

2. I Can’t Quit You Baby

3. Heartbreaker

4. Dazed And Confused

5. White Summer/Black Mountain Side

6. You Shook Me

7. Moby Dick

8. How Many More Times

Tracks 1 to 8 are a PREVIOUSLY UNRELEASED concert recorded live at The Olympia Theatre in Paris France on 10 October 1969 (Broadcast 2 November 1969 by the French Radio Station 'Europe 1')

The 3-way gatefold card sleeve features alternative artwork on the rear with the original back cover of the LP moved to the inside left flap. The two other inner flaps feature classy black and whites but I must say the alternate artwork leaves me cold. The 16-page booklet has gorgeous black and white/colour photos of the band live at the time - but that's where the good news stops. There are two pages at the rear that give you the basic track info but bugger all else - there are literally no liner notes - nor any history of the album and its importance - nothing from Page or Plant. It's good - but it could have been great - and frankly why isn't it? And as one other reviewer has pointed out - relistening to the album in its entirety - only hammers home what an astonishing debut it was (and still is). But in my heart that's nothing to the sound...

I'm certain the sound quality on this album is going to be a bone of contention for many. Don't get me wrong - it does sound very clean - it has power (if you crank it up) - but there's absolutely something missing. To my ears there's no life to these remasters - no air around the instruments - a sort of dead dampened feel to them. I don't know if noise suppression was used and the only reference to 'remastering' is craftily put on the sticker and not any part of the booklet (so no sources are listed). But to my ears the "Mothership" versions are infinitely better. I've done an A/B of the 4 ML remasters with what's on here - and the 2007 versions are full of real presence and power. "Baby I'm Gonna Leave You" for instance is very clean - but again - it feels oddly restrained. Tracks like the Acoustic and Tabla "Black Mountain Side" sound fabulous - as does the barnstorming finisher "How Many More Times" - but "Good Times Bad Times" and "Communication Breakdown" don't thrill like they should.

The live disc fluctuates wildly on the sound front - a best approximation is a passable bootleg recording. On the double-opener "Good Times Bad Times/Communication Breakdown" you can so hear the power and magic of a band tearing into its audience with a point to prove - but tracks like "Moby Dick" and "Heartbreaker" sound like rubbish (even if Jimmy Page's guitarwork is off the charts brilliant). Speaking of his axe - the guitar disappears into the mix way too often as does John Paul Jones' Bass and John Bonham's drums. Bluntly if any major label put this out as an official release they would be loudly panned by everyone – especially fans. Also where is the 1969 studio outtake "Baby Come On Home" or the brill "Travelling Riverside Blues" from the 1990-4CD "Led Zeppelin" Box Set - which would have made ideal bonus tracks on Disc 1?

I suppose it's a matter of taste when it comes to sound - and I'm open to correction. And there will be those who can quite easily accept what's on Disc 1 - but I for one have to admit to feeling major disappointment after all this wait. Thank God I didn't fork out ninety quid for the Super Deluxe. Answers on a missing mastertape please...

PS: see also reviews for the 2CD Deluxe Edition versions of "II", "III", "IV", "Houses Of The Holy", "Physical Graffiti" (3-Discs) and "Mothership: The Best Of" (3-Discs)

"Tanx" by T.REX [featuring Marc Bolan] (2002 and 2014 Edsel 2CD 'Deluxe Edition' Remaster) - A Review by Mark Barry...

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"...Unstrap My Knees..."

Following the artistic and commercial highs of albums like "Electric Warrior" in 1971 and "The Slider" in 1972 was always going to be hard – yet The Jeepster delivered again in the spring of 1973.

This stunning 2002 Edsel 2CD Deluxe Edition of “Tanx” (reissued in 2014) offers up a huge slice of T.Rex and Bolanmania from a primo period. Here are the Electric Slims and the Tenement Ladies…

Originally UK released August 2002 – "Tanx" by T. REX on Edsel MEDCD 716 is a 2CD set in a card digipak (Barcode 740155171629) and breaks down as follows:

Disc 1 (51:52 minutes):

1. Tenement Lady

2. Rapids

3. Mister Mister

4. Broken-Hearted Blues

5. Shock Rock

6. Country Honey

7. Electric Slim And The Factory Hen

8. Mad Donna

9. Born To Boogie

10. Life Is Strange

11. The Street And Babe Shadow

12. Highway Knees

13. Left Hand Luke And The Beggar Boys

Tracks 1 to 13 are the album "Tanx" – originally released 23 March 1973 on vinyl in the UK on EMI BLN 5002

Tracks 14 to 20 are EXTENDED PLAY - the A&B-sides of three British singles most of which were non-album at the time:

14, 15 and 16 are Children Of The Revolution b/w Jitterbug Love and Sunken Rags – September 1972 UK 7” single on EMI/T.Rex Wax Co. Label MARC 2

17 and 18 are Solid Gold Easy Action b/w Xmas Riff – December 1972 UK 7” single on EMI/T.Rex Wax Co. Label MARC 3

19 and 20 are 20th Century Boy b/w Free Angel – March 1973 UK 7” single on EMI/T.Rex Wax Co. Label MARC 4

Disc 2 BONUS DISC – The Alternate Tanx (“Left Hand Luke”) (53:04 minutes):

1. Tenement Lady/Darling

2. Rapids (Incomplete)

3. Mister Mister

4. Broken-Hearted Blues

5. Country Honey

6. Mad Donna

7. Born To Boogie

8. Life Is Strange

9. The Street And The Babe Show

10. Highway Knees

11. Left Hand Luke

Tracks 1 to 11 are collectively called The Alternate Tanx ("Left Hand Luke") – studio rough mixes of almost every track

Tracks 12 to 14 are Extended Play – Children Of The Revolution [Incomplete], Solid Gold Easy Action [Alternate] and Free Angel [Alternate]

Tracks 15 to 18 are Acoustic and Bass Demos of Mister Mister, Broken Hearted Blues, The Street And The Babe Shadow and Tenement Lady

Tracks 19 to 23 are Acoustic Demos of Tenement Lady, Broken Hearted Blues, Mad Donna [with Different Lyrics], The Street And The Babe Shadow and Left Hand Luke

The three-way fold-out digipak is pretty – alternate artwork on the inner flaps – press adverts and promo stuff beneath the two see-through CD trays - detailed 16-page liner notes by T.Rex/Marc Bolan expert MARK PAYTRESS – lyrics – and both CDs carrying the T.Rex Wax Co 7" single Logo which on this reissue is blackened to resemble the sleeve instead of the usual blue and red colouring (I remember for all those 45s we used to grab in Woolworths with the excitement of buying the next Beatles seven). The remasters are fabulous too – full of power and muscle – giving tracks like the acoustic strum of "Life Is Strange" and the chugging rock boogie/vocal phasing of "Rapids" huge presence.

"Tanx" achieved the same top chart position of 4 in the UK that "The Slider" did in the previous summer – yet I’d argue it actually has better tracks. To this day the seductive strings and melody of "Electric Slim And The Factory Hen" get me – sounding so advanced for its time. Thanks to Mark Paytress and his tireless search for all things Marc - I now know that the girl who giggles the intro to the brill "Mad Donna" is the daughter of an executive at CBS France! I still don’t know if I like the sax intro to "The Street And Babe Shadow" but I like the song and his musical progression. Yet the sax works in tandem with the Mellotron on "Mister Mister". The "oh baby" groove of "Shock Rock" has great guitar boogie but awful lyrics. But then Bolan goes all soulful and gospel girly vocals on the wonderful album finisher "Left Hand Luke And The Beggar Boys" which Paytress rightly suggests bears more than a passing resemblance to tracks on The Stones 1972 opus "Exile On Main St."

As with "The Slider" 2CD reissue – the bonus tracks on Disc 1 add hugely. Who amongst his fans doesn’t hold a torch for the non-album singles Children Of the Revolution, Solid Gold Easy Action and 20th Century Boy (and their equally cool B-sides). As you can imagine the 'alternate and demo' versions on Disc 2 are a mixture of the fabulous and the throw away. The 2:13 minute frantic alternative of "Solid Gold Easy Action" is fantastic – rocking T.Rex unleashed - while the Acoustic Demo of "Mister Mister" may be hissy but it’s wonderfully intimate. The demo of "Tenement Lady" sounds like he’s using a heavy-stringed Dobro and comes complete with false start - and it's strange to hear "Left Hand Luke" dropped from its near 6 minutes on the album to a two-minute acoustic strum - tender and moving (lyrics from it title this review). Nice.

Great remastered sound – quality presentation - and a reasonable price tag for a 2CD DELUXE EDITION. You have to say that Edsel have done the business by his memory and musical legacy. There is an album-only single-disc version on Edsel’s budget label CODE 90 (Catalogue Number Code 90 NINETY 16 - Barcode 740155301620 - 34:56 minutes) – but I’d plum the few extra quid for this (so worth it).

On the spoken intro to "Xmas Riff/Born To Boogie" he says...

"This is Marc Bolan here. 

I’d like to wish you all a super funk Christmas and a golden New Year…"

Job done my son...

"Copland" on BLU RAY - A Review Of James Mangold's 1997 Film - Now Reissued In 2011 On A 15th Anniversary 'Collector's Series' BLU RAY...

Here is a link to AMAZON UK to get this BLU RAY at the best price:

http://www.amazon.co.uk/gp/product/B005GJTNGC

"…One Of The Good Guys…" – Copland (2011 15^th Anniversary Edition) on BLU RAY

Rewatching "Copland" on BLU RAY - you're struck by a few things. First - what a top movie this is - and the reputation it's gained as such since its 1997 release - is fully justified.

Second - is the astonishing cast. I count more than 15 world-class actors - Robert De Niro, Harvey Keitel, Ray Liotta, Janeane Garofalo, Robert Patrick, Michael Rapaport, Annabella Sciorra, Noah Emmerich, Cathy Moriarty, John Spencer (of The West Wing), Peter Berg (of Chicago Hope), Robert John Burke and Terry Serpico (of Rescue Me), Malik Yoba (of Defying Gravity and Alphas), Bruce Altman (of Damages and Blue Bloods), Paul Calderon (of Hostages and Law & Order), Vincent Laresca (of Weeds and 24), Frank Vincent, Edie Falco, Arthur J. Nascarella, John Ventimiglia and Tony Sirico (all of The Sopranos) - there's even Blondie's Debbie Harry as a bar owner. Yet despite that formidable array of acting chops - it's all over for the lot of them the moment Sylvester Stallone steps onto the screen - in what has to be a career best for him.

Our Sly plays Freddy Heflin - a lumbering New Jersey cop who is coasting through his job as local town Sheriff. Freddy lives in Garrison, New Jersey (population 1280) - off jurisdiction home to many of New York's Transit Cops who moved there in the Seventies when crime threatened to engulf the Big Apple. Freddy stands over a pinball machine on his friendless birthday in the all Blue '4 Aces' Bar - dutifully overlooking an NYPD bag being passed between yet another cop Gary Figgis and a female badge at a nearby table (Ray Liotta and Edie Falco). "That's Freddy!" Gary reassures the nervous Bertha. "He's my guy! He's cool!" Gary smiles - he'll have no problem keeping the sedate Heflin under control.

Freddy is overweight and almost deaf in one ear from an automobile accident involving a sinking car that flew off a bridge he happened to be sitting under as a young man. His only real heartbeat-uptake comes from Liz Randone (Annabella Sciorra) - the beauty queen he pulled from the submerged Buick by smashing the side of his head against the passenger door window to get her free. But Liz went on to marry Joey (Peter Berg) - a drunken womanizer who is sleeping with Rose Donlan (Cathy Moriarty)- wife of the town's real power cop - Ray Donlan (Harvey Keitel). Liz smiles as Freddy returns a turtle teddy bear she left on top of her car bringing her kid home from school (an excuse to call on her door) - but she endures Freddy rather than embracing him in her arms.

One night at 2 a.m. in New York City - the 3-7 Cop Crew is getting wasted in a nightclub called Scores - when decorated Officer Murray "Super Boy" Babitch (Michael Rapaport) leaves and gets into his car with one too many drinks taken. But entering the George Washington Bridge he gets sideswiped by two blacks in a sports car that are clearly high - and worse - laughing at him. An angry chase ensues - and thinking a long black steering wheel lock is a sawn-off shotgun - Babitch gives pursuit and fires shots from his handgun. The two cars collide head on in the middle of the GWB - and when the dust settles - both lowlifes are dead. Soon half of Garrison's finest are on the scene trying to control the mayhem led by Leo Crasky (John Spencer) and Ray Donlan (Keitel). One of their cop posse called Jack Rucker (Robert Patrick of Terminator fame) plants a gun in the floor area of the mashed up sports car  - but a black Ambulance Medic who has already swept the vehicle - sees the white boy's ploy and a fist-fight ensues. Babitch feeling his whole life is about to fall apart - puts his hands to his bloodied head - panics - and it 'seems' like he jumps off the bridge into the cold Hudson below when no one but Uncle Ray is looking. The next morning Freddy Heflin is reading THE DAILY NEWS in Garrison - reporting that after stopping two drug dealers - a young hero cop has taken his own life for fear of a judicial system that will destroy him for trying to do his job. But then after a random speeding stop with his newly appointed assistant Cindy Betts (Garofalo) - Freddy lets the unmarked cop car go but sees the scared Babitch in the back seat being spirited away by 'friends' in the force. But neither Freddy nor his Deputy Bill (Noah Emmerich) say anything to anyone about what they know.

Meanwhile uptown and heading up the Internal Affairs Bureau (the I.A.B.)- Moe Tilden (Robert DeNiro) suspects that Super Boy's body is never going to be found because he didn't jump. So he goes out to Garrison Town and in a local Danish shop meets fellow cops Ray and Frank (Harvey Keitel and Arthur J Nascarella) whom he knew from Academy days. Barely disguised verbal jabs ensue and Ray Donlan utters the word 'rat' under his breath as investigator Moe Tilden leaves with a coffee.

Moe then meets with Freddy the local Sheriff - and in a conversation indicates that the massively attended funeral for hero-cop Babitch is a staged farce. "We buried a suit today! How do you feel about that?" he probes the man he suspects still has a conscience somewhere beneath that massive broken frame. "Ambivalence is a disease..." Tilden says. Moe tries harder to reach the Sheriff by putting another thought directly into Freddy's one good ear - unless the body of Super Boy turns up in the river soon - the case being crushed by The Mayor (with mob connections to the town of Garrison) is not going to hold. It's only a matter of time before the young Babitch goes the same way Gary Figgis' partner Sergeant Tunney went a few years back - dead and buried to cover up more local lies. A series of events then unfold that rattle Freddy - and their presumptions that he'll simply roll over on everything begins to gnaw at him - until it becomes obvious that he must man up and take in Babitch to face the I.A.B. inquest in New York City. But first Freddy has to get the scared white kid out of the town jail without both of them getting killed - and without the back-up of officers too scared and too loyal to kingpin Ray Donlan to help...

Although the dialogue is constantly brutal (and convincing for it) - "Copland" is not all 'f' words either. The scene where Stallone and Sciorra finally come together in his home to the Springsteen songs "Stolen Car" and "Drive All Night" (both from his 1980 double album "The River") is both tender and beautifully judged. The acting too is uniformly brilliant. Keitel is all power corrupted (lets a fellow officer fall from a TV aerial who's been soiling his sheets at home), DeNiro is the driven investigator trying to bring truth back to the force and Liotta is a cocksure wiseass cop - until a fire-bombing he arranged goes drastically wrong. The sweating jerky Michael Rapaport as Babitch is superb too - suspecting that his life is not just screwed but in danger from his 'pals'. All are fabulous. But its Stallone's journey back to being a real man and doing what's right that keeps you glued. He put on pounds for the part, pulled back the macho and allowed himself to be sappy at times - he is magnificent in the role and deserved 2nd Oscar glory.

Defaulted to Full Screen Aspect (no bars top or bottom) - the 2011 15th Anniversary Collector's Series BLU RAY picture quality is a huge improvement over the DVD (and previous much-derided BLU RAY incarnations - use Barcode 5060223761770 to get the right issue). So many scenes are properly clear now - even indoors and at night (the party sequence when Babitch realizes what's being planned for him). There are good extras too in the shape of an 'Urban Western' Making Of, Deleted Scenes, Storyboarding of the Shoot Out and a feature-length Commentary by Writer/Director James Mangold. Audio is HTD-HD Master Audio Surround 5.1 and Subtitles are English and English For The Hard Of Hearing. Special mention should also go to Howard Shore's superb brass refrain that gives certain scenes enormous added power.

"Copland" is a bit a wee gem frankly. Make room for this morality tale in your Darkness On The Edge Of Town...