"The Circle Game" by TOM RUSH [featuring Joni Mitchell, Jackson Browne and James Taylor] (2008 Rhino Expanded CD – Bill Inglot and Dan Hersch Remasters) - A Review by Mark Barry...

"…Someone To Love Today…"

Heavily steeped in the American Folk, Blues & Roots movements of the early to mid Sixties - TOM RUSH was already a 5-album veteran by the time he released "The Circle Game" in April 1968 at the age of 27. The bog-standard CD version of this lovely, but long-forgotten gem of an album has been available for almost 20 years now with a slip of paper as an insert and useless hissy sound.

Thankfully Rhino's May 2008 Reissue finally addresses that travesty by giving the album the sonic upgrade its long deserved - a Remastered 40th Anniversary Edition CD on Elektra/Rhino 8122-79978-5 (Barcode 081227997854) - complete with an upgraded booklet and 3 rare bonus tracks. The Elektra/Rhino 2008 CD remaster of “The Circle Game” by TOM RUSH breaks down as follows (52:12 minutes):

1. Tin Angel

2. Something In The Way She Moves

3. Urge For Going

4. Sunshine Sunshine

5. The Glory Of Love

6. Shadow Dream Song [Side 2]

7. The Circle Game

8. So Long

9. Rockport Sunday

10. No Regrets

11. (Coda)

Tracks 1-11 make up the album "The Circle Game" issued on Elektra EKL 4018 (Mono)/EKS 74018 (Stereo) in April 1968 in both the USA and UK. The Stereo mix is used.

BONUS TRACKS:

12. Something In The Way She Moves (UK Single Mix) - issued March 1968 in the UK on Elektra EKSN 45032. This A-side is a different mix to the album version – the album track "Rockport Sunday" was its B-side in the USA and UK.

13. Urge For Going (US Single Mix) - issued late 1967 in the USA on Elektra EKS-45607 - again different to the album version. "Sugar Babe" from the June 1966 Elektra Records LP "Take A Little Walk With Me" was its B-side.

14. The Circle Game (Take 1) – PREVIOUSLY UNRELEASED

The 8-page booklet has a new essay and interview with Rush by the respected reviewer PETER DOGGETT and is filled out with session details, trade paper reviews and pictures of US and UK singles. The album artwork is beneath the see-through tray and the CD itself reflects the colour of the original US vinyl album label - all nice touches - and typical of Rhino's attention to detail.

Some might moan that the album's original MONO mix should have been included as well as the STEREO version - I'd take that as a valid point - but two of the bonus tracks are a real find and collectors I'm sure would prefer them.

In an odd sort of way, "The Circle Game" isn't remembered so much for Rush himself, but for the astonishing singer-songwriters he introduced to the world via the record - JONI MITCHELL, JACKSON BROWNE and JAMES TAYLOR - all three unsigned at the time. With these enormous talents providing the bulk of the songs and two cracking originals of his own, this unassuming little folk album practically kick-started the entire Californian singer-songwriter movement. The album's title is one of Joni's best compositions "The Circle Game" which she eventually put out on her 3rd album "Ladies Of The Canyon" in 1970 (lyrics from it title this review). The other two covers are "Tin Angel" which turned up on her 2nd LP "Clouds" in 1969 and "Urge For Going” - as beautiful a song as she has ever written and for me one of the real beauties on this record. Her own version didn't find its way onto vinyl until 1972, when it turned up as a B-side of "You Turn Me On, I'm A Radio". Its CD debut is on the wonderful "Hits" set from 1996 - a HDCD remaster in truly beautiful sound quality. When you hear just how touching her original is - it's easy to see why Rush nabbed the song as fast as he could.

James Taylor's two tracks fare less well. First up is "Something In The Way She Moves" which Rush unwisely speeds it up with funky brass fills ruining the beauty of the song - it's dated and awful. A few months later, Taylor left for London, signed to The Beatles Apple label and released his debut LP "James Taylor" in 1968 with his softer version of the song on it. It was such a lovely tune, several artists covered it almost immediately - best of which is MATTHEWS SOUTHERN COMFORT's version on the "Second Spring" album from 1970. However, Taylor aced all of them - including his own original - by re-recording the song for his first hits set in 1976 - the white covered "Greatest Hits" - it's the definitive version of a beautiful song. The 2nd Taylor track is "Sunshine Sunshine" - a far better jaunty love song complete with strings and 60's upbeat message.

Before the album was released in April - Elektra tried “No Regrets” as a 45 in the USA in January 1968 (Elektra EKSN 45025) with “Shadow Dream Song” as its flipside – but it unfairly sank without a trace despite his beautiful tune now being revered as a Sixties love-song classic. I’ve always lovely “Rockport Sunday” – an instrumental that reflects its title – the kind of mellow acoustic vibe tune you’d play chilling out on a Sunday morning at home with a coffee in hand looking out at the sunny day to come.

Jackson Browne's voice and sound is immediately evident in the chorus of "Shadow Dream Song" - a good song - and a pointer to what was to come years later in 1974's sublime "Late For The Sky".

The other two covers are "The Glory Of Love" made famous by Benny Goodman in 1936 with The Five Keys doing a number 1 doo-wop version of it in 1951 - Rush's version is more uptempo and only ok in my books, while "So Long" is an old Charlie Rich song from his days at Sun Records. But then - for me - comes the lethal double whammy of his own two compositions - the gorgeous instrumental "Rockport Sunday" and the classic and magical "No Regrets" (made a huge hit by The Walker Brothers in 1975). To hear them both in this improved sound quality is a genuine blast. The less-than-a-minute string curio that is "(Coda)" is just that - a curio tagged onto the end of the record. Two of the bonus tracks, "Urge For Going" and "The Circle Game", are sparse bare acoustic versions and beautiful for it - a real treat for fans.

Soundwise the improvement is enormous - it's still a little hissy on a lot of the tracks, but the clarity of the instruments and the depth of his huge deep voice are so much more to the fore now - a muscular and fabulous remaster by Rhino's tape-masters BILL INGLOT and DAN HERSCH.

To sum up - flawed in places for sure, but the good stuff is breathtaking - and this remastered reissue finally brings that out. A job well done and an album you need to investigate...

PS: see also my review for the two albums that preceded "The Circle Game" - 1965's "Tom Rush" and 1966's "Take A Walk With Me" now both reissued and remastered by Beat Goes On of the UK in 2015...

This review is part of my SOUNDS GOOD Music Books Series. E-Books giving advice on "Exceptional CD Remasters" in different genres. Check out SOUNDS GOOD: 1960s and 1970s Volume 2...available to buy on Amazon and many other download sites...

"Slowhand: 35th Anniversary Deluxe Edition" by ERIC CLAPTON (2012 Polydor 2CD Remasters) - A Review by Mark Barry...

“...Mean Old Frisco And Low Down Santa Fay...”

Along with 1974's "461 Ocean Boulevard" – Eric Clapton's hugely popular and commercially successful "Slowhand" album from 1977 was always going to be the subject of a 2CD DELUXE EDITION set at some point in time. And chock full of crowd-pleasers like "Wonderful Tonight", "Lay Down Sally" and J.J. Cale's "Cocaine" that Eric plays in concert to this day (some 40 years later) - it's surprising Universal took so bloody long in releasing it. Yet you have to say – it's absolutely been worth the wait - with a 2nd disc that is both thrilling and a reminder of just how good old EC was/is in the 'live' arena. Here are the Diesel and Peaches...

UK and USA released December 2012 – "Slowhand: 35th Anniversary Deluxe Edition" by ERIC CLAPTON is a 2CD Reissue/Remaster on Polydor 0600753407202 (Barcode 600753407202) and breaks down as follows:

Disc 1 (53:22 minutes):

1. Cocaine

2. Wonderful Tonight

3. Lay Down Sally

4. Next Time You See Her

5. We're All The Way

6. The Core [Side 2]

7. May You Never

8. Mean Old Frisco

9. Peaches And Diesel

BONUS TRACKS:

10. Looking At The Rain – a Gordon Lightfoot cover version, recorded 6 May 1977 - PREVIOUSLY UNRELEASED

11. Alberta – a cover version variant of the Blues song "Alberta" by Huddie "Leadbelly" Ledbetter – Clapton's version is more akin to "Alberta Blues" by The Mississippi Sheiks. Recorded 4 May 1977 – it was first issued on the 1999 Eric Clapton compilation "Blues" as an outtake from "Slowhand"

12. Greyhound Bus – an Eric Clapton song recorded 20 May 1977 - PREVIOUSLY UNRELEASED

13. Stars, Strays And Ashtrays – an Eric Clapton song recorded May 1977 - PREVIOUSLY UNRELEASED

Disc 2 – Live At Hammersmith Odeon, London, 27 April 1977 (74:42 minutes):

1. Tell The Truth (Live) – an Eric Clapton and Bobby Whitlock Song originally on the 1970 "Layla" 2LP set by Derek & The Dominoes

2. Knocking On Heaven's Door (Live) – a Bob Dylan cover

3. Steady Rolling Man (Live) - originally on "461 Ocean Boulevard"

4. Can't Find My Way Home (Live) – a Blind Faith song written by Steve Winwood – sung here by Yvonne Elliman only

5. Further On Up The Road (Live) – a Bobby "Blue" Bland cover version (written by Joe Veasey)

6. Stormy Monday (Live) – a T-Bone Walker cover version

7. Badge (Live) – a Cream cover written by Eric Clapton and George Harrison

8. I Shot The Sheriff (Live) – a Bob Marley & The Wailers cover version

9. Layla (Live) – a Derek & The Dominoes song

THE MUSICIANS:

Lead Guitar & Vocals – ERIC CLAPTON

Guitar – GEORGE TERRY

Keyboards – DICK SIMS

Duet Lead Vocals – YVONNE ELLIMAN

Duet Lead Vocals, Harmonica and Guitar – MARCY LEVY

Bass – CARL RADLE

Percussion – SERGIO PASTORA

Drums and Percussion – JAMIE OLDAKER

Tracks 3, 4, 7 8 and 9 are PREVIOUSLY UNRELEASED

Tracks 1, 2 and 6 first appeared in 1996 on the 4CD Polydor/Chronicles Book Set “Crossroads 2 (Live In The Seventies)”

BILL LEVENSON produced the compilation that features 16-page liner notes by noted writer DAVID HEPWORTH (assisted by Richard Havers) with the tape research, transfers and remastering handled by ANDY SKUROW, KEVIN REEVES and SETH FOSTER at Sterling Sound. The booklet is a very functional affair – a few photos and paragraphs on Clapton’s career and the huge impact tunes like J.J. Cale's "Cocaine", the love song and perennial compilation filler "Wonderful Tonight" and the poppy "Lay Down Sally" had on his radio popularity. The inner flaps of the card digipak have the inner sleeve collage photos of the LP – it's good but hardly great.

The remasters are fantastic – warm, clear and not over trebled for the sake of it. The big riff of "Cocaine" hits you with a wallop – immediately followed by the "...it's late in the evening...she's wondering what clothes to wear..." smooch of “Wonderful Tonight” which despite being overplayed still has the power to make the old soft machine feel a little more mushy. I must admit I never much cared for the throwaway pop of "Lay Down Sally" then and it remains that way now – but I've always loved the jaunt of Don Williams' "We're All The Way" – a genius choice cover version which Clapton makes his own through arrangements. The big rock track of the album "The Core" was co-written with Marcy Levy (as was "Lay Down Sally") and features Yvonne Elliman on Duet Vocals. It dominates Side 2 for nearly nine minutes and yet doesn’t overstay its welcome made interesting with crafty chord changes and that bounce-off vocal. I dare say Scotland’s John Martyn put a few kids through college on the royalties from “May You Never” – a beautiful ballad from his 1973 classic "Solid Air" on Island Records. Clapton keeps the simple melody but again makes it feel like it was an EC song all along. We then get the album’s only Blues outing – a cover of Arthur "Big Boy" Crudup's "Mean Old Frisco" – that EC arranges into an irresistible combo of Electric Slide Guitar alongside high string Dobro fills and a muscle doubled-vocal. It's a winner. The album ends on "Peaches And Diesel" – an instrumental I always felt is lightweight re-run of “Wonderful Tonight” but not in a good way (the remaster of it though is gorgeous). I'd have to say that the Bonus Tracks on Disc 1 are largely disappointing and it's pretty obvious why his dreadful "Stars, Strays And Ashtrays" stayed in the can (his vocal is awful and he sounds stoned). Better is the pretty cover of Gordon Lightfoot's "Looking At The Rain" – a nice outtake – as is the washboard harmonica drive of "Greyhound Bus" (sweet duet vocals with Elliman). The Bluesy and acoustic "Alberta" – which first turned up on the 1999 "Blues" Box Set – is the best of the bunch (great audio and vocals too). But all that pales into the distance when you get to the shock of Disc 2...

Although live inclusions are seen by fans as convenient filler in these DE's - the 'Live' Disc here from April 1977 in England's Hammersmith Odeon is a sensation – making mincemeat of the four insipid outtakes that end Disc 1. The band (the same line-up he had on the album minus Saxophonist Mel Collins) is on fire and each version of each song is infused with energy and playing that is amazing ("Further On Up The Road" rocks like a mother and receives a warm audience response). If this had been released as a definitive 2LP set in the late Seventies – it would stand up as a winner to this day. A major bummer is that there's amp feedback prevalent throughout the 13-minute Blues of "Stormy Monday" which really detracts (especially in the solos) - but it's still a great purist performance. Better is "Badge" which gets slightly funked up and elicits crowd handclapping and cheers. Running to 14 minutes - the Reggae-Funk-Rock of Bob Marley's "I Shot The Sheriff" sees the band cooking on all fronts – the vocals, rhythms, drum solos and guitars – it's wickedly good. Disc 2 ends (as it had to do) on the crowd-pleaser "Layla" where the guitars rock out. Apart from that terrible feedback problem on "Stormy Monday" – it's a cool addition and actually worth of the moniker 'Bonus'.

Even though the booklet could have done with some serious beefing up (photos, memorabilia, interviews) – the great remaster and that live bonus material make this a DE winner. I'd love to see the underrated "Backless" from 1978 receive the same treatment - and for that matter the equally underrated and forgotten "Another Ticket" from 1981. Once more unto the tape vaults Mister Levenson...

"Universal Love" by MFSB (2015 Big Break Records Expanded CD – Nick Robbins and Wayne A. Dickson Remasters) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

SOUL, FUNK and JAZZ FUSION - Exception CD Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"...My Mood..."

In April 1975 (with the Vietnam War officially declared over by President Ford) – the last troops left Saigon and America was ready to party and feel good. You can see this in the sleeve of June 1975's "Universal Love" by MFSB (MFSB was the in-house Soul Orchestra for Gamble & Huff’s Philadelphia International label). A sun rises on a vessel-less sea that has flowers of hope floating above it – a far cry from the cover art for MFSB's 2nd album "Love Is The Message" from December 1973 with its ugly skull soldier and atomic bomb explosion looming in the background (the self-titled debut album from April 1973 showed a syringe lying in a coffin - reflecting America’s inner-city slide into drugs). The largely instrumental "Universal Love" album contained sexy rhythms and warm sways totally capturing the National zeitgeist and catapulting it up to No.2 on the American R&B charts and an impressive No. 4 on the US Pop charts. This 2015 Expanded BBR CD is a great celebration of that warmly remembered summer record and here are the tender loving cares (with big strings and even bigger hairdos)...

UK released July 2015 – "Universal Love: Expanded CD Version" by MFSB on Big Break Records CDBBRX 0312 (Barcode 5013929061231) breaks down as follows (46:41 minutes):

1. Sexy

2. MFSB

3. Human Machine

4. Love Has No Time Or Place

5. T.L.C. (Tender Loving Care) [Side 2]

6. Let's Go Disco

7. K-Jee

8. My Mood

Tracks 1 to 8 are their 2nd studio album "Universal Love" – released June 1975 in the USA on Philadelphia International KZ 33158 and July 1975 in the UK on Philadelphia International S PIR 80410

BONUS TRACKS:

9. Sexy (Single Version)

10. T.L.C. (Tender Loving Care) (Single Version)

11. Let's Go Disco (Promotional Single Version)

12. K-Jee (Single Version)

Four 7" singles were released in the UK and USA around the album and this BBR CD will allow fans to sequence 'most' of them as follows...

[9] = Track 9 on the CD:

1. Sexy [9] b/w Human Machine [3]

Released May 1975 in the USA on Philadelphia International ZS8 3567

Released July 1975 in the UK on Philadelphia International S PIR 3381

Notes: the A-side is a 7" single edit at 3:13 minutes, the album cut is 3:36 minutes. "Sexy" also turned up at a B-side to the January 1977 UK reissue 7" single of "TSOP (The Sound Of Philadelphia)" by MSFB on Philadelphia International S PIR 4888.

2. T.L.C. (Tender Loving Care) [10] b/w Love Has No Time Or Place

Released September 1975 in the USA on Philadelphia International ZS8 3576

Notes: the A-side is a 7" single edit at 3:20 minutes, the album cut is 3:44 minutes. The B-side "Love Has No Time Or Place" is also an edit at 3:30 minutes but unfortunately isn't included on this CD (the full album version runs to 6:21 minutes). There was no UK 7" issue.

3. Let's Go Disco [6] b/w My Mood [8]

3. Let's Go Disco (Album Version) [6] b/w (D.J. Short Version) [11]

Released September 1975 in the UK on Philadelphia International S PIR 3635. Only the Demo/Promo version had a 'D.J. Short Version' on the B-side running to 2:37 minutes instead of the album's 4:18 minutes on the A.

4. K-Jee [12] b/w My Mood [8]

Released March 1978 in the USA on Philadelphia International ZS8 3641

Released May 1978 in the UK on Philadelphia International S PIR 6287

Notes: the A-side is a single edit at 3:20 minutes while the album full version is 4:19 minutes – the B-side is the full album version at 4:15 minutes.

The CD comes in one of those round-corner jewel cases BBR seems to favour their reissues while the 16-page booklet features new liner notes by noted NYC-based Soul writer CHRISTIAN JOHN WIKANE. There’s detailed discussion on the sophistication of the album for the Disco genre and its popularity across all boards (including the Pop world) – all of it peppered with photos of those American Philadelphia International labels along with rare European picture sleeves and photos of the huge ensemble orchestra. But the big news (as ever with BBR) is a superb remaster by NICK ROBBINS and BBR's main tape man WAYNE A. DICKSON. Primarily an 8-track instrumental LP with vocals only on "Love Has No Time Or Place" and "Let's Go Disco" – the emphasis was always going to be on the orchestral swirls, guitar licks, bass slaps, brass punches and that high-hat rhythm. This CD sounds fabulous. If I was to single out one track that shows this it’s the gorgeous album finisher "My Mood" – an instrumental that sounds like easy-listening Bacharach taken to another Soulful level. I’ve had this on Philly compilations of old – but the audio off this beauty beats them all. Impressive...

Kenneth Gamble and Leon Huff not surprisingly penned the two slick openers – the dancefloor friendly "Sexy" and "MFSB" (Mothers Fathers Sisters Brothers) and they sound fab. Ron Baker of the Salsoul Orchestra co-wrote "Human Machine" with Leon Huff and is a mid-tempo groove with great Steely Dan-ish guitar and keyboard flicks (feels like Disco all grown up and proud of itself). By the time you get to the six-minute "Love Has No Time Or Place" (written by Bruce Hawes and Cynthia Briggs) the group has reached a place of sophisticated excellence that is hard to resist – a perfect hybrid of Disco girl-vocals over George Benson Jazz guitar licks – all of it complimented by that shuffling Philly backbeat and the ever-present lush strings. It’s an impressive groove and frankly sexy too.

Side 2 opens with "T.L.C. (Tender Loving Care)" – a jazzy slide in gives way to pure Philly bop – all high-hats, wah-wah guitars, brass and strings. We get a bit Funk with "Let's Go Disco" where they sound like Kool & The Gang and "K-Jee" is cool too –but my poison has always been the masterful Gamble & Huff slink of "My Mood" – a stunning instrumental that feels the ultimate Easy Listening Jazz cool. I'm always putting it on Soul CD-R compilations in order to show off my Soul smarts and Street cred (oh dear)...

So there you have it – a wicked 2015 Expanded CD reissue for MFSB's "Universal Love" and with that crack-a-lacking Audio - a must own for fans everywhere. The only glitch is the absence of that 7" Single Edit of "Love Has No Time Or Place" (a bad mistake really) – but other than that slip up - this is another BBR audio winner - and well done to all the bods in Big Break Records who got it out into the public domain in such style...

PS: Big Break Records (BBR) CD Remasters I’ve reviewed up to July 2015:

1. Central Heating – HEATWAVE (1977)

2. Hot Property - HEATWAVE (1979)

3. Candles - HEATWAVE (1980)

4. Turnin' On - HIGH INERGY (1977)

5. Harvest For The World - THE ISLEY BROTHERS (1976)

6. Go For Your Guns - THE ISLEY BROTHERS (1977)

7. I Hope We Get To Love On Time - MARILYN McCOO & BILLY DAVIS (1976)

8.  I Miss You - HAROLD MELVIN & THE BLUE NOTES (1972) [known as "Harold Melvin The Blue Notes" in the UK]

9. Black & Blue - HAROLD MELVIN & THE BLUE NOTES (1973)

10. Love Is The Message - MFSB (1973)

11. Universal Love – MFSB (1975)

12. All The Faces Of... - BUDDY MILES (1974)

13. For The First Time – STEPHANIE MILLS (1975)

14. I Can See Clearly Now - JOHNNY NASH (1972)

15. In Philadelphia - O'JAYS (1969)

16. Back Stabbers - O'JAYS (1972)

17. Ship Ahoy - O'JAYS (1973)

18. Down To Love Town – THE ORIGINALS (1977)

19. Ebony Woman - BILLY PAUL (1970 and 1973)

20. 360 Degrees Of Billy Paul - BILLY PAUL (1972)

21. War Of The Gods - BILLY PAUL (1973)

22. Platinum Hook – PLATINUM HOOK (1978)

23. Love For What It Is - ANITA POINTER (of The Pointer Sisters) (1987)

24. Summernights – SILVER CONVENTION (1977)

25. Smoked Sugar - SMOKED SUGAR (1975)

26. Soul Master – EDWIN STARR (1968)

27. Involved - EDWIN STARR (1971)

28. Switch - SWITCH (1978)

29. Watercolors – THE WATERS (1980)

30. Just As I Am - BILL WITHERS (1971 Debut LP on Sussex/A&M Records)
31. Heartbeats – YARBROUGH & PEOPLES (1983)

"Subtle As A Flying Mallet" by DAVE EDMUNDS (2013 RPM Records Expanded CD – Simon Murphy Remasters) - A Review By Mark Barry...

"...Get Into Trouble..."

In the early Seventies Dave Edmunds seemed to be late for everything. After departing LOVE SCULPTURE with two great albums under his belt - "Blues Helping" from October 1968 and "Forms And Feelings" from January 1970  – he recorded a cover version of the Smiley Lewis classic "I Hear You Knocking" and released it 30 October 1970 on the then tiny UK independent label Mam Records not thinking it would do much business (it was their first single on MAM 1). "I Hear You Knocking" promptly took the UK charts by storm (reaching number 1) and going Top 5 Stateside (as well as many other territories). Our Dave wasn’t ready and his debut solo album didn’t arrive until June 1972 on Regal Zonophone by which time two further singles - "I'm Comin' Home" in March 1971 and "Blue Monday" in June 1971 sank without a trace as did "Down Down Down" from July 1972. Two years after the momentum of the Number 1 single his 1972 "Rockpile" album was barely noticed and sold jack (its very hard to find on original vinyl).

The scatterbrain guitarist and Rock 'n' Roll revivalist did the same for his 2nd solo album – the long forgotten Phil Spector-ish sounding "Subtle As A Flying Mallet" from 1975. "Subtle..." was also preceded by two singles in May 1973 "Born To Be With You" and September 1974 "Need A Shot Of Rhythm And Blues" before the album belatedly showed up in the spring of 1975. But by that time – the same thing had happened again – no one noticed and "Subtle" has been a bit of a dark corner in Edmunds' long and illustrious career. Personally I’ve always loved both records (I reviewed the "Rockpile" CD elsewhere) and I'd argue "Subtle..." deserves a second-go-round on your deck. And you have to say that RPM Records have done a bang up job on this CD (it's an absolute must-own for fans). Here are the Rock 'n' Roll hammerhead details...

UK released February 2013 – "Subtle As A Flying Mallet" by DAVE EDMUNDS on RPM Records RPM 520 (Barcode 5013929552029) breaks down as follows (60:34 minutes):

1. Baby I Love You

2. Leave My Woman Alone

3. Maybe

4. Da Doo Ron Ron

5. Let It Be Me

6. No Money Down

7. Shot Of Rhythm And Blues [Side 2]

8. Billy The Kid

9. Born To Be With You

10. She’s My Baby

11. I Ain't Never

12. Let It Rock

Tracks 1 to 12 are his 2nd studio album "Subtle As A Flying Mallet" – released April 1975 in the UK on Rockfield RRL 101 (reissued April 1978 on RCA PL 25129) and in the USA on RCA LPL1-5003

BONUS TRACKS:

13. Some Other Guy – non-album B-side (see 4 below)

14. When Will I Be Loved

15. Make Me Good

16. You Kept Me Waiting

17. C'mon Little Dixie

18. Need A Shot Of Rhythm & Blues (Alternate Version)

19. Da Doo Ron Ron (by Dave Edmunds & The Electricians)

20. Pick Axe Rag (by Dave Edmunds & Mickey Gee) – non-album B-side (see 2 below)

Tracks 14 to 19 are from the November 1974 UK 2LP set "Stardust – 44 Original Hits From The Sound Track Of The Film" on Ronco Records RG 2009 and are exclusive to that double-album.

The 12-track album consisted of 11 cover versions and one original by NICK LOWE then with BRINSLEY SCHWARZ ("She's My Baby"). Two of the tracks were recorded live in front of a Welsh audience at the Top Rank Club in Cardiff with Brinsley Schwarz as the backing band – covers of Chuck Berry's "No Money Down" and "Let It Rock". "I Ain’t Never" has Nick Lowe on Bass and Pick Withers on Drums (later the drummer with Dire Straits). "She's My Baby" features Nick Lowe and Bob Andrews of Brinsley Schwarz on Bass and Piano respectively. Edmunds produced the LP at Rockfield Studios in Monmouth, Wales and all other tracks feature him playing every instrument. The album famously featured productions that deliberately aped the dense Phil Spector Wall-Of-Sound recordings of the Sixties on his Philles label. 

SINGLES:
"Subtle..." also saw four singles issued around it and this Expanded CD Remaster on RPM will allow fans to sequence them all as follows ([1] = Track 1 on the CD etc)...

1. Baby I Love You [1] b/w Maybe [3]

Released December 1972 in the UK on Rockfield ROC 1

Released 1973 in the USA On RCA Victor 74-0882

Notes: the A-side is a cover of the 1963 Ronettes hit on Philles, the B-side is a cover of the 1957 Chantels hit on End Records.

2. Born To Be With You [9] b/w Pick Axe Rag [20]

Released May 1973 in the UK on Rockfield ROC 2

Released 1973 in the USA on RCA Victor LPBO-5000

Notes: the A-side is a Chordettes cover version that features a Harmonica solo 'probably' by Lee Brilleaux of Dr. Feelgood. The non-album B-side "Pick Axe Rag" is credited to Dave Edmunds & Mickey Gee - Gee was the second guitarist in Love Sculpture for the "Forms And Feelings" album and also played in Joe Cocker's Grease Band prior to that.

3. Need A Shot Of Rhythm And Blues [7] b/w Let It Be Me [5]

Released September 1974 in the UK on Rockfield ROC 4

Released 1974 in the USA on RCA Victor PB-10118 (A&B-sides reversed)

Notes: the A-side is an Arthur Alexander cover version. The album track is listed as "Shot Of Rhythm And Blues" but for some reason the words "Need A..." were added for the single (no one seems to know why). The mix of the song on the "Stardust" double-album soundtrack is an 'Alternate Version' and differs to and LP/45 cut. The B-side "Let It Be Me" is a cover of The Everly Brothers 1959 hit on Cadence.

4. I Ain't Never [11] b/w Some Other Guy [13]

Released February 1975 in the UK on Rockfield ROC 6 [no USA release]

Notes: the A-side is a cover of Webb Pierce’s 1959 hit on Decca while the non-album B-side "Some Other Guy" is a cover of a Jerry Lieber & Mike Stoller song done by Richie Barrett on Atlantic Records in 1962.

The 16-page booklet features liner notes by ROGER DOPSON with new Dave Edmunds interviews about the album crossing recording paths with the David Essex film soundtrack "Stardust" (as well as appearing in the movie himself - DE also got the band Brinsley Schwarz a part in it). There are photos of UK Rockfield labels, trade adverts and Euro picture sleeves of "Baby I Love You" and "Born To Be With You" as well as track-by-track credits. The remaster from original tapes has been done by SIMON MURPHY at Another Planet Music and given the density of the recordings – he’s done a stunning job. I love the way that this CD sounds – Murphy has lost none of that Retro Rock 'n' Roll feel that Edmunds so adores – it drips from every cleverly chosen song. In fact you could argue when you hear the live takes of "No Money Down" and "Let It Rock" – perhaps it would have been simpler and even more effective to simply record the lot live – and get that 'real' feel the music so needs.

As fans will know – Edmunds feels the whole Spector-in-the-studio sound he obsessed over only half works and even in some cases is a downright mistake (an experiment that didn’t work). Personally I like what he was trying to get in the echoed and dreamy "Let It Be Me" – a fabulous cover of a gorgeous Everly Brothers song. Even "Billy The Kid" (the odd-man-out here stylewise) rocks in its own weird way. It's a Traditional song Ry Cooder first threw at us in 1972 on his "Into The Purple Valley" LP on Reprise Records. Edmunds apes Cooder's Cajun Americana style of picking – but it also works because the song isn’t that familiar to anyone and breaks up the Fifties R'n'R feel of the rest of the record. I love it that Lee Brilleaux of Dr. Feelgood is 'probably' the Harmonica player on his cover of "Born To Be With You" (its his trademark warble) and you can 'so' hear Nick Lowe's languid vocal style in "She's My Baby". Another fave is the Arthur Alexander cover "Shot Of Rhythm And Blues" and a great stab at Webb Pierce's "I Ain't Never".

Amongst the Bonus Stuff both the non-LP B-sides are worthy inclusions – the fast-paced almost Country picking instrumental "Pick Axe Rag" is a curio for sure but it’s a cool one. I have the Richie Barrett original of "Some Other Guy" on Atlantic Records from my 2006 Ace CD "Lieber & Stoller Story Vol.2..." – but again – a smart choice by Edmunds that suits his love affair with Rock 'n' Roll leanings and is a criminally forgotten sing-a-long gem of the genre. The "Stardust" tracks are a brilliant inclusion what with the double-LP languishing in CD limbo. Edmunds was commissioned by film producer David Puttnam to do nine songs for the film - both "Let It Rock" and "Shot Of Rhythm And Blues" from the album are on their but the other six presented here make their CD debut to my knowledge. "When Will I Be Loved" has always been an Everly Brothers bopping winner and Edmunds wisely doesn't mess with that original dynamic. "Make Me Good" and "You Kept Me Waiting" (written by the trio of Peter Anders, Paul Naumann and Kenneth Laguna) sound like typical Edmunds layered-vocal fare. The Orleans R'n'B boogie of "C'mon Little Dixie" is a winner (penned by Gerry Goffin and Barry Goldberg) too...

A fab little reissue of "Subtle As A Flying Mallet" and a long overdue reassessment that I hope will make people sit up and take notice. Now if only someone would expand CDs of his Swan Song albums – I’d be hammering on about those too...