"A Salty Dog: Deluxe Edition" by PROCOL HARUM [featuring Gary Brooker, Robin Trower, Matthew Fisher and Keith Reid (Lyrics)] (2015 Esoteric Recordings 2CD Reissue – Ben Wiseman Remasters) - A Review by Mark Barry...

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"...All This...And More..."

With a name loosely based around a Burmese Blue Cat – England’s Procol Harum and their droning melodramatic music has always been something of an acquired taste - beloved and derided in equal measure. But there's no doubting that there's properly great tunes on their 3rd album for EMI's Regal Zonophone Records (A&M in the USA). "A Salty Dog" saw the three songwriters in the band all step up with the moody goodies - singer Gary Brooker, keyboard player Matthew Fisher and ace-axeman Robin Trower.

The last time we were here was May 2009 when Salvo of the UK released their "40th Anniversary Edition" CD remaster of "A Salty Dog" on SALVOCD 020 (Barcode 698458812025 will identify that reissue). That remastered single CD reissue came housed in a gatefold hard card sleeve and boasted 6 bonus tracks chosen by Gary Brooker – a non-album B-side "Long Gone Geek", 4 Previously Unreleased live tracks from an American Tour in April 1969 with the LP Line-Up of the band in fine form and finally one "Raw Track, Take 1" of "The Milk Of Human Kindness". This time around we get a 2CD "Deluxe Edition" issued Friday, 31 July 2015 in the UK (August 2015 in the USA) on Esoteric Recordings ECLEC 22503 (Barcode 5013929460348 identifies the correct issue) which gives us a 2nd CD with 12-tracks – 5 of which are Previously Unreleased. All six of the Salvo bonus tracks return on Disc 2 - along with the 7" Single Mono Mix of "A Salty Dog" and the 5 previously unreleased cuts already mentioned. Here are the ship-shape details for the 2015 Esoteric Recordings 2CD Version...

Disc 1 (40:38 minutes):

1. A Salty Dog

2. The Milk Of Human Kindness

3. Too Much Between Us

4. The Devil Came From Kansas

5. Boredom

6. Juicy John Pink [Side 2]

7. Wreck Of The Hesperus

8. All This And More

9. Crucifiction Lane

10. Pilgrim's Progress

Tracks 1 to 10 are their 3nd album "A Salty Dog" - released June 1969 in the UK on Regal Zonophone SLRZ 1009 (Stereo) and in the USA on A&M Records SP-4179. It peaked on the UK charts at 27 and 32 in America.

Disc 2 (48:22 minutes):

1. Skip Softly (My Moonbeams)

2. Wish Me Well

3. Long Gone Geek

Tracks 1 to 3 are a "Top Gear" BBC Radio One Session recorded 6 Oct 1968 and are PREVIOUSLY UNRELEASED

4. Goin' Down Slow

5. Juicy John Pink

6. Crucifiction Lane

7. Skip Softly My Moonbeams/Also Sprach Zarathustra

Tracks 4 to 7 recorded live in the USA with the LP line-up in April 1969 and first appeared on the 2009 Salvo CD reissue (previously unreleased at that time)

8. The Milk Of Human Kindness – recorded 20 May 1969 for the "Symonds On Sunday" BBC Radio One Program – PREVIOUSLY UNRELEASED

9. Juicy John Pink – recorded 27 May 1969 for John Peel's "Top Gear" BBC Radio One Show – PREVIOUSLY UNRELEASED

10. A Salty Dog (Mono Single Mix)

11. Long Gone Geek (Non-Album B-side)

Tracks 10 and 11 are a UK 7" single released May 1969 on Regal Zonophone RZ 3019

12. The Milk Of Human Kindness (Take 1, Raw Backing Track) – recorded at Abbey Road Studios on 31 January 1969. First appeared on the 2009 Salvo CD reissue (previously unreleased at that time).

PROCOL HARUM was:

GARY BROOKER - Lead Vocals, Piano, Celeste Three Stringed Guitar, Harmonica Recorder and Woods

MATTHEW FISHER - Organ, Vocals, Marimba, Acoustic Guitar, Piano Recorder and Rhythm Guitar

ROBIN TROWER - Lead Guitar, Vocal, Acoustic Guitar and Sleigh Tambourine

DAVID KNIGHTS - Bass Guitar

BARRIE WILSON - Drums, Conga Drums and Tabla

KEITH REID - Lyrics on all 10 tracks

Along with Lyricist Keith Reid - Gary Brooker provided "A Salty Dog", "The Milk Of Human Kindness", "The Devil Came From Kansas" and "All This And More" - while Robin Trower penned "Too Much Between Us" and "Juicy John Pink" with Matthew Fisher writing the remaining three - "Boredom" (a co-write with Brooker), "Wreck Of The Hesperus" and the album finisher "Pilgrim's Progress".

It’s housed in a foldout soft card digipak – much the same as the Universal Deluxe Edition sets but without a sticker bandana. They’re nice ‘but’ they also dreadfully flimsy and vulnerable to damage. Having just reviewed the excellent 3CD of “Shine On Brightly” which comes in a gorgeous shiny hard card Box (Clamshell) – it’s disappointing to get the other 2CD sets in these crappy digipaks (“Procol Harum” and “Home” are the same). Mine arrived with its spine already creased and crushed and once out of the shrinkwrap – fans will find it difficult to keep these things from getting all bent out of shape – or torn – or worse. I emphasise that its hardly Esoteric’s fault because this kind of packaging has become the norm now for 2CD DE Versions – I just wish they were ‘all’ the hard card Clamshell I got with the gorgeous “Shine On Brightly” because a row of those suckers would have been an event and genuinely looked tasty on my bulging CD shelves (at least something’s bulging in this house).

The Salvo issue had a lovely 20-page booklet – so does Esoteric’s – but we also get a very cool large fold-out poster in the 2nd flap which gives the album artwork on one side with the lyrics to all songs spread out across both sides making them easy to read and enjoy (Reid’s lyrics deserve a pride of place). Rare Euro and Japanese Pictures Sleeves of the "A Salty Dog" single adorn each inner flap with quality black and white publicity photos of the band featuring on the undersides. Beneath the see-through CD trays are the A and B-side of the British 45 on Regal Zonophone RZ 3019. The 20-page booklet is a sophisticated affair - liner notes by HENRY SCOTT-IRVINE that go into each track - there's EMI’s trade advert declaring the arrival of 'a classic album', lots of black and whites of the boys in the studio, a six-pack of superb pictures of the 7" single for "A Salty Dog" from the USA and Europe. There are recent recollections on certain songs by band members Robin Trower and Matthew Fisher along with the original LP Engineer Ken Scott. It's all very tastefully done actually (a bit of care taken)...

I’ve contacted Esoteric Recordings directly about the remasters because there were some tape-crawl/speed issues on the preceding Salvo versions. I’m assured that BEN WISEMAN was given access to the first generation master tapes for his 24-bit Digital Remasters (done at Audio Archiving in the UK) and any transfer issues of old have been resolved this time around. This is not just idle talk on their part – I have the Salvo version (which runs to 67:52 minutes) and you can hear an improvement on "Too Much Between Us" and "Wreck Of The Hesperus" in the rhythm sections – the Gulls and Strings opening to "A Salty Dog" – beautiful Stereo separation and Brooker’s voice clear as a bell. I would say there is also some noticeable hiss that hasn’t been dampened out of the mix - the drums packing wallop and Trower’s guitar real power ("The Devil Came Out Of Kansas" is huge). Beautifully produced by Matthew Fisher and Ken Scott in the first place – this 2015 remaster lets it rip - and even when Trower's guitar gets a bit wild in places (and grungy for that matter) - the stereo imaging isn't too harsh - still reflecting the original Production values.

It opens with the Classical-meets-Rock fusion of "A Salty Dog" and immediately the arrangements and melody sound epic - a single you feel should have done better. I've always felt though that the albums two masterpieces come from Trower and Fisher. Trower gives us the unexpectedly lovely acoustic vibes of "Too Much Between Us" - I can't help thinking it should have been single number two off the album with Fisher's equally pretty "Pilgrim's Progress" on the flip (Fisher does the vocal rather than Brooker). A&M Records put out "The Devil Came from Kansas" b/w "Boredom" in the USA on a 45 (A&M 1111) in July of 1969 - but it failed to chart. The British 45 of "A Salty Dog" b/w "Lone Gone Geek" on Regal Zonophone RZ 3019 managed a respectable placing of 44 in the UK - especially given how awkward the track was to pigeonhole in a Pop context. The sleigh bells of "Boredom" make the tune sound like Quintessence or Dr. Strangely Strange or some such hippy happiness. Side 2's grungy guitar vs. harmonica opener "Juicy John Pink" puts an end to that pronto - sounding like its recorded in a garage to get that gritty sound. The best Audio on the disc goes to "All This And More" where the piano, guitar and Brooker's vocals all sound with new clarity – again suddenly huge in the speakers...

On top of the six bonus tracks that first appeared on the Salvo CD in 2009 - Disc 2 offers fans the 7” single Mono Mix of "A Salty Dog" and five Previously Unreleased BBC Radio 1 'live-in-the-studio' recordings from October 1968 and April/May 1969. "...First number from Procol Harum..." the announcer tells us in his very BBC dulcet tones – the audio is good rather great in my opinion – with the organ almost lost in the mix. There is a lot of hiss on "Wish Me Well" but what it lacks in Audiophile sparkle it more than makes up for in balls - capturing Robin Trower sounding like Paul Kossoff of Free on a good day – what a great funky Rock groove. Next up is the B-side "Long Gone Geek" given a cool live airing – in fact you wonder why it didn't make the album. Louder and wilder is the April 1969 USA stuff (tracks 4 to 7) that Brooker approved for the Salvo reissue – and it’s easy to hear why. Trower and the boys are on fire in the Bluesy "Goin' Down Slow" while the Rock riffage of "Juicy John Pink" makes them sound more like Ten Years After than what we associate with Procol Harum. The "Symonds On Sunday" recording of "The Milk Of Human Kindness" is superb and shows the band back in the album groove. The Bonus Track B-side "Long Gone Geek" is a fabulous addition to any CD - the Procol Harum going all Small Faces with Reid nicking Bob Dylan lyrics.

There are four x 2015 titles in Esoteric's PROCOL HARUM 'Deluxe Edition' CD campaign so far and at this rate – all will be mandatory purchases for lovers of the band. "A Salty Dog: Deluxe Edition" is a superlative reissue and crucially improves on what went before. Well done to all involved...

2015 PROCOL HARUM CD Reissues/Remasters by Esoteric Recordings:

1. Procol Harum – January 1968 UK Debut Album - 2CD Deluxe Edition UK released 17 July 2015 on Esoteric ECLEC 22497 (Barcode 5013929459748)

2. Shine On Brightly – December 1968 2nd Studio Album – 3CD Deluxe Edition UK released 29 June 2015 on Esoteric Recordings ECLEC 32500 (Barcode 5013929460041)

3. A Salty Dog – June 1969 3rd Studio Album – 2CD Deluxe Edition UK released 31 July 2015 on Esoteric Recordings ECLEC 22503 (Barcode 501392946348)

4. Home – June 1970 4th Studio Album – 2CD Deluxe Edition released 31 July 2015 on Esoteric Recordings ECLEC 22505 (Barcode 5013929460546)

This review along with many others like it are available in my SOUNDS GOOD Music Books Series. Clink the link below to see Exceptional CD Remasters 1960s & 1970s Volume 1

"The House On The Hill" by AUDIENCE (2015 Esoteric Recordings Expanded CD – Ben Wiseman Remasters) - A Review by Mark Barry...

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"...Light Through My Window Pane..."

If was to describe Audience's 3rd album for the eclectic Charisma Records label – it would be 'Beautiful Rock'. Sometimes a band that starts out thrashing about making their own unique kind of Roxy Music meets The Move meets The Electric Light Orchestra sound madness – settles down and actually produces that gorgeous melodic wonderwork everyone who signed them thought them capable of in the first place. Housed in its cool and striking Hipgnosis sleeve - 1971's "The House On The Hill" is that album.

Along with their uber-rare debut LP on Polydor Records in 1969 – Esoteric Recordings (part of Cherry Red of the UK) have reissued all 4 of their albums in 2015 onto Expanded CDs – remastered from original master tapes – all with bonus cuts and involvement from Howard Werth of the band (see the list of 4 titles below).

"The House On The Hill" was Audience's 2nd LP for the Charisma Label in the spring of 1971. "Lunch" - their third record in 1972 would turn out to be their last - disbanding shortly after due to musical differences ("Lunch" actually troubled the American LP charts in July 1972 on Elektra Records rising to the lofty placing of 175 – none of their other albums charted there including this one). Here are the back door details...

UK released 25 May 2015 (June 2015 in the USA) – "The House On The Hill" by AUDIENCE is an Expanded 11-track CD on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243) and breaks down as follows (51:11 minutes):

1. Jackdaw

2. You're Not Smiling

3. I Had A Dream

4. Raviole

5. Nancy [Side 2]

6. Eye To Eye

7. I Put A Spell On You

8. House On The Hill

Tracks 1 to 8 are their 3rd studio album "The House On The Hill" – released April 1971 in the UK on Charisma Recordings CAS 1032 and in the USA on Elektra Records EKS 74100. Produced by Gus Dudgeon of Elton John and Hookfoot fame - Tracks 1 and 2 are written by Werth and Gemmell, Tracks 3, 5, 6 and 8 are written by Werth and Williams, the largely instrumental Track 4 is written by Werth with the Strings Arranged by Robert Kirby conducting members of the LSO and finally Track 7 is an Acoustic cover version of the famous Screamin' Jay Hawkins classic "I Put A Spell On You" from 1957.

BONUS TRACKS:

9. You're Not Smiling (Single Mix) - see paragraphs below

10. Indian Summer - see paragraphs below

11. You’re Not Smiling (Promotional Radio Version) – Previously Unreleased

AUDIENCE was:

HOWARD WERTH - Vocals and Electric Classical Guitar

KEITH GEMMELL – Tenor Sax, Clarinet and Flute

TREVOR WILLIAMS – Bass Guitar

TONY CONNOR – Percussion and Vibes

In a roundabout kind of a way - Charisma actually pushed out four 7" singles surrounding the album. First up (and before the LP hit the racks) came the non-album "Indian Summer" in March 1971 as a 3-track EP in a rare picture sleeve (Charisma CB 141). A2 was "It Brings A Tear" with "Priestess" as its B – both cuts from their 2nd album "Friend's, Friend's, Friend" from 1970. A 7" Single Edit/Remix of the album cut "You're Not Smiling" at 4:19 minutes (the LP version is 5:22 minutes) was issued as an A-side on Charisma CB 156 in July 1971 with the LP track "Eye To Eye" as its flipside (some rare copies list "Eye To Eye" on both sides in error). 45 No. 3 showed up November 1972 when they put the gorgeous "Raviole" on the A of Charisma CB 196 with the non-album "Hard Cruel World" on the flip ("Hard Cruel World" is available as a bonus on the Extended "Lunch" CD). The fourth and final 7" single came in February 1973 when Charisma were plugging the budget-priced Audience compilation LP "You Can't Beat 'Em" released in the same month on Charisma CS 7. They lumped "You're Not Smiling" with "Raviole" on the B-side – credited them to Howard Werth and Audience on Charisma CB 204.

Recorded at Trident Studios in London and Produced by the legendary GUS DUDGEON - the wonderful gatefold album artwork became something of a cause celebre on release. Done by Storm Thorgerson and Pip of Hipgnosis sleeve-art fame – it turns out the man dragging the dead body by the stairs (inner gatefold) is the butler of the house they shot the cover in - while the dead body is the band’s roadie (it was actually a black and white photo hand-tainted to get that 1930s and 1940s look).

The 16-page booklet is coloured in the same tint as the original artwork (a nice touch) with 2015 liner notes by noted freelance writer and reviewer SID SMITH that features new interviews with Howard Werth. It goes into the history of the album (Werth feels its all good and he’s right) and how they revisited the song “The House On The Hill” which was actually on their first LP in 1969 on Polydor. But the big news for fans (as it is with all the other issues) is a 24-bit remaster from original Charisma master tapes by Sound Engineer BEN WISEMAN who has done loads of great work for a large number of reissue labels. The audio is wonderful – giving truly lovely clarity to those classical acoustic guitar passages and the Move/Roy Wood soundscapes on tracks like "Jackdaw" and near 8-minute title track. This remaster is superb.

"House" opens with "Jackdaw" which is just 7:31 minutes of brilliance with what has to be Werth's best-ever vocal performance. Their sound is a strange mixture of Mott The Hoople meets Lindisfarne meets Roxy Music meets Duncan Browne on RAK – Werth's vocals sounding like the lovechild of Roy Wood and Lindisfarne's Alan Hull - while the Saxophones and layered vocals give it a lovely musicality. I've never really liked "You're Not Smiling" in any of the three variants offered here – but the stunning acoustic genius of "I Had A Dream" is a different matter entirely. What a wonderful song this is - and one with real gut feeling. His acoustic guitar is kept sparse for most of the duration until layered backing vocals and a restrained Saxophone compliment the centre passage. I love this song and it's on my 70's Fest CD-R of "Forgotten Gems" like a bullet. And as if that's not good enough – Side One ends with the largely instrumental acoustic beauty of "Raviole" – another absolute corker in the style of Gordon Giltrap and easy to hear why someone thought it worthy of A-side status on a Charisma 45.

Side 2 opens with the jaunty "Nancy" which feels like the Andy McKay Saxophone of Roxy Music going all soppy alongside a furiously strummed Classic Acoustic Guitar – it's a great sound and one that feels fresh to this day. "Eye To Eye" is the closet they get to Jethro Tull circa "Stand Up" and "Benefit" – Gemmell's breathy Flute dominating the track. We then enter into an area of unexpected inspiration – a slow-at-first-then-fast acoustic cover of Screamin' Jay Hawkins 1957 Okeh Records classic "I Put A Spell On You" where Werth makes his arrangement sound like he's Jose Feliciano on fire. His vocal is wicked too – wailing one moment then reining it in again – brilliant. It ends on the most Prog song on the LP – the 7:33 minutes of the title track. His vocals quiver at times like Donovan doing Hurdy Gurdy Man – it’s great stuff and sounds ahead of its 1971 timeframe. The non-album "Indian Summer" is a another pretty Acoustic Folk-Rock track in the vein of Lindisfarne – a track you feel that should have done better business...

Sticks man Tony Connor joined Hot Chocolate, Trevor Williams did stints with Jonathan Kelly’s Outside and Judas Jump and has been a part of the Audience reunion gigs while Keith Gemmell moved into Stackridge and spent many years with The Pasadena Roof Orchestra. The band’s main man and principal songwriter Howard Werth released a solo album "King Brilliant" in September 1975 (Charisma CAS 1104) trading as Howard Werth & The Moonbeams. They regrouped briefly and successfully in 2004 and Audience retain huge affection amongst fans to this day (they were monster in Europe in 1972 – Number 1 in Italy in fact).

Audience’s music is never going to be everyone’s favourite tipple if I'm honest (none of their albums charted in the UK) - but there’s beauty and Rock wonder on here – and more than once or twice too. A top job done by Esoteric Recordings and an absolute must-buy for fans...

AUDIENCE Expanded CD Remasters on Esoteric Recordings:

1. Audience (1969 debut LP on Polydor 583 065)

29 June 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2494 (Barcode 5013929459441)

2. Friend’s Friend’s Friend (May 1970 2nd LP on Charisma CAS 1012)

29 June 2015 Expanded CD Remaster with 7 Bonus Tracks on Esoteric Records ECLEC 2499 (Barcode 5013929459946)

3. The House On The Hill (April 1971 3rd LP on Charisma CAS 1032)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2492 (Barcode 5013929459243)

4. Lunch (July 1972 4th and final studio LP on Charisma CAS 1054)

25 May 2015 Expanded CD Remaster with 3 Bonus Tracks on Esoteric Recordings ECLEC 2493 (Barcode 5013929459342)

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"...Release The Hound!" – The Hound Of The Baskervilles on BLU RAY (Arrow Video Version 2015) - A Review by Mark Barry...

"...Release The Hound!..."

Hammer Horror fans are going to love this. Not only is the full-screen aspect colour print restored to its finest lustre in decades (there's an occasional white spec here and there - but little that detracts and much that enhances) – this June 2015 Arrow Video reissue of Hammer's 1959 Sherlock Holmes Classic "The Hound Of The Baskervilles" comes loaded with new Extras that are properly indepth and delivered by experts and real enthusiasts. The fact that it also includes several crew and contributors who actually worked on the film opens up the factoids in the most delicious way. Let's get to those juicy EXTRAS first...

1. Release The Hound! – A brand new 2015 documentary on the making of the Hammer Classic. Features interviews with Assistant Director Hugh Harlow, hound mask creator Margaret Robinson interspersed with knowledgeable comments from Film Historian Kim Newman and Mark Gattis – actor, documentarian and co-author of the BBC's "Sherlock" starring Benedict Cumberbatch and Martin Freeman. There is much discussion on the actors chosen for the parts by both Gatiss and Newman – Peter Cushing as a more dismissive Holmes with his actor's love of props and huge attention to period detail – the underrated British actor Andre Morell as Dr. Watson fresh from his barnstorming appearance in "Quatermass And The Pit" - determined to rescue Holmes' sidekick from the comic portrayal of the character by Nigel Bruce in all the previous Fox Pictures – Christopher Lee as the rather pompous Sir Henry Baskerville doomed and cursed by the cruelty of a distant relative who murdered a girl on the moors for sport (David Oxley as the mad-eyed Sir Hugo and Maria Landi as the heaving bosomed Cecile Stapleton who gets to run around and heave a lot). There's also discussion on the 'adorable', quiet and organised Director Terence Fisher (Peter Bryan did the screenplay from Conan Doyle’s book). About 35 to 40 minutes.

2. Andre Morell: Best Of British. A hugely affectionate tribute to the actor Andre Morell (1909 to 1978) who played Dr. Watson in the film – includes a lot of succinct and articulate contributions from his actor son Jason Morell. Andre had parts in "Ben Hur", "The Bridge On The River Kwai" and was one of the first actors to use TV as a career outside of typecast parts in films.

3. The Many Faces Of Sherlock Holmes – 1986 documentary narrated by Christopher Lee - clips of a large number of actors who have played the famous sleuth

4. Actor’s Notebook: Christopher Lee – Archive interview with the actor recalling his work on the "Hound"  film

5. Hounds Of The Baskervilles Excerpts – Christopher Lee reads from Conon Doyle’s books "Mr. Sherlock Holmes" and "The Hound Of The Baskervilles"

6. Original Theatrical Trailer – in unrestored Black and White

7. Audio Commentary – recorded 2 April 2015 by Marcus Hearn the Official Hammer Films Historian and author of several books on the subject – along with Jonathan Rigby author of "English Gothic"

8. Image Gallery

The moment the hysterical score cross the screen during the credits – the clarity is instant – the names are clear and the image lovely. When you view the Extras that show the moment Cushing is introduced as Holmes – snoozing through the pompous deliberations of Francis de Wolff as Dr. Richard Mortimer (“Ha!) – the difference couldn’t be more marked. The film itself has its clichéd moments and the actual attack of the Hound with its cheesy mask (pre CGI) is perhaps not the greatest moment in Horror History – but there’s so much to love in this tale of Moorish dastardliness – not least of all the great pairing of Cushing and Morell – both getting their moments to shine – while Christopher Lee looks like he’s going to turn into Dracula at every given opportunity.

A wonderful reissue and one that fans will thoroughly enjoy...

"RINGO: With A Little Help" by MICHAEL SETH STARR - A Review Of The July 2015 Hardback Book (on Backbeat Books) by Mark Barry...

"...All I've Got Is A Photograph..."

It's Wednesday morning – the 15th of August 1962. Having had too many beers the night previous playing that lewd and lascivious Rock 'n' Roll music to impressionable teenage girls - Johnny Guitar of Johnny & The Hurricanes is sharing a trailer with a mate of his who is sleeping it off in the back. As Johnny opens the trailer door - he's greeted by two nattily dressed and equally cocky Liverpudlian reprobates. Johnny knows instantly that 'his' band's rhythm section is in trouble.

These two guys are part of the only pop group in Liverpool with an actual recording contract – a deal with a proper record company called Parlophone Records. In a heartbeat Johnny also knows what the young Paul McCartney and John Lennon want – the best Drummer in Liverpool – Richard Starkey - aka RINGO STARR. And thus history is made in a hung-over trailer on an unpromising summer morning. And then in September of 1962 - along with George Harrison (who championed Ringo joining the band all along) - they would fly as a foursome called "The Beatles" down to EMI's Abbey Road Studios in the big choke of London to meet professional Producer George Martin - and thereafter gingerly alter the fabric of the known Universe (cheeky buggers)...

After all these years (five decades plus and counting) - it seems odd that Michael Seth Starr (no relation) should be the first to claim an in-depth Biography of the world’s most famous Drummer – Ringo Starr. And it appears he’s done it without the subject’s permission or indeed interest. Yet across the 442 pages of this July 2015 Hardback Book published by Milwaukee’s Backbeat Books – Michael gives a blow-by-blow account of Ringo’s extraordinary life and some would say miraculous survival.

There’s 19 chapters beginning with "Little Richy" (his formative years) and ending with "Peace And Love" (a 35-year marriage of substance with Barbara Bach - an All Starr Band that has featured Joe Walsh and Nils Lofgren in its ranks). In between of course is the sheer lunacy and joy of "Beatlemania" – the movies "How I Won The War", "Candy" and "The Magic Christian" - the split – the chart years on Apple – the "Born To Boogie" movie with Marc Bolan's T.Rex - the drunken oblivion of the mid-to-late Seventies with Harry Nilsson and others – meeting Bond Girl Barbara Bach on the set of "The Caveman" film - Lennon's horrible assassination in December 1980 in New York and so on...

The early chapters describe his harsh upbringing - a toiling mother Elsie trying to put food on the table in Dingle (a rough part of Liverpool) – his father walking out - years of ill-health with stays in boy’s homes and finally salvation through American Rock 'n' Roll 45s coming off the ships down at the docks. Chapters 2 and 3 are called "It Was In My Soul" and "Ringo Starrtime" chart his early passion for rhythms and his rise as a drummer (his first kit was bought for him by a kindly work mate called Henry "Harry" Hunt for £12 – hauled all the way from London). Then that fateful meeting. Then "Please Please Me" hits the shelves of record shops in January 1963 and all Hell breaks loose...

The author keeps the details and facts coming and the two sets of photo plates chart the passing years up to 2014 with a smiling Ringo and Barbara still looking impossibly cool after all these years. Chapter 11 deals with the "Magical Mystery Tour" and "Sgt. Peppers" period of astonishing recording achievements – the pressure of global fame. Aged 30 in July 1970 – Ringo began his solo Apple career with hits like "It Don't Come Easy", "Back Off Boogaloo" and the gorgeous "Photograph" – but he also starred in the disastrous and bloody "Blindman" film and the Frank Zappa Avant Garde indulgence of "200 Motels". By the time we get to Chapter 14 delightfully and honestly entitled "We Were Junkies Dabbling In Music" – the lifestyle rot had set in and his marriage to his wife Maureen was over by 1975. In 1976 he shaves his head bald – in 1978 he makes a dreadful film called "Sextet" with an 85-year old Mae West – and in 1984 he plays on stage with The Beach Boys - but can’t remember it because he was so out of it (he hid his glaze behind dark glasses). By the time you arrive at "Getting Out Of Bed's A Problem These Days" and finally "Peace And Love" – you’re amazed him, his family and his relationship with McCartney and Harrison is still intact. There’s an Epilogue, Notes (references), Bibliography and an Index.

Now revered as an Elder Statesman of Rock – Ringo has been there and done that – and has indeed survived with more than a little help from friends. I enjoyed this crazy journey far more than I thought I would. I’ve always had an affection for Ringo Starr and a sneaking admiration for his wit and occasional musical brilliance - and this hugely entertaining read (sanctioned or not) has only made my smile every time I see him - wider ...

"BROOK BENTON: There Goes That Song Again" by HERWIG GRADISCHNIG and HANS MAITNER - A Review Of 2015 Music Mentor Books Paperback In English by Mark Barry...

"...A Rockin' Good Way..." 

Originally published in Germany in 2010 as the last word on Brook Benton’s remarkable recording career and equally colourful private life – "There Goes That Song Again" is now updated and republished in English as a tall paperback (April 2015) by York's 'Music Mentor Books'. And I have to say it’s a magnificent tome that comes buffed up with a stupendous Worldwide Discography stretching an impressive 200 pages (it has also has info on chart hits, him as a songwriter, sheet music, his songs recorded by other artists, his TV and Film appearances etc).

Not quite Soul nor Rhythm 'n' Blues – South Carolina's Brook Benton was often viewed as Easy Listening by his record companies and I suppose by his public – but this serious work of affection goes a long way to arguing that his vocal prowess and way with a tune means he should now be seen on the same par as the greats - like say Sam Cooke. Yet like Jackie Wilson and Bobby Womack – Benton is a Black American Soul Singer and First Class Entertainer who's in danger of being a chart/hitmaking footnote instead of being revered – a talent that time has forgotten and criminally so.

Penned by Austrian authors and lifelong fans Herwig Gradischnig and Hans Maitner – you get 434 pages of in-depth study that includes interviews conducted with family members. Part 1 visits his early childhood, his rise to fame on Mercury, RCA, Reprise and Atlantic’s Cotillion Records, his Stage Craft, his Personality and his social commitment to youth projects. The text from Pages 22 to 212 is peppered with great black and white period photos – on stage with Ella Fitzgerald and Dinah Washington – his 1959 tour bus – with Frank Sinatra and Dean Martin of the Rat Pack - in the studio with Margie Singleton and Damita Jo – posters for concerts with Mary Wells and The Penguins - mobbed by audiences in South Africa’s Johannesburg in 1971 and so on... The last few pages even reproduce the American Funeral Service of 1988, Obits and a final shot of his headstone (Brook Benton, 1938-1988).

The Discography has 660 entries (apparently 300 more than previous printed efforts) and begins with his December 1949 recordings with Bill Landford, The Sandmen and Chuck Willis in 1954 and 1955 and his own debut with "Ooh" in 1955 on Okeh 7058. It then goes into his long and productive stint with Mercury Records (duets with Dinah Washington) and there's even US Radio Spots and Transcription Discs. The exhaustive US Discography is followed by a UK equivalent - then a Worldwide section which features countries like Angola, Hong Kong, New Zealand and one LP from Uruguay! Smartly the endless lists are broken up with LP sleeves, label bags, demo copies etc...

American columnist Dick Kleiner said of Brook Benton's deep affecting tone - "...He has a rich soft voice and a way of using it that makes a sound like a breeze though a field of cello strings..." After reading this wonderful book – I'm inclined to think he was so much more. An absolute must own for fans and a great read for the curious. Well done to all involved...