"Electric Ladyland" by THE JIMI HENDRIX EXPERIENCE (2010 Experience Hendrix/Legacy CD and DVD Remaster) - A Review by Mark Barry...

"...The Moon Turned Fire Red..."

I suppose in truth it's probably impossible in 2015 to properly assess or even be rational about something as iconic as "Electric Ladyland". And yet for dudes like me who saw older teenage boys grooving to its wild guitar-scapes (I was 10 when it was released in 1968) – I joined in the head-shaking and tennis racket guitar hero shapes they were throwing in sitting rooms with large mahogany Stereograms because I instinctively knew something awesome was unfolding before me - I just didn't know what. Besides - even if I didn't 'get' the cool soundscapes sexy Jimi was laying down - there was always that awesome 'Nude Women' cover to gawk at (didn't understand that either but I was getting there). Well here we are again with another Reissue - but is "Electric Ladyland" really the masterpiece they all say it is? Damn right man – and relistening to this meticulous Remaster – you're only going to love and appreciate it even more. Here are the Slight Returns...

UK released March 2010 – "Electric Ladyland" by THE JIMI HENDRIX EXPERIENCE on Experience Hendrix/Sony Legacy 88697 62164 2 (Barcode 886976216429) is a CD and DVD in a three-way card digipak and breaks down as follows:

CD (75:27 minutes):

1. ...And The Gods Made Love [Side 1]

2. Have You Ever Been (To Electric Ladyland)

3. Crosstown Traffic

4. Voodoo Chile

5. Little Miss Strange [Side 2]

6. Long Hot Summer Night

7. Come On (Let The Good Times Roll)

8. Gypsy Eyes

9. Burning Of The Midnight Lamp

10. Rainy Day, Dream Away [Side 3]

11. 1983...(A Merman I Should Turn To Be)

12. Moon, Turn The Tides...gently gently away

13. Still Raining, Still Dreaming [Side 4]

14. House Burning Down

15. All Along The Watchtower

16. Voodoo Child (Slight Return)

Tracks 1 to 16 are the double-album "Electric Ladyland" – released October 1968 in Stereo in the USA on Reprise 2RS 6307 and November 1968 in the UK on Track Records 613008/9.

CD - the artwork was famously different for both countries – the UK produced the naughty 'nude ladies' gatefold sleeve on the outside as opposed to the side-profile face shot of the US album (which is what’s been used for every CD reissue ever since). The only CD to have the UK artwork is one that was produced in the early days of the format in a clunky double jewel case (probably pressed in Germany around the mid 80s) – and the only acknowledgement of that artwork is a two-page spread on Pages 24 and 25 of the booklet that shows an Alternate shot of all the women who took part in the photo-shoot. The gorgeous 36-page booklet that accompanies this digipak edition has pages of reminiscences from Derek Taylor (quotes from those who were there) as well as repros of handwritten notes on Newhouse Hotel paper by Jimi on the track runs and how he wanted the credits on the sleeve to look. It also includes a facsimile of his ‘Letter To A Room Full Of Mirrors’ and loads of fantastic colour photos of The Experience Live, Noel Redding and Mitch Mitchell (including the cover shot Linda McCartney). Although the British inner gatefold isn’t reproduced here (which seems odd – the American inners are all over the inner digipak flaps and picture CDs) – you have to say that for such a classic album it’s all very tastefully done and informative at the same time. There's also online content from the Experience Hendrix website available via the CD...

DVD - after the Experience Hendrix Logo appears - the non-regional DVD offers a Menu with a 'Film' broken into four chapters most of which are discussions by Original Producer Eddie Kramer on "Crosstown Traffic", "Gypsy Eyes", "Voodoo Chile" and "1983...(A Merman I Should Turn To Be)". The downside is that although it’s hugely entertaining and informative - duration is only 25 minutes or so and you crave more. What you do get is Kramer sat at a mixing desk isolating Jimi’s vocals – talking about the musical connection Steve Winwood and Jack Casady had with Hendrix when they did the Blues jam "Voodoo Chile" (much appreciation all around) and confirmation that Dave Mason of Traffic sings uncredited backing vocals on "Crosstown Traffic". Chas Chandler talks briefly of the crazy way the album was effectively recorded in the studio (too many hangers on and 50 takes of songs so Jimi could get it right – much to the chagrin of both Mitchell and Redding) while that’s followed by live footage and short interviews of old with Noel Redding. The quality of the print is fantastic given the vintage - but as I say - you wish there was more because its over too soon and this double-album deserved twice the input. Subtitles include English, French, Spanish, Dutch, German, Italian and None...

The Remasters have been handled by original album Producer EDDIE KRAMER (who also features heavily on the DVD) and Sound Engineer GEORGE MARINO with Supervision by Janie Hendrix (Jimi’s stepsister and CEO of Experience Hendrix which handles his musical legacy) along with Sound Engineer John McDermott whose been involved in quite a few of the Experience Hendrix CD reissues.

Recorded at the Record Plant in New York with Producers Chas Chandler, Eddie Kramer and Gary Kellgren - the core band was Hendrix on Guitars and Vocals with NOEL REDDING on Bass and MITCH MITCHELL on Drums. Guests included STEVE WINWOOD of The Spencer Davis Group and Traffic on Organ with JACK CASADY of Jefferson Airplane on Bass for the 15-minute Blues jam of "Voodoo Chile" while DAVE MASON of Traffic is confirmed by Producer Eddie Kramer to have sang uncredited backing vocals on "Crosstown Traffic". AL KOOPER plays Piano on "Long Hot Summer Night" while the Jazzy combo of Mike Finnigan (Organ), Freddie Smith (Horns), Larry Faucette (Congas) and Buddy Miles (Drums) played on two tracks – "Rainy Day, Dream Away" and "Still Raining, Still Dreaming". Excepting "Little Miss Strange" which is a Noel Redding credit - all songs are Hendrix originals except for "All Along The Watchtower" and "Come On (Let The Good Times Roll)" which are Bob Dylan and Earl King cover versions respectively.

The opening one and half minutes of noodle that is "And The Gods Made Love" gives way to a sensual vocal on "Have You Ever Been (To Electric Ladyland)" – but its when "Crosstown Traffic" kicks in that the hairs on your arms rise. I mean just how cool is this tune – and how uber cool was he – "...the sexiest man that's walked the planet..." as Neneh Cherry says in the booklet – hell yes. You can't help be but blown away – all that noise and all those guitars and all that those off-the-cuff vocals - yet it makes a coherent whole that rocks. "Crosstown Traffic" is only two and half minutes long yet it seems HUGE and other-worldly. Then of course we get the Side 1 monster "Voodoo Chile" - Blues done through the filter of Jimi Hendrix. 15 minutes of Steve Winwood and Jack Casady trading licks on Organ and Bass with Jimi opening up and showing his stunning feel for the genre and his axe. It begins with that lingering organ and feedback and Wow is the only appropriate response...

Noel Redding's poppy contribution "Little Miss Strange" has always seemed 'old' musically compared to what Jimi was doing on the rest of the record – but his edgy guitar contribution brings it into play (I’ve always liked it). The audio on "Long Hot Summer Night" is wicked – hissy for sure in certain places – but the presence is wonderful – swirling around your speakers with life and balls. It's followed by a much-needed boogie and rock out - his kicking version of Earl King's "Come On (Let The Good Times Roll)" and I'm reminded instantly of that other stunning Guitar God Stevie Ray Vaughan who must surely have based a lot of his output on this (that solo sounds fabulous). I cannot be rational about "Gypsy Eyes" – I've adored it for 4-plus decades. It was the first Hendrix 7" single I bought in a now rare UK Picture Sleeve (I've even included it in a screenplay I've written – but that's another hairyman story). The remaster really brings out that amazing phasing of the guitars. "Burning Of The Midnight Lamp" shows his songwriting expanding – that strange mix he settled on where the sound seems from another world – his vocals and those treated backing voices – brilliant.

Bolstered by the Horns of Freddie Smith, the Organ of Mike Finnigan and the backbeat drums of Buddy Miles – the Jazz-Blues of "Rainy Day, Dream Away" is not what you expect and yet the song fits here so perfectly. We then get the second album monster – the near 14-minute trippy genius of "1983..." According to original producer Eddie Kramer Jimi wanted to stretch out musically and sonically – so he tries effects on everything – guitars and voices – structure – it ends up feeling almost Prog Rock before such a thing even existed. There's a lot of hiss in certain parts of it for sure – but the Audio on those Drums and Bass is awesome throughout – a great job done in the transfer. Perhaps everybody's fave boogie on the album “Still Raining, Still Dreaming” remains amazing to me and of course "All Along The Watchtower" redefined into something altogether more potent – but even those are kicked in the proverbial nuts by the sheer wallpo of the album finisher "Voodoo Child (Slight Return)" – quite probably the most unlikely Number 1 single in the entire Universe. This is surely his most magnificent moment and one that still sends chills up my arms a full 45 years after the event.

"...Stand up next to a mountain...and chop it down with the side of my hand..." 

And didn’t he just...WOW!

"Blowing The Fuse: 28 R&B Classics That Rocked The Jukebox In 1947" by VARIOUS ARTISTS (November 2004 Bear Family CD – Jurgen Crasser Remasters) - A Review by Mark Barry...

"…Big Legs Is All I Crave..."

Bear Family's truly fabulous "Blowing The Fuse" series of CD compilations chronicles the transition of minority ghettoized Blues into national Rhythm 'n' Blues and stretches across 16 individual single-disc volumes that cover the years 1945 to 1960. Released across 2004 and 2005 –"Blowing The Fuse" was then followed in 2008 and 2009 by Bear’s equally magnificent "Sweet Soul Music" series of 15 sets from 1961 to 1975 - complimented in turn by their spiritual and musical partners - 15 volumes of Vocal Group sets called "Street Corner Symphonies" covering 1939 to 1963 (released 2012 and 2013). I suppose you could argue that I just say, "Buy the lot man!" in a very loud voice - but bluntly they're so good - each deserves a thorough review (and that’s what I’ve done). So here goes with Volume 3 of the R&B Series "Blowing The Fuse"…(where the compilations really start to shine for me)...

"Blowing The Fuse - 28 R&B Classics That Rocked The Jukebox In 1947" is on Bear Family BCD 16702 AS (Barcode 4000127167026) and was released November 2004 in Germany. Each US-based yearly compilation comes in a 3-way foldout card digipak sleeve. The left flap pictures an original record relevant to the year (1947 has "Sally Zu-Zaz" by JOE TURNER on National 4016), the centre flap holds a 70 to 90 page oversized booklet that slips out so you can read it separately and the right flap a colour-themed CD that matches the outer packaging. As with the 15 volumes of "Sweet Soul Music" and "Street Corner Symphonies" - each of the "Blowing The Fuse" spines makes up a whole photo when placed alongside each other (a fantastic black & white shot of a crowd of hip dudes and their gals dancing at some Saturday night bar). As you can see from the cover photos of these compilations too, the theme of people dancing and artists enjoying themselves is repeated right across all of these wonderfully restored photographs (they're from The Showtime Music Archive in Toronto). Siding the text and black/white publicity photos are uber rare trade adverts and of course those equally scarce 78’s in their lovely label bags. This 1947 issue has 72-pages in its booklet and the CD runs to a trouser-pleasing 79:48 minutes.

THE SOUND and TRACK CHOICES:

Sourcing the best disc available (or occasional tape) Bear’s Audio Engineer genius JURGEN CRASSER has mastered each cut with care. Depending on the condition of the disc – the audio varies wildly - and as you can imagine it’s a case of astonishingly clean transfer one moment and hiss & cackle-laden version the next. Overall though I’m more than pleased with what I’m hearing...all of it imbibed with huge musical and lyrical talent and a sheer sense of to "hell-with-it-all!" – let's have some fun...

THE BOOKLET:

The booklet in each of these reissues is to die for. There's an intro on Page 4 with the text for the songs beginning on Page 5 and ending on Page 70, so there's almost no wasted space. Each artist is pictured using quality publicity shots, and every now and then, a beautiful page plate of lesser-seen trade adverts, or a rare 78” in its label bag (long ago American Record labels like Black & White, Mercury and National). What’s noticeable about the 1947 Volume (over 1945 and 1946) is that there’s more advert repros and is massively evocative of the time period because of it (there’s even a colour photo of Louis Jordan on a 25c 'Color' fanzine on Page 58). Each song then has an essay on its history by noted writer COLIN ESCOTT and because the booklet allows him to spread out on each song, the details come thick and fast - it's a fabulously entertaining and informative read.

THE SONGS:

Volume 3 of 16 opens with the irrepressible Louis Jordan giving it his mantra "Let The Good Times Roll" and that's exactly what happens. And what you also notice as we slide into the joyous barrelhouse piano boogie of "Swanee River Boogie" by Albert Ammons – compared to some of the seriously rough cuts on 1945 and 1946 – the audio leaps forward a million miles into wonderful clarity. Even on the seriously bluesy and mellow "Bobby Sox Baby" – the transfer is so clean it’s almost unnerving. The witty "Open The Door Richard!" has a clearly worried Jack McVea talking to his band as they try to get Richard out of bed – banging the drums for every chorus (knocks on the door) as they sing "...let me in!" but the numbskull doesn't reply. There's even a photo on Page 15 of McVea's All Stars Band standing in the dark knocking on Richard's door with Sombreros on their heads, a Saxophone in hand and several guns pointed at the lock.

We continue in the fat Boogie Woogie vein with a wicked piano-pounding gem from Amos Milburn doing "Down The Road Apiece". It was a revival of a 1940 hit and he seems determined to impress and he tears up the keys (great stuff). The audio takes a major dip with the slow and romantic Vocal Group of "I Want To Be Loved (But Only By You)" which has clearly been dubbed from 78". But what a brilliant and worthy inclusion! It's by the lesser heard Savannah Churchill (backed up by The Four Tunes) and is properly gorgeous stuff (stayed at No.1 on the Harlem hit parade for 7 weeks) – a truly evocative sentimental lilt that I’ll be playing again real soon (crackle or no). We return to Boppin' R 'n' B with Eddie Vinson who tells his gal in "Old Maid Boogie" that she should wake up because in ten more years her youth will be gone. We now get a real blast from Sonny Boy Williamson whose distinctive Harmonica wailing never ceases to thrill. Shockingly good too is Dinah Washington doing smoochy Blues with Lionel Hampton’s band on "Blow Top Blues" where she informs her squeeze that she's "...got bad news baby and you're the first to know...I’ve been rocking on my feet and talking all out of my head..." – oh dear Dinah.

It's hardly surprising to find the mighty Joe Turner and his wonderful "Sally Zu-Zaz" is pictured on the inner flap. What an absolute R 'n' B winner it is – racy, rude and full of life. Tom Jones did a belting cover of it with Jools Holland on their self-titled CD compilation in 2004 - smartly airing a criminally forgotten masterpiece. Hadda Brooks based her version of the 1931 hit "That's My Desire" on a Frankie Lane performance she saw live (hers is a lovely version). Chess Records in-house genius Willie Dixon and his impossibly commercial wit imbibes the Big Three Trio's "Signifying Monkey" with such great fun - a slagging match in the jungle between a monkey and a lion where the supposed king of the realm has to survive an elephant as well the primate's relentless jibes. Future History kicks in with Arthur Crudup's cool original of "That's All Right" which would of course be taped in 1954 at Sun Records by some punk kid from Tupelo whereupon he and it would thereafter alter the fabric of our known Universe (cheeky bugger). "...I'm in love with you baby...and I just can't help myself..." - a pleading Roy Milton tells his punters in the neck-jerking shuffle of "True Blues" – a wicked groove that grabs you and just won't let go (sometimes simplicity is best). Jump piano dancing comes in the shape of "Chicago Boogie" from the Five Blazes (Ernie Harper dominating both the vocals and the keys) where small-town boys speak of the windy city with awe. Roughest of transfers goes to the beautiful "Don't You Think I Ought To Know" which features the silk vocals of Bill Johnson – it's covered in crackle but is also full of pathos and atmosphere and a smart inclusion. I've reviewed Nellie Lutcher's 5CD Box Set on Bear Family (a treasure I own) and her "He's A Real Gone Guy" will be a thrill to does new to her fantastic stint at Capitol Records. Best Audio returns for The Ravens who put in a winner with the 1927 "Show Boat" musical stalwart - "Ol' Man River". Lead vocals are handled by the astonishing voice of Jimmy Ricks who could make any hokum sound utterly convincing. He warns "...you'll get drunk and land in jail..." – well I’m glad his voice landed here. And on it goes with wicked danceable Forties R 'n' B winners from Louis Jordan, Julia Lee and the lewd "Big Legs" from Gene Phillips who is clearly enjoying himself way too much as he sings "...big legs is all I crave...let big-legged women carry me to my grave..." Amen...

To sum up - even though they were initially expensive as imports - as the years have gone by they've gone down in price (some online retailers via Amazon or eBay are selling them for about £8.50. But I can't help thinking that once long-time collectors actually get their hands on even one of these compilations (no matter what the date) - they'll be irresistibly hooked and need to own the lot.

For the casual buyer just looking for a great one-stop account of R&B Music for a given year - "1947" is 'the' place to start. I've collected and reviewed the whole set (16 titles)...and they're amongst my favourite reissues...

TRACK LIST for "Blowing The Fuse - 1947" (79:48 minutes) 

Volume 3 of 16

Song Title, ARTIST (Record Label and US 78" Catalogue Number, A-Side or B-Side)

1. Let The Good Times Roll- LOUIS JORDAN and his Timpany Five (Decca 23741, A)

2. Swanee River Boogie – ALBERT AMMONS and his Rhythm Kings (Mercury 8022, A)

3. Bobby Sox Blues – T-BONE WALKER and his guitar with Jack McVea and his All Stars (Black & White 110, A)

4. Open The Door Richard! – JACK McVEA and His All Stars (Black & White 792, A)

5. Down The Road Apiece – AMOS MILBURN (Aladdin 161, A)

6. I Want To Be Loved (But Only By You) – SAVANNAH CHURCHILL with The Four Tunes (Manor 1046, A)

7. Old Maid Boogie – EDDIE VINSON and his Orchestra (Mercury 8028, A)

8. Shake That Boogie – SONNY BOY WILLIAMSON (RCA 20-2056, A)

9. Blow Top Blues – LIONEL HAMPTON and his Septet - Vocal by Dinah Washington (Decca 23792, A)

10. Time To Change Your Town – WYNONIE ‘Blues’ HARRIS with Oscar Pettiford and his All Stars (Apollo 378, A)

11. Sally Zu-Zaz – JOE TURNER and his Boogie Woogie Boys (National 4016, B)

12. That's My Desire – HADDA BROOKS (Modern 147, A)

13. Signifying Monkey – BIG THREE TRIO (Columbia 37358, A)

14. That's All Right – ARTHUR 'Big Boy' CRUDUP (RCA 20-2205, A)

15. New Orleans Blues – JOHNNY MOORE'S THREE BLAZERS (Exclusive 240, A)

16. True Blues – ROY MILTON and his Solid Senders (Specialty 510, A)

17. Chicago Boogie – 5 BLAZES – Vocal and Piano by Ernie Harper (Aristocrat 201, A)

18. Don't You Think I Ought To Know – BILL JOHNSON and his Musical Notes (Harlem 1011 / King 417, A)

19. W.B. Blues – WALTER BROWN with Jay McShann's Quartet (Mercury 8046, A)

20. He's A Real Gone Guy – NELLIE LUTCHER and her Rhythm (Capitol 40017, A)

21. Ol' Man River – THE RAVENS [Lead Vocals Jimmy Ricks] (National 9035, A)

22. Boogie Woogie Blue Plate – LOUIS JORDAN and his Tympany Five (Decca 24104, A)

23. (Opportunity Knocks But Once) Snatch And Grab It – JULIA LEE and her Boyfriends (Capitol 40028, A)

24. Lollypop Mama – CLARENCE SAMUELS with Dave Young's Orchestra (Aristocrat 1001, A)

25. Since I Fell For You – ANNIE LAURIE with Paul Gayten and his Trio (DeLuxe 1082, A)

26. Big Legs – GENE PHILLIPS and the Rhythm Aces (Modern 527, A)
27. Guitar In My Hand – CLARENCE 'Gatemouth' BROWN with Maxwell Davis and his Orchestra (Aladdin 199, A)

"Blowing The Fuse: 27 R&B Classics That Rocked The Jukebox In 1946" by VARIOUS ARTISTS (November 2004 Bear Family CD – Jurgen Crasser Remasters) - A Review by Mark Barry...

"…Let’s Drink Some Mash And Talk Some Trash..."

Bear Family's truly fabulous "Blowing The Fuse" series of CD compilations chronicles the transition of minority ghettoized Blues into national Rhythm 'n' Blues and stretches across 16 individual single-disc volumes that cover the years 1945 to 1960. Released across 2004 and 2005 –"Blowing The Fuse" was then followed in 2008 and 2009 by Bear’s equally magnificent "Sweet Soul Music" series of 15 sets from 1961 to 1975 - complimented in turn by their spiritual and musical partners - 15 volumes of Vocal Group sets called "Street Corner Symphonies" covering 1939 to 1963 (released 2012 and 2013). I suppose you could argue that I just say, "Buy the lot man!" in a very loud voice - but bluntly they're so good - each deserves a thorough review (and that’s what I’ve done). So here goes with Volume 2 of the R&B Series "Blowing The Fuse"…

"Blowing The Fuse - 27 R&B Classics That Rocked The Jukebox In 1946" is on Bear Family BCD 16701 AS (Barcode 4000127167019) and was released November 2004 in Germany. Each US-based yearly compilation comes in a 3-way foldout card digipak sleeve. The left flap pictures an original record relevant to the year (1946 has "I Cover The Waterfront" by Cats 'N Jammer Three on Mercury 2003), the centre flap holds a 70 to 90 page oversized booklet that slips out so you can read it separately and the right flap a colour-themed CD that matches the outer packaging. As with the 15 volumes of "Sweet Soul Music" and "Street Corner Symphonies" - each of the "Blowing The Fuse" spines makes up a whole photo when placed alongside each other (a fantastic black & white shot of a crowd of hip dudes and their gals dancing at some Saturday night bar). As you can see from the cover photos of these compilations too, the theme of people dancing and artists enjoying themselves is repeated right across all of these wonderfully restored photographs (they're from The Showtime Music Archive in Toronto). Siding the text and black/white publicity photos are uber rare trade adverts and of course those equally scarce 78’s in their lovely label bags. This 1946 issue has 72-pages in its booklet and the CD runs to a bruising 79:52 minutes.

THE SOUND and TRACK CHOICES:

Sourcing the best disc available (or occasional tape) Bear’s Audio Engineer genius JURGEN CRASSER has mastered each cut with care. Depending on the condition of the disc – the audio varies wildly - and as you can imagine it’s a case of astonishingly clean transfer one moment and hiss & cackle-laden version the next. Overall though I’m more than pleased with what I’m hearing...all of it imbibed with huge musical and lyrical talent and a sheer sense of to "hell-with-it-all!" – let's have some fun...

THE BOOKLET:

The booklet in each of these reissues is to die for. There's an intro on Page 4 with the text for the songs beginning on Page 5 and ending on Page 70, so there's almost no wasted space. Each artist is pictured using quality publicity shots, and every now and then, a beautiful page plate of lesser-seen trade adverts, or a rare 78” in its label bag (long ago American Record labels like Majestic, Bluebird, Victor, Decca, Exclusive, Philo and others). Each song then has an essay on its history by noted writer COLIN ESCOTT and because the booklet allows him to spread out on each song, the details come thick and fast - it's a fabulously entertaining and informative read.

THE SONGS:

Volume 2 of 16 opens with a boozy crowd-pleaser by Wynonie Harris (lyrics from it title this review) simply called "Wynonie's Blues" and despite its lo-fi dubbed-from disc sound is charged with post-war mischief and extramarital shenanigans. Joe Liggins goes into a very cool dancefloor shuffle for his "Got A Right To Cry" while Johnny Moore's "Drifting Blues" is a straight up piano and voice moaner ("...I give you all my money...tell what more can I do..."). Big and brassy describes "Just A-Sittin' And A-Rockin'" by The Delta Rhythm Boys – it's great fun but behind those fabulous voices is heavy-duty crackle in the transfer of this uber rarity. 

Sporting impressive audio - the Louis Jordan cut "Buzz Me" is incredibly clean and full of vim - as is the stunning smoocher "Joy Juice" where Dinah Washington advises women to get their man down to the nearest joint to get him "nice and stewed" because he's a better Casanova that way - but get him home before he starts getting funny ideas with the fine brown frames at the bar. Equally juicy is the shout-and-call of "Hey! Ba-Ba-Re-Bop" by Lionel Hampton where he tells us someone in the family is "...on the floor blowing his natural top..." We go into Fats Domino piano-stroller territory with the wickedly slick "R.M. Blues" by Roy Milton & His Solid Senders - but the honours belong to Camille Howard who fills the song with some truly brilliant runs on the old Joanna. Rough describes "I Cover The Waterfront" which I'm sure is included for historical reasons. It was inspired by (not in) the Claudette Colbert movie of the same name and was instrumental in putting Mercury as a label on the chart map when it reputed sold over 4 million copies.

Back to a giggle with "Voo-it! Voo-it!" credited to Blues Woman who turns out to Marion Abernathy – but even that's trumped by the barnstorming piano boogie-woogie of "Chicago Breakdown" by Big Maceo – three minutes of keyboard-pounding joy (feels like Piano Red letting rip - Peace on them both). Onwards to a wonderful vocal group romancer with "I Know" by Andy Kirk and his Orchestra where the song is made genius by the deep crooning of The Jubalaires (a highlight on the whole disc for me). It's a little jarring to hear Nat King Cole's "(Get Your Kicks On) Route 66" on here but I can understand its inclusion (maybe its overly familiar to me). I love "Cherry Red Blues" by Eddie Vinson because it reminds me of the mighty Big Joe Turner who of course wrote and recorded it with Pete Johnson in 1939. Wit returns with Bull Moose Jackson who wants to tell us to a hand-clapping R&B rhythm that it was possibly Caldonia's mammy who "...threw the whiskey in the well..." (naughty woman). More vocal group magic comes in the shape of The Ink Spots classic "The Gypsy" sounding amazingly clean here (compared to versions I've had before anyway). Not so clear is the really-rough-sounding "Red Light" - but that doesn't stop the tune from bringing out the finger-clicking rhythm in us all (great little song). And on it goes through more crowd-pleasing dancefloor R&B with Joe Turner on National and the irrepressible Louis Jordan on Decca – ending with a wicked Julia Lee witticism on Capitol...

To sum up - even though they were initially expensive as imports - as the years have gone by they've gone down in price (some online retailers via Amazon or eBay are selling them for about £8.50. But I can't help thinking that once long-time collectors actually get their hands on even one of these compilations (no matter what the date) - they'll be irresistibly hooked and need to own the lot.

For the casual buyer just looking for a great one-stop account of R&B Music for a given year - "1946" is 'the' place to start. I've collected the whole set...and they're amongst my favourite reissues...

TRACK LIST for "Blowing The Fuse - 1946" (79:52 minutes):

Volume 2 of 16

Song Title, ARTIST (Record Label and US 78” Catalogue Number, A-Side or B-Side)

1. Wynonie’s Blues – WYNONIE "Blues" HARRIS with Illinois Jacquet and his All Stars (Apollo 362, A)

2. Got A Right To Cry – JOE LIGGINS and his Honeydrippers (Exclusive 210, A)

3. Drifting Blues – JOHNNY MOORE’S THREE BLAZERS (Philo P 112 and Aladdin A 112, A)

4. Just A-Sittin' And A-Rockin' – DELTA RHYTHM BOYS (Decca 18 739, A)

5. Buzz Me – LOUIS JORDAN and his Tympany Five (Decca 18 734, A)

6. Joy Juice – DINAH WASHINGTON with Gus Chappel's Orchestra (Mercury 2052, B)

7. Hey! Ba-Ba-Re-Bop – LIONEL HAMPTON and his Orchestra (Decca 18 754, A)

8. R.M. Blues – ROY MILTON and his Solid Senders (Specialty 504, A)

9. I Cover The Waterfront – CATS N’ JAMMER THREE Vocals by Bill Samuels (Mercury 2003, A)

10. Voo-It! Voo-It! – THE BLUES WOMAN with the Buddy Banks Sextet (Jukebox 502, A)

11. Chicago Breakdown – BIG MACEO (Bluebird 34-0743, A)

12. I Know – ANDY KIRK and his Orchestra Vocal by The Jubalaires (Decca 18 782, A)

13. (Get Your Kicks On) Route 66 – NAT COLE TRIO (Capitol 256, A)

14. Cherry Red Blues – EDDIE VINSON and his Orchestra (Mercury 8003, A)

15. I Know Who Threw The Whiskey (In The Well) – BULL MOOSE JACKSON and his Orchestra (Queen 4116, A)

16. The Gypsy – THE INK SPOTS (Decca 18 817, A)

17. Red Light – RED CALLENDER (Black & White 781, A)

18. If I Were A Itty Bitty Girl, Part 1 – VELMA NELSON with Will Rowland and his Band (Aladdin 139, A)

19. Sunny Road – ROOSEVELT SYKES with his Original Honeydrippers (RCA Victor 20-1906, A)

20. My Gal's A Jockey – JOE TURNER with Bill Moore’s Lucky Seven Band (National 4002, A)

21. Choo Choo Ch' Boogie – LOUIS JORDAN and his Tympany Five (Decca 23 610, A)

22. So Glad You're Mine – ARTHUR 'Big Boy' CRUDUP (RCA Victor 20-1949, A)

23. Voodoo Woman Blues – JAY McSHANN and his Sextet (Mercury 8020, A)

24. After Hours – ERSKINE HAWKINS and his Orchestra (featuring Avery Parrish on Piano) (Bluebird 10879 / RCA Victor 20-1977)

25. Port Wine – BILL SAMUELS and The Cats 'n Jammer Three (Mercury 8012, A)

26. Come Back To Me Baby – T-BONE WALKER with Marl Young's Orchestra (Mercury 8016, A)
27. Gotta Gimme Whatcha' Got – JULIA LEE and her Boyfriends (Capitol 308, A)

"Beggars Banquet" by THE ROLLING STONES (2002 Abkco 'Hybrid SACD/DSD' CD Remaster) - A Review by Mark Barry...

"...Pass Through Here Again..."

When the Decca label side of the Stones 60ts catalogue first came out on CD in 1986 on London - it was not the greatest moment for the new format. Thankfully this 2002 reissue acknowledges that previous travesty and advises that after 'long and painful' searches through tape vaults on both sides of the Atlantic - both time and technology had caught up enough to warrant a proper stab at it again - and man what a result. Both 1968's "Beggars Banquet" and the follow-up genius of "Let It Bleed” in 1969 shine on these 'hybrid' reissues. Here are the street fighting details...

Euro released August 2002 on Abkco 8823012 (Barcode 042288230120) - it's a straightforward transfer of the album (39:47 minutes):

1. Sympathy For The Devil

2. No Expectations

3. Dear Doctor

4. Parachute Woman

5. Jigsaw Puzzle

6. Street Fighting Man [Side 2]

7. Prodigal Son

8. Stray Cat Blues

9. Factory Girl

10. Salt Of The Earth

Tracks 1 to 10 are the album "Beggars Banquet" - released December 1968 in the UK on Decca LK 4955 (Mono) and SKL 4955 (Stereo) and in the USA on London LL 3539 (Mono) and PS 539 (Stereo). Only the Stereo mix is used.

The UK album had plain white artwork on its laminated gatefold sleeve – apparently a reaction by Decca UK to the furore over the infamous American 'toilet sleeve'. As this CD is US-based it uses the 'toilet sleeve' as its artwork. The three-way foldout card digipak sleeve has basic track details on the furthest inside flap, an explanation on the SACD/DSD compatible CD and process on the second flap as well as the inner UK gatefold sleeve artwork used underneath the see-through tray (and as the label of the CD itself). There’s also a small square 'Certificate Of Authenticity' with 2002 originals for the 'Inaugural Edition Hybrid Disc 2002' which is numbered on the rear black and white photo (6) with lyrics to the "Jumpin' Jack Flash" B-side "Child Of The Moon" printed on one side. I believe each of these original 'Inaugural' inserts are numbered up to 12 or more. 

Made by Sony and Phillips - the SACD/DSD Hybrid Disc actually has two layers - the first contains the normal CD playback - but the other layer has a SACD remaster which will automatically come on if your machine has SACD playback facilities (it doesn't require a special machine to play this disc). Given a careful transfer and remaster by Steve Rosenthal, Teri Landi and Bob Ludwig - the sonic transformation of Jimmy Miller's original production is awesome. Let's get to that...

Right from the opening moments of "Sympathy For The Devil" with its sleazy rhythms and shotgun flicking guitars - you know you're in the presence of something special. By the time the chants of "Ooh Ooh" snake their way in – you're totally won over (Anita Pallenberg, Marianne Faithful, piano player Nicky Hopkins and Producer Jimmy Miller are all in their as well as most of the Stones on the Backing Vocals). "Sympathy For The Devil" is an Audio triumph and what a storming opener it is too (no wonder it gets used in so many movies). Things get even better with the Bluesy acoustic "No Expectations" where Keith Richards strums a restrained but melodic Acoustic - while Brian Jones plays a blinder on Slide (this is easily one of my favourite Stones track – lyrics from it title this review).

We get the inevitable drugs and debauchery song in "Dear Doctor" where Mick Jagger pleads rather caustically "...there's a pain where there once was a heart..." Thrown into the mix is Nicky Hopkins doing a gin-soaked piano, Dave Mason of Traffic playing guitar and Brian Jones once again anchoring the song with an ever-present warbling harmonica. We then get down and dirty with "Parachute Woman" where the Stones go Blues Rock as only they can. Without any thought for technology – the track is pure feel - mean and gritty with Keith giving it some grungy Slide (usually Brian Jone's domain). Side 1 ends with more of the same Bluesy Grit as "Jigsaw Woman" talks of tramps with eye-catching clothes and gangsters with Lugers who go home to their family after a hard day's killing while Mick just wants to do his Jigsaw Puzzle in peace.

I've never worked out if the opening guitar sound to "Street Fighting Man" is pure genius or crappy Production values (quite possibly a bit of both). Whatever history tells us - one minute into the song and you just know it's a stone cold classic. Released as a single in the USA with a rare picture sleeve that was immediately withdrawn – it would have been nice to see that rarity pictured in the digipak. At least Brian Jone's Sitar playing comes out of the mix a bit clearer as does Nicky Hopkin's clever piano refrain during the song fade-out (he contributed so much to this album and "Let It Bleed"). "Prodigal Son" feels like an old-timey spiritual the way Jagger sings it but the remaster has done little to Jone's Harmonica, which is still way back in the mix. Still don't know who the girl is that playfully says "Ah!" at the beginning of the swaggering "Stray Cat Blues" – a tune about ladies wanting to join the band in post gig celebrations while the naughty Rollers don’t ask too many questions about their dates of birth (how did they get away with that crap). After the slightly sleazy bravado of "Stray Cat Blues" – the genuinely sweet "Factory Girl" manages to be that cool thing in the Rolling Stones repertoire – a pretty song. Family's Rick Grech plays Violin on it while Traffic’s Dave Mason adds a Mandolin backbeat with Charlie Watts playing Tabla instead of Drums (giving the song a softer touch). Keith's endearing whine opens the shared Lead Vocals on the album closer "Salt Of The Earth" where they want to "...raise a glass to the hard-working people..." - how decent of them. It features The Watts Street Gospel Choir from Los Angeles – a group of unemployed kids getting their moment of fame. The Audio on this track is the best I’ve ever heard it and ends the album on a high...

Whether you go for the 2002 SACD/CD Hybrid issue (now available for as little as a fiver from some online retailers) or plumb for the prettier but more expensive Japanese SHM-CD from 2010 which uses the 2002 remaster but also offers the white UK artwork as part of its repro sleeve – either way you’re on a winner. And The Stones would only get better with the three studio albums that followed - "Let It Bleed" (1969), "Sticky Fingers" (1971) and "Exile On Main St." (1972). Yank that chain baby...