"London Conversation" by JOHN MARTYN (November 2005 Universal/Island 'Expanded Edition' CD Remasters) - A Review by Mark Barry...

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"...My Young Love Said To Me..." 

At the sprightly age of 18 – the young Scottish Folk Troubadour Ian David McGeachy signed to the roster of Chris Blackwell's eclectic and brilliant Island Records and became the first white artist to do so. Remodelling his new surname on a Martin Acoustic Guitar (changing the 'i' to a 'y') and just one month after his 19th birthday – his debut album "London Conversation" was released in Mono in October 1967 to a rapidly changing musical landscape.

Recorded at the Pye Studios in London and criminally forgotten now - it reputedly cost a paltry £157 to make - and thus began a love affair with that brilliant record label and his public that lasted into the late 1980s and beyond. In fact I've always felt that his music in the 90s and 00s was even more brilliant than his revered 60ts and 70ts output (his loss in January 2009 was a bitter blow to many music lovers). John Martyn's Folky debut LP has always been notoriously difficult to find on original vinyl (let alone repress) - so its CD reissue here under the 'Island Remasters' label-imprint is both welcome and beautifully done. Here are the chimney-pot chitchats and wee bonnie ballads...

UK released November 2005 – "London Conversation" by JOHN MARTYN on Universal/Island Remasters IMCD 319 (Barcode 602498307335) is an Expanded CD Remaster (one added bonus track) and plays out as follows (42:04 minutes):

1. Fairy Tale Lullaby [Side 1]

2. Sandy Grey

3. London Conversation

4. Ballad Of An Elderly Woman

5. Cocain

6. Run Honey Run

7. Back To Stay [Side 2]

8. Rolling Home

9. Who's Grown Up Now

10. Golden Girl

11. This Time

12. Don't Think Twice, It's Alright

Tracks 1 to 12 are his debut studio album "London Conversation" – released October 1967 in the UK on Island ILP 952 (Mono only). Theo Johnson produced the album (it received no US release).

BONUS TRACK:

13. She Moved Through The Fair – Previously Unreleased Session Outtake

The 12-page booklet has new liner notes from JOHN HILLARBY – a man who has kept the JM light lit for decades now. There's a two page photo spread of the rear sleeve with John sat between chimney pots playing his Acoustic Guitar and looking 'so' young. It’s sad to think that Hillarby mentions the Traditional 'Cocain' and the Bob Dylan cover of "Don't Think Twice, It's Alright" as 'remaining favourites with him' because of course when he wrote the liner notes in September 2005 – John Martyn was still with us (living in Ireland). Compiled by Mark Powell of Esoteric Recordings fame – the big news is a fabulous Remaster by PASCHAL BYRNE (Tape Research by Zoe Roberts) that really brings out the Folk beauty and purity of the recording. With just an Acoustic Guitar and his Voice for the bulk of the tracks – "London Conversation" is a long way away from 1973's trippy "Solid Air" or 1977's gorgeous "One World" with its echoplex guitars and space Folk-Rock soundscapes – but I find its Folky simplicity 'beautiful' to the nth degree. These are sweet and lovely melodies – and even at 19 – his voice was so expressive and Soulful.

It opens with the impossibly pretty "Fairy Tale Lullaby" – the acoustic guitar sweet and warm – as it is on "Sandy Grey" – a love song written in anger about Nick Drake by Robin Frederick (mistakenly credited to JM on the LP). "London Conversation" is another gorgeous transfer – no hiss – just air and his voice as the strings rattle. "Ballad Of An Elderly Woman" and "Run Honey Run" have great stories to each – "...Well I wish I could think of some cliché to mouth to make our parting scene less sad..." Side 2 opens with "Back To Stay" – a sweet rolling JM ballad that reminds me of "May You Never". His Sitar playing on "Rolling Home" is impressive (the only track to feature the instrument) while one of the album's hidden nuggets is "Who's Grown Up Now". Both it and "Golden Girl" are JM originals - yet they sound old – like they’ve always been with us. And while the Dylan cover is inevitable (and rather tastefully done too) – what blows me away is the gorgeous and Previously Unreleased session outtake "She Moves Through The Fair" – a Traditional that stretches back centuries. The lyrics have always moved me – "...it will not be long love...till our wedding day..." Simple Minds turned it into "Belfast Child" on their superb 1989 album "Street Fighting Years".

In the last few years - the album has seen renewed interest. July 2014 saw a reissue on heavyweight 180grams vinyl of the LP using the Paschal Byrne remaster - while 18 April 2015 saw "Cocain" b/w "London Conversation" issued as Record Store Day 45 in the UK on Island 472-010-2.

"London Conversation" is forgotten now and he would follow it with "The Tumbler" in December 1968 – another Folk album affair – but this time with some Blues and his own songwriting magic on stuff "Fly On Home" (which is actually very Nick Drake with Harold McNair’s flute additions).

Sometimes things are beautiful precisely because an artist keeps it simple – song, voice and guitar - no clutter. John Martyn was always capable of moving the masses and even as a naïve lad of 19 living in a London flat living on Tea and Toast to survive - I'm sure that's what Chris Blackwell saw and heard when he signed someone so young. Talent, talent, talent - and a huge Celtic soul. I miss him...

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"Super Session" by BLOOMFIELD, KOOPER & STILLS (2002 Columbia/Legacy Expanded CD Remaster) - A Review by Mark Barry...

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"...Pick Up Every Stitch..." 

Having finished with Blood, Sweat & Tears and their debut album "Child Is Father To The Man" in 1968 – AL KOOPER found himself the in-house Producer at Columbia Records in need of a project. So he calls up ex Electric Flag and Paul Butterfield Blues band ace guitarist MIKE BLOOMFIELD and together they determine to make a 'quickie' – a Blues and Soul jam album they'll pump out in one manic session. They get down enough material for one whole side of an LP (a couple of covers and some originals) - but Kooper needs the remainder. With Bloomfield flown the coup (chasing things other than the blues) – Kooper called in ex Buffalo Springfield guitar/songwriting whizz Stephen Stills to record the rest. And out of these most unlikely of 'sessions' – history was born. Columbia CS 9701 (Stereo) peaked on the LP chart at an impressive 12 and started a run of superstar jam sessions - all trying to capture the same lighting in a bottle (common consensus agrees that few got near it).

Al Kooper's liner notes explain that he's gone back with Engineer ALLAN TUCKER to the original master tapes and 24-bit remastered the album to CD. And in keeping with fan-requests over the decades – he's taken off the 'horn' overdubs put on the long jam sessions so devotees of this iconic and cool 60ts album can finally hear Bloomfield workouts like "Albert's Shuffle" and "Season Of The Witch" 'sans horns' (see bonus tracks 10 and 11). They are magnificent and arguably up there with the best Bonus Tracks ever issued. All in all - you have to say that given what they had to work with – Kooper and Tucker have done a bang-up job. Here is the 'Man's Temptation'...

US/UK released April 2003 – "Super Session" by BLOOMFIELD, KOOPER & STILLS on Columbia/Legacy COL 508071 2 (Barcode 5099750807125) is an Expanded Edition CD with four Bonus Tracks and plays out as follows (77:14 minutes):

1. Albert's Shuffle

2. Stop

3. Man's Temptation

4. His Holy Modal Majesty

5. Really

6. It Takes A Lot To Laugh, It Takes A Train To Cry [Side 2]

7. Season Of The Witch

8. You Don't Love Me

9. Harvey's Tune

Tracks 1 to 9 are the album "Super Session" – released August 1968 in the USA on Columbia CS 9701 (Stereo) and September 1968 in the UK on CBS Records S 63396.

BONUS TRACKS:

10. Albert's Shuffle (2002 Remix Without Horns)

11. Season Of The Witch (2002 Remix without Horns)

12. Blues For Nothing (Outtake from the Session – first made available on the 1995 Mastersound CD of "Super Session" on Columbia CK 64611)

13. Fat Grey Cloud (Live) – Previously Unreleased (Recorded 1968 at The Fillmore West, San Francisco, CA)

MIKE BLOOMFIELD – Guitar on Tracks 1-5, 10, 12 and 13

AL KOOPER – Vocals, Ondioline Organ, Piano, Electric and Acoustic Guitars

STEPHEN STILLS – Guitar on Tracks 6 -9 and 11

GUESTS:

BARRY GOLDBERG – Piano on Tracks 1 and 2

HARVEY BROOKS – Bass

"Fast" EDDIE HOH - Drums

The 12-page booklet has an opening 'Producer’s Note' from All Kooper not just explaining the recordings but the CD reissue and his 'without horns' 2002 remixes. BRUCE DICKINSON was Executive Producer for the re-release and both the Michael Thomas original LP liner notes and the David Fricke Rolling Stone Review are reproduced (four-stars from Robert who spends much of his time raving about Bloomfield when Kooper's contribution was just as big if not more in my books). There are some black and white session photos and not much else. ALLAN TUCKER did the Mastering at Foothill Digital Studios in New York and the Audio is fantastic – full of power and presence and that sense of immediacy the recordings had anyway (the Bonus Cuts are beautifully transferred too).

It opens with a Bloomfield/Kooper Instrumental called "Albert's Shuffle" – nearly nine-minutes of Shuggie Otis type Blues with Bloomfield shouting as he solos – Kooper letting loose on the keys (an organ sound most would kill to get). Next up is the uber-cool "Stop" – an instrumental cover of a Howard Tate soul tune on Verve Records from December 1967 (Verve VK 10573). I’ve loved this slinky little ditty for decades now and it still has that 60ts chug about it that utterly sends me. Next up is the first vocal by Al Kooper on their version of Curtis Mayfield's "Man's Temptation" – a song about a temptress who wants to "...ruin my happy home with man's temptation...” But then we get the magnificent band really cooking on another Bloomfield/Kooper creation "His Holy Modal Majesty" – a 9:19 minute Organ/Guitar battle that feels like Santana gone Prog by way of the Blues (and I still don’t know what the title means). Side 1 ends on the Traditional Slow Blues vibe of "Really" – 5:26 minutes of Bloomfield letting rip on the frets while Kooper puts in huge chords on the Organ (very tasty mama).

Side 2 has always been problematic for me. It opens with A Stephen Stills take on Dylan's "It Takes A Lot To Laugh, It Takes A Train To Cry" and to me it immediately sounds like the album has gone off the rails. The tune is OK – but thematically it comes over like poor man’s Monkees instead of the fresh Bluesy workouts we were getting on Side 1. Things are brought back from the brink big time by the stunning 11:08 minutes of "Season Of the Witch" (a Donovan cover they did on the Side 1 all-day session). Columbia and CBS edited both it and "Albert's Shuffle" down to fit on the A&B-sides of a 45 in October 1968 (CBS 3770 in the UK, Columbia 44657 in the USA) – but it did little business despite the success of the album (it's a no-show here due to time constraints). Back to weird with the Hendrix flange cover of a Willie Cobbs tune called "You Don't Love Me" which again is good – but still feels wildly out of kilter with the rest of the record. Then we enter mellow Jazz Soul territory with the saxophone-led "Harvey's Tune" – another out of step instrumental that sounds like it should be in a Blaxploitation film instead of on this album. But then you’re hit with four corkers...

While the album has its incongruous moments – the bonus tracks act as an impossibly brilliant counterpoint – the first three sounding like the powerhouse Blues Session that should have been released. Why "Blues For Nothing" was left off the album and mediocrity like "Harvey's Tune" left on is a total mystery (4:15 minutes) and the two album cuts minus-the-horns actually seem to free the songs and focus you completely on the dynamic duo – Al Kooper on Organ and Mike Bloomfield on Guitar. "Season Of The Witch" is the prize here and stretches to its full 11:08 minutes - stripped and raw - it has a renewed power that's thrilling. As if this is not satisfying enough – the live Instrumental Blues of "Fat Grey Cloud" is fantastic – Bloomfield joking first about 'tuning' then letting rip – wild one second – Soulful Bluesy the next – with Kooper following after - pumping out an Organ Sound that is huge (4:39 minutes).

In truth the original album is probably more four-stars than five - but this genius CD reissue with those stunning bonus tracks bumps it up again.

"...You've got to pick up every stitch..." – Kooper sings in their funky cover of Donovan's Sixties-sinister "Season Of The Witch". And it seems that anything from that incredible 'super session' was indeed worth picking up...

"Stone The Crows/Ode To John Law" by STONE THE CROWS [feat Maggie Bell and James Dewar on Vocals] (2015 Air Angel 2CD Remasters) - A Review by Mark Barry...

"...Blind Man..." 

Fronted by not one but two stunning Vocalists in Maggie Bell and James Dewar – Scotland's STONE THE CROWS also boasted the guitar talents of Leslie "Les" Harvey (younger brother of Alex Harvey) and the songwriting genius of Keyboardist John McGinnis. I’ve been after their wicked run of four albums on Polydor between 1970 and 1972 on affordable decent CDs for years now – and at long last Air Angel of the UK (and in conjunction with the band) have acquired the tapes and remastered all four back into digital form – and even found space to chuck on four bonus tracks.

This first 2CD reissue gives you their "Stone The Crows" debut and 2nd LP "Ode To John Law" – the 3rd and 4th albums "Teenage Licks" and "'Ontinuous Performance" arrive in October 2015 on another expanded 2CD set (Air Angel SJPCD468). Here are the pious birds of good omen (they’re stoned and all)...

UK released Friday 4 September 2015 – "Stone The Crows/Ode To John Law" by STONE THE CROWS on Air Angel SJPCD463 (Barcode 5055011704633) gives us their first two studio albums onto a 2CD set with four bonus tracks and plays out as follows:

Disc 1 (61:31 minutes):
1. The Touch Of Your Loving Hand
2. Raining In Your Heart
3. Blind Man
4. A Fool On The Hill
5. I Saw America [Side 2]
Tracks 1 to 5 are their debut LP "Stone The Crows" – released July 1970 in the UK on Polydor Super 2425 017 and in the USA on Polydor 24-4019

BONUS TRACKS:
6. Freedom Road (Live)
7. Hollis Brown (Live)
Tracks 6 and 7 are from the "Radio Sessions: 1969-72" – released May 2009 as a 2CD Stone The Crows set on Angel Air SJPCD272

Disc 2 (52:03 minutes):
1. Sad Mary
2. Friend
3. Love 74
4. Mads Dogs And Englishmen [Side 2]
5. Things Are Getting Better
6. Ode To John Law
7. Danger Zone
Tracks 1 to 7 are their 2nd studio album "Ode To John Law" – released February 1971 in the UK on Polydor Super 2425 042 (no USA release)

BONUS TRACKS:
8. The Touch Of Your Loving Hand (Live)
9. Raining in Your Heart (Live)
Tracks 6 and 7 are from the "Radio Sessions: 1969-72" – released May 2009 as a 2CD Stone The Crows set on Angel Air SJPCD272

STONE THE CROWS was:
MAGGIE BELL – Lead Vocals
JAMES DEWAR – Lead Vocals and Bass
LESLEY HARVEY – Guitars
JOHN McGINNIS – Keyboards
COLIN ALLEN – Drums and Percussion

Although the 8-page inlay has new liner notes from Malcolm Dome and includes interviews with Maggie Bell and Colin Allen as well as a few photos – it's a disappointingly slight affair that doesn’t even bother to provide catalogue numbers for the LPs. What you do get is a potted history of the Scottish band arising out of the ashes of The Power who were managed by Zeppelin's Peter Grant. Grant had them change their name because an American group had already nabbed it – and it was he who suggested the much cooler moniker of STONE THE CROWS. A nice touch is that each CD is a picture disc of the album front covers - but the inner gatefold artwork in both cases is missing. There is no mention of who remastered the albums but there is a credit that the material is licenced from Maggie Bell and Colin Allen. The audio is a mixed bag of brilliant clarity one moment followed by awful hiss the next (thankfully the later is more in ascendancy).

The bluesy opening track "The Touch Of Your Loving Hand" (written by Bell and Dewar) is covered in dreadful hiss - which is devastating because it's a stunning six-minute keyboard-lead Soulful Blues song highlighting the magnificent set of pipes on both Dewar and Bell. It even features a sweet guitar solo from Harvey. The Fusion of the Harvey/Dewar composition "Raining In Your Heart" comes at you like Brian Auger meets the Latin rhythms of Santana – it’s brilliant and sounds a lot better than the opener. But then you're hit with an absolute stunner – the 5:12 minutes of "Blind Man" – a Josh White cover version doing entirely in Acoustic Blues. Les Harvey rattles those steel strings while zipping up and down the fretboard in impressive runs. But then Maggie Bells comes at you with 'that voice' – and its Janis Joplin look out baby – there's a new queen in town. It's a stunning Bluesy vocal – the kind of thing that makes the hairs on the back on your neck stand up. They finish Side 1 with a sort of Joe Cocker version of "A Fool On The Hill" – giving The Beatles classic a piano-lead rendition that brings out a sweet Soul in the song.

Side 2 is taken up with one piece – the 17:21 minutes of "I Saw America" - written by Leslie Harvey, Colin Allen and the album's Producer Mark London. It opens with almost Buddy Holly acoustic guitars and then builds Yes-like into a keyboard flourish which is brilliant. At about three minutes it calms down into a slow melody with soft guitars, Maggie's vocals and organ – then back into Genesis territory circa "Nursery Cryme" – back into Blues Rock - onto more Jazz - returns to Prog. And then James "Jimmy" Dewar sails in as Vocalist - what a blast it is...

Maggie Bell's "Freedom Road" (10:32 minutes) and Dylan's "Hollis Brown" (13:05 minutes) are the lengthy 'Live' bonus tracks. Although it doesn't advise where they were recorded – there's no audience response so I'm presuming their BBC recordings. The audio is good – the playing great – and both feel like smartly chosen sonic companions to the album cuts. The dynamic vocal duo of Bell and Dewar rock it out on "Freedom Road" with Harvey tearing up the guitar – but the unwieldy "Hollis Brown" overstays it rumbling welcome.

The second LP opens with a Rocker – "Sad Mary" penned by Keyboardist John McGinnis. It was used as a B-side to the band's first UK 7" single with "Mad Dogs And Englishmen" on the A (Polydor 2066 060, released early 1971). It riffs along in fine form (couple of Zeppelin I touches in there) – but at about 5:25 there's terrible surface noise. That same worn tape background afflicts the beginning of "Friend" until the brilliant keyboard funk kicks in – thereafter the audio is wonderful (bass, drums and vocals). Another keyboard bum-wiggling winner from the pen of John McGinnis is "Love 74" (wrongly credited on the CD sleeve as just "Love"). It ends Side 1 – again the band sounding like a Funk-Rock outfit with American Soulfulness at its AWB core.

Written by Colin Allen and Leslie Harvey – the upbeat "Mad Dogs And Englishmen" is an obvious single – structurally sounding not unlike Dave Mason's “Feeling Alright” as done by Joe Cocker on his "Joe Cocker!" album from early 1970 (see separate review). And again Maggie's vocals are so damn good (I’d forgotten how cool this little song is). The John McGinnis tune "Things Are Getting Better" was chosen as 45 in Germany and Sweden by Polydor with "Mad Dogs And Englishmen" relegated to the flipside – and with its Joe Cocker commercialism you can understand why. Based on the events of 4 May 1970 in the USA - the title track "Ode To John Law" chronicles how the Ohio State Police fired guns into a crowd of longhaired protesting students in Kent State University injuring many but killing four of them. The cops became known as 'pigs' in the USA or in the mind of Colin Allen - 'John Law'. As Maggie Bell sings, "You're a pig...spread your mace in my face..." to a threatening keyboard barrage – the whole song feels deeply uncomfortable throughout (still does). The album ends on the high of "Danger Zone" - a Curtis Mayfield cover version and probably the best song on the album (certainly the most Soulful – huge keyboard chords and tasteful guitar licks). Although it's a set of hugely soulful and accomplished performances from Dewar and Bell – the bonus track BBC Live sessions for "The Touch Of Your Loving Hand" is inflicted with a lot of background noise that dampens this winner (what a shame). But thankfully "Raining In Your Heart" fares a lot better – the band on fire and clearly enjoying boogieing out.

So there you have it – a mixed bag audiowise for sure - but I'm still thrilled these criminally forgotten albums are back on my shelves. Maggie Bell of course went on to a great solo career with Zeppelin's Swan Song label in the mid Seventies and tours to this day while Lead Vocalist James Dewar gave every Robin Trower Chrysalis album a vocal soul they would have been remiss without. After years of genetic medical illness and declining health - he sadly passed away in 2002 aged only 53. I miss him...check out his Rock-Soulful legacy on YouTube.

Stone The Crows – a great band and a wicked legacy. Can't wait for batch Number 2. Even the name makes me tingle...

"With A Little Help From My Friends" by JOE COCKER (1999 A&M 'Expanded Edition' CD Reissue - Suha Gur Remaster) - A Review by Mark Barry...

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"…Feeling Alright…"

Joe Cocker's first two albums on England's Regal Zonophone Records "With A Little Help From My Friends" (1969) and "Joe Cocker!" (1969 and 1970) are two absolute belters (both issued on A&M Records in the USA) - and yet their 1999 American CD Reissues/Remasters seem to have gone largely unnoticed over here in good old Blighty. His debut album was also festooned with heavy hitters 'friends' of the day like Jimmy Page and Steve Winwood. Here are the helpful details...

USA released October 1999 (April 2000 in the UK) – "With A Little Help From My Friends" by JOE COCKER on A&M 069 490 419-2 (Barcode 606949041922) is an 'Expanded Edition' CD Remaster of his debut LP and breaks down as follows (45:44 minutes):

1. Feeling Alright
2. Bye Bye Blackbird
3. Change In Louise
4. Marjorine
5. Just Like A Woman
6. Do I Still Figure In Your Life? [Side 2]
7. Sandpaper Cadillac
8. Don't Let Me Be Misunderstood
9. With A Little Help From My Friends
10. I Shall Be Released
Tracks 1 to 10 are the album "With A Little Help From My Friends" - released May 1969 in the USA on A&M SP-4182 (Stereo only) and September 1969 in the UK on Regal Zonophone LRZ 1006 (Mono) and SLRZ 1006 (Stereo). The Stereo mix is used for this CD remaster.

BONUS TRACKS:
11. The New Age Of Lily – Non-Album Track – B-side of "Marjorine" released May 1968 in the UK on Regal Zonophone RZ 3006. Peaked at No. 48 on the UK charts.
12. Something’s Coming On – Non-Album Track – B-side of "With A Little Help From My Friends" released September 1968 in the UK on Regal Zonophone RZ 3013. Peaked at No.1 on the UK charts.
[Note: both of the above B-sides feature ALBERT LEE and JIMMY PAGES on Guitars.]

GUESTS:
JIMMY PAGE plays Guitar on "Bye Bye Blackbird" (Solo), "Marjorine", "Just Like A Woman", "Sandpaper Cadillac" and "With A Little Help From My Friends"
STEVE WINWOOD plays Organ on "Do You Still Figure In My Life?" and "I Shall Be Released"
TONY VISCONTI plays Guitar on "Bye Bye Blackbird"
HENRY McCULLOUGH plays Guitar on "Change In Louise", "Do You Still Figure In My Life?", "Don't Let Me Be Misunderstood" and "I Shall Be Released"
ALBERT LEE plays Guitar on "Marjorine" and on both of the B-sides "The New Age Of Lily" and "Something’s Coming On"
DAVID COHEN plays Guitar on "Feeling Alright"
TOMMY EYRE plays Piano on "Just Like A Woman" and "Don’t Let Me Be Misunderstood" and Organ on "With A Little Help From My Friends"
ARTIE BUTLER plays Piano on "Feeling Alright"
CHRIS STAINTON plays Bass only on "Just Like A Woman", "Do You Still Figure In My Life?", "Don't Let Me Be Misunderstood", "With A Little Help From My Friends" and "I Shall Be Released"
CHRIS STAINTON plays Bass and Piano on "Change In Louise", "Marjorine" and "Something's Coming On".
CHRIS STAINTON plays Bass, Piano and Organ on "Bye Bye Blackbird", "Sandpaper Cadillac" and "The New Age Of Lily"
MATTHEW FISHER (of Procol Harum) plays Organ on "Just Like A Woman"
PAUL HUMPHRIES, CLEM CATTINI, MIKE KELLIE, B.J. WILSON and KENNY SLADE plays Drums on varying tracks
BRENDA HOLLOWAY, MERRY CLAYTON and PATRICE HOLLOWAY sing Backing Vocals on "Feeling Alright"
MADELEINE BELL, SUNNY WEETMAN and ROSETTA HIGHTOWER sing Backing Vocals on "Bye Bye Blackbird" and "With A Little Help From My Friends"
MADELEINE BELL, SU and SUNNY WEETMAN sing backing Vocals on "Do I Still Figure In Your Life?"
SU and SUNNY WEETMAN sing Backing Vocals on "Change In Louise"

Recorded in London throughout 1968 and originally Produced by DENNY CORDELL (owner of Regal Zonophone Records) - this zippy little CD Reissue is produced by BILL LEVENSON and features the remastering skills of two superb names in Universal's camp - THERESA MALHAM and SUHA GUR. Suha Gur has been involved in large amounts of the much-praised Hip-O Select label (in particular their Motown reissues) - and is a name I actively seek out for great sonic results. The audio quality here is fabulous - punchy, detailed, never too amped up for effect - just really well done. The 8-page inlay has rudimentary liner notes by J.P. BEAN, recording credits and some period of photos of Cocker. His November 1969 (US) and January 1970 (UK) second album "Joe Cocker" was also issued Stateside on remastered CD in October 1999 (use Barcode 606949042028 on Amazon to get the right issue) and also features two crucial bonus tracks.

The album opens with a total barnstormer – a cover of Dave Mason's brilliant Traffic tune "Feeling Alright" - recently used to devastating effect in the 2013 Denzel Washington drunk-pilot movie "Flight". If ever a song summed up the swagger of the swinging 60ts while at the same time honestly chronicling its dark druggy underbelly – then this little beauty is it. You get that irresistible funky piano from Artie Butler – Cocker's amazing voice fronting a trio of Soulful ladies anchoring the whole impossibly cool tune – what a winner. The standard "Bye Bye Blackbird" gets the full-throated Cocker arrangement and suddenly becomes epic. "Change In Louise" is the first original co-written with Grease Band stalwart Chris Stainton who adds Bass, Piano and Organ to almost the whole of the album (and the two non-LP B-sides). "Marjorine" was released as pre-LP single as far back as May 1968 – it hit No. 48 in the UK and marked his chart debut after 8 years of hawking his wares and a failed single in October 1964 on Decca. Side 1 ends with a powerful rendition of Dylan's "Just Like A Woman" - our Brummy's voice hurting like an open wound (he does Bob proud).

Written by Peter Dello of Honeybus "Do I Still Figure In Your Life?" is a genius choice – gritty, real and painful - its searching melody and message suiting Cocker's expressive voice. The second co-written original (again with Chris Stainton) "Sandpaper Cadillac" is an accomplished piece and a nugget in his past catalogue. It ends of a trio of huge cover versions - "Don’t Let Le Me Misunderstood" by The Animals being the kind of tune tailor-made for his gravelly larynx – his epic cover of The Beatles "Sgt. Peppers" classic "With A Little Help From My Friends" hit Number 1 gold in early October 1968 – and Dylan's "I Shall Be Released" became a freedom anthem and is reckoned as one of 'the' great Dylan interpretations. Both of the bonus tracks are Joe Cocker/Christ Stainton compositions – with the non-LP "Something's Coming On" being the prize – a fantastic tune with great Jimmy Page axework throughout.

So there you have it - a top album remastered to perfection and released at a budget price. Joe Cocker sadly passed away Christmas 2014 – music lovers everywhere genuinely hurt by his loss (check out his performance in the stunning "Across The Universe" movie). But this is a reminder of his extraordinary set of pipes and his way of arranging a tune.

"Feeling alright..." Check this CD remaster out and you will be. Yeah Baby!

PS: As a by the way - I've always loved the compilation LP "Cocker Happy" (pictured above) which came out in the UK in April 1971 on Fly Records HIFLY 3. If you purchase the 1999 A&M CD of his 1969 2nd album "Joe Cocker!" on A&M 069 490 420-2 Barcode 606949042028 (which also has two crucial bonus tracks - 45:44 minutes) and a "Best of" containing the Mono Single Mix of "The Letter" - you'll be able to sequence the whole album in remastered form as follows (instead of paying for highly-priced budget issues):

Side 1:
1. Hitchcock Railway (from "Joe Cocker!")
2. She Came In Through The Bathroom Window (from "With A Little Help...")
3. Marjorine (from "With A Little Help...")
4. She's Good To Me (bonus track on "Joe Cocker!" CD)
5. Hello, Little Friend (from "Joe Cocker!)"
6. With A Little Help From My Friends (from "With A Little Help...")

Side 2:
1. Delta Lady (from "Joe Cocker!")
2. Darling Be Home Soon (from "Joe Cocker!")
3. Do I Still Figure In Your Life (from "With A Little Help...")
4. Feeling Alright (from "Joe Cocker!")
5. Something's Coming On (bonus track on the "With A Little Help..." CD)
6. The Letter (7" Mono Single Version) (from "Best Of" CD)

"Five Leaves Left" by NICK DRAKE (2000 Universal/Island CD – John Wood/Simon Heyworth Remaster) - A Review by Mark Barry...

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"...A Very Rare Find..."

The very stuff of legend – 1969 British vinyl LP first pressings of Nick Drake's beautiful Island Records debut album "Five Leaves Left" have been attaining as much as a grand on the open auction market in the right condition. 

Said to have sold less than 500 copies – genuine 1st issues on the fabled 'pink' Island label are notoriously rare. But its one of those occasions where the money is warranted because when you hear this (now cheap as chips) CD remaster of that magnificent beginning – you wonder how in God's name did something this beautiful and brilliant go largely unnoticed?  

Whatever you look at it - 'masterpiece' is a liberally overused phrase in reviewing – but in this case it may even be inadequate. 'Time Has Told Us' indeed - here are the 'Way To Blue' details:

UK released June 2000 – "Five Leaves Left" by NICK DRAKE on Island IMCD 8 (Barcode 042284291521) plays out as follows (41:45 minutes)

1. Time Has Told Me

2. River Man

3. Three Hours

4. Way To Blue

5. Day Is Done

6. 'Cello Song [Side 2]

7. The Thoughts Of Mary Jane

8. Man In A Shed

9. Fruit Tree

10. Saturday Sun

Tracks 1 to 10 are the album "Five Leaves Left" - his debut vinyl album released 1 September 1969 in the UK on Island Records ILPS 9105. Its first US issue came in 1976 on Antilles Records AN-7010.

The 12-page booklet produces the lyrics for all the songs, track-by-track credits, has some photos of master tape boxes and a photograph of hand-written lyrics. It’s a shame though that there aren’t any explanatory liner notes – especially for such a beautiful record – but all that goes out the window once you lay your tired lugs on the masterful Audio...

Originally Produced by JOE BOYD – JOHN WOOD and SIMON HEYWORTH have handled the 24-bit CD remaster at Chop-Em-Out in London and they've done a truly beautiful job. There have been other reissues since 2000 (especially the 5CD "Tuck Box" from 2013 which I've reviewed extensively) but all have used these remasters and with such sweetly crisp and warm audio – why not. A gorgeous sounding CD – now to the music...

Taking its title from a message you receive in a packet of Rizlas for roll-your-own cigarettes (you've "Five Leaves Left") – it opens with Danny Thompson of Pentangle on Double Bass supporting Drake on Acoustic guitar for the beautiful "Time Has Told Me". He's joined on Piano by future Manassas keyboardist Paul Harris (Stephen Stills' band) and equally nice guitar licks from Fairport Convention's Richard Thompson. The primarily acoustic "River Man" shows up the remaster - rolling Spanish acoustic guitar – stunning String arrangements by Harry Robinson – it's the kind of melancholy song that will stop you in your tracks – both touching and magisterial at one and the same time. Danny Thompson returns on Bass but this time with the added percussion of Rocki Dzidzornu on Congas (he turns up again on "'Cello Song") for the stunning "Three Hours". The song is a kind of Jazz-Folk trip – like John Martyn at his Folk-Soul best. It's at this point that you have to double-take – how could something as utterly brilliant as "Three Hours" have gone unnoticed in September 1969? Then you’re hammered with more gorgeous String arrangements for "Way To Blue" but this time courtesy of Richard Kirby. Side One ends on the lovely "Day Is Done" again with exquisite String Arrangements from Kirby.

Side 2 opens with my favourite Nick Drake song – a swaying Folk-Rock-Soul tune that’s liable to send me into rapture – "'Cello Song". Everything that's fantastical about his music is contained in this peach. Those acoustic rhythms he builds like England's answer to Tim Buckley – complimented by brilliant players like Danny Thompson on Double Bass and Dzidzornu on Congas. But giving the melody a spine-tingling beauty and sailing over the song's shuffle is a gorgeous drawn Cello note played by Claire Lowther. Surely this was the single Island should have released? Both "The Thoughts Of Mary Jane" and "Man In A Shed" feel like the Folk-Rock of "Stormbringer" by John Martyn – with Paul Harris and Danny Thompson playing Piano and Bass on "Man In A Shed". The 4LP set put out by Island in 1979 and reissued on CD by Hannibal Records in 1986 was called "Fruit Tree" after the album's second last song – another gorgeous string-laden melody (Richard Kirby arrangements). It finishes on the piano-beauty of "Saturday Sun" which Alexis Korner covered on his self-titled Rak Records album in July 1971 (SRAK 501) – I believe he was the first musician to officially cover a Drake song. Tristam Fry plays the Drums and provides those sweet Vibes (he's sessioned for huge swathes of legendary artists including The Beatles and Frank Sinatra).

You could go all the way and purchase the 5CD set "Tuck Box" which has now been reduced in 2015 to a more affordable price. His only other two LPs "Bryter Layter" and "Pink Moon" followed in 1970 and 1972 and made up the perfect triumvirate before he sadly left us in 1974.

"...When I remember those people and places...they were really too good in their way..." – Nick Drake sang on "Saturday Sun". Was he too good for this world? How can something as ethereal and gorgeous as this have gone largely unnoticed in his short life span? It’s hard to know.

Do yourself and your Soul a solid and get this man’s beauty into your life and onto your sound system as soon as possible - because time 'has' told us - Nick Drake is a very rare find indeed...