"Excitable Boy" by WARREN ZEVON (2007 Asylum/Rhino 'Expanded' CD Remaster) - A Review by Mark Barry...

"...Rub The Pot Roast All Over His Chest..." 

Like most Warren Zevon fans - I bought the March 2010 "Original Album Series" 5CD Mini Box Set to have the albums "Warren Zevon" (1976) and "Bad Luck Streak In Dancing School" (1980) on some form of CD. But despite its wickedly good content and cheap price – I was disappointed to find that all five titles are non-remasters - especially given that Rhino did stunning audio versions of "Excitable Boy" (1978), "Stand In The Fire (Live)" (1981) and "The Envoy" (1982) way back in 2007 and could have used those (all three were first-time-on-CD Expanded Remasters).

So as I own them I thought it time to return to my fave – the spiked, tender and yet wickedly contemporary "Excitable Boy". And rubbing pot roast all over my chest is exactly how a feel. What a winner this 2007 single disc CD reissue is. Here are the wet-haired two-fanged details...

UK and USA released late March 2007 – "Excitable Boy" by WARREN ZEVON on Asylum/Rhino 8122-79997-7 (Barcode 081227999773) is an 'Expanded' CD Remaster with Four Bonus Tracks and play out as follows (41:59 minutes):

1. Johnny Strikes up The Band

2. Roland The Headless Thompson Gunner

3. Excitable Boy

4. Werewolves Of London

5. Accidentally Like A Martyr

6. Nightime In The Switching Yard [Side 2]

7. Veracruz

8. Tenderness On The Block

9. Lawyers, Guns And Money

Tracks 1 to 9 are his 2nd album "Excitable Boy" – released 24 January 1978 in the USA on Asylum 6E-118 and March 1978 in the UK on Asylum K 53073. It peaked at No. 8 in February 1978 on the US album charts – but didn’t chart in the UK - Singer Jackson Browne and Guitarist Waddy Wachtel Produced.

BONUS TRACKS:

10. I Need A Truck (Outtake)

11. Werewolves Of London (Alternate Version)

12. Tule's Blues (Solo Piano Version)

14. Frozen Notes (Strings Version)

Tracks 10 to 14 are PREVIOUSLY UNRELEASED

The 20-page booklet is a pleasingly substantive affair – DAVID FRICKE's superb liner notes making much of Jackson Browne's friendship and musical patronage of Zevon who in 1975 was a complete unknown. Browne had already three charted US albums under his belt "Jackson Browne - aka "Saturate Before Use" (1972), "For Everyman" (1973) and the stunning "Late For The Sky" (1974) – so when he announced at a September 1975 Philly gig that this Warren Zevon friend of his was going to be 'big news' – people took notice and cheered (Browne then played several of Warren's songs including an early version of "Werewolves Of London"). Some years later the album "Excitable Boy" containing that winning song both sat pretty on the American charts. The 'empty shell-casings of bullets' and the 'gun on a dinner plate' photos that made up the inner US sleeve are reproduced on Pages 11 and 20 as are the lyrics to the album tracks (oddly not the bonus cuts). The song-by-song musician credits show his core band as – WARREN ZEVON on Piano, Guitars and all Lead Vocals, WADDY WACHTEL on Guitars and Vocals, LELAND SKLAR on Bass and RUSSELL KUNKEL on Drums with Guests (discussed below). There's even an advert for the Book "I'll Sleep When I'm Dead: The Dirty Life And Times Of Warren Zevon" by Crystal Zevon...

But the really big news for fans is the DAN HERSCH and BILL INGLOT Remaster. The audio on this sucker kicks you in the nuts – and its not loudness for the sake it. Every track is improved - given muscle and clarity - and the listen is so much better for it right across the board (this Expanded Edition also features four tasty Previously Unreleased Bonus Tracks dropped from the "Original Album Series" Box Set version).

Asylum launched three singles around the album in the UK – "Werewolves Of London" b/w "Tenderness On The Block" (February 1978, Asylum K 13111) – "Nighttime In The Switching Yard" b/w "Roland The Headless Thompson Gunner" (May 1978, Asylum K 13124) and finally "Excitable Boy" b/w "Veracruz" (October 1978, Asylum K 13140) – none charted. In the USA they faired better when "Werewolves Of London" lead the charge as the album's debut 45 with "Roland The Headless Thompson Gunner" on the flipside (Asylum E-45472). It rose to a respectable No. 21 on their pop charts in May 1978 giving the album a sustained bout of sales long after its February 1978 placing. They also issued "Lawyers, Guns And Money" with "Veracruz" on the B-side in May 1978 (Asylum E-45498) - but like "Nighttime In The Switching Yard" b/w "Johnny Strikes Up The Band" in October 1978 on Asylum E-45526 – neither charted.

The "Excitable Boy" album is a sensation really. All the potential that had shown up on his guest-heavy 1976 self-titled Asylum Records debut "Warren Zevon" came screaming to fruition on record number two. Admittedly at 31:49 minutes and with only 9 songs – it wasn't exactly a musical War & Peace. But there isn't a bad track on "Excitable Boy" and many of these quirky songs would become synonymous with Zevon and beloved by fans. And it didn't take a Mensa membership card to hear that beneath all that humour and blood and sex lurked the niggling ongoing aspects of his zigzag personality peeking through the lyrics like a cut he couldn’t plaster – his addictions to alcohol and pills that would take years to beat...

The bloodthirsty and kooky "Werewolves Of London" features Mick Fleetwood and John McVie of Fleetwood Mac on Drums and Bass while Linda Ronstadt and Jennifer Warnes lend backing vocals to the giddily macabre "Excitable Boy" with Waddy Wachtel chopping that axe and sessionman Jim Horn blowing a mean Saxophone. Karla Bonoff does lovely Harmony Vocals on "Accidentally Like A Martyr" while his long-time musical cohort Jorge Calderon plays Spanish Guitar on the hurting "Veracruz". Waddy Wachtel's Acoustic guitar work makes the gorgeous "Tenderness On The Block" - a song that always makes me think of our growing teenagers who aren't kids anymore (she's all grown up – she has a young man waiting). And who doesn't laugh at the touch-and-go 'gambling in Havana' wit of "Lawyers, Guns And Money" where the you-know-what has unceremoniously hit the fan...(send help Daddy please). There's an ache too in "Accidentally Like A Martyr" where "...the hurt gets worse and the heart gets harder..." But for me and second-only to the lovely "Tenderness..." is one of the album's true hidden nuggets - the hard-core Talking Heads guitar-funk of "Nighttime In The Switching Yard" – a song I used to constantly put on 70ts Fest CDR's when I worked at Reckless Records in Soho's Berwick Street. Without fail its funky-as-gnat's-underpants rhythms would bring excited kids to the counter – Who the Hell is this?

The Bonus Tracks are typically eclectic – the entirely Acapella "I Need A Truck" has him singing alone into an echoed microphone for less than a minute about trucks to haul his guns, his bad thoughts, Percocet tablets and Gin. Any version of "Werewolves Of London" is good news by me - and the 3:42 minute Alternate is just as quirky and rocking as the finished article. It doesn't say who's playing the Guitar – sounds like Wachtel – and the Bass is more pronounced too. It's like they’re almost there but still working out the kinks (and that 'ah ooooh' howl at the end is a hoot). "Tule's Blues" is probably the real prize here – a ballad named after his 1st wife about a relationship falling apart. It's a piano led melancholic thing – lovely and sad at the same time with lyrics like "...I hear a child's voice...does he ask if I'll be coming home soon..." The orchestral strings in "Frozen Notes" add a huge poignancy to another hurting song.

Zevon succumbed to Cancer in September 2003 aged only 56 – defiant, whimsical and thoughtful to the end. And as I replay the truly gorgeous and deeply wise "Tenderness On The Block" - I'm tearful. I for one am glad that this criminally overlooked CD only hammers home Warren Zevon's undeniable lifeforce and the rich legacy of his music. Be with the Boogie Angels you hard-knocks traveller...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 250 entries and 2100 e-Pages - purchase on Amazon and search any artist or song (click the link below). Huge amounts of info taken directly from the discs (no cut and paste crap). 

"Original Album Series" by WARREN ZEVON (March 2010 UK Asylum/Rhino 5CD Capacity Wallet with Mini LP Repro Artwork Card Sleeves) - A Review by Mark Barry...

 

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"...Excitable Boy..."

Like Randy Newman it's a testament to Warren Zevon's extraordinarily witty and sharp songs that so many quality artists have covered him - Linda Ronstadt, Bob Dylan, Jimmy Buffett, Jackson Browne, Counting Crows and even Ireland's Freddie White to name but a few. And while his "Excitable Boy" set from 1978 will probably be the most familiar album to people on here – the stunning kick-ass live LP "Stand In The Fire" (recorded across five nights at The Roxy with a super tight band) is just one of the gems to discover in this cheap-as-a-politician’s-castle-moat-repair-bill 5CD mini box set. Time to rip your lungs out Jim for the original Werewolf Of London...

UK released March 2010 (reissued September 2012) – "Original Album Series" by WARREN ZEVON on Asylum/Rhino 8122 79837 1 (Barcode 081227983710) is a 5CD Capacity Wallet with Five Mini LP Repro Artwork Card Sleeves that plays out as follows:

Disc 1 – "Warren Zevon" (38:28 minutes):

1. Frankie And Jesse James

2. Mama Couldn't Be Persuaded

3. Backs Turned Looking Down The Path

4. Hasten Down The Wind

5. Poor Poor Pitiful Me

6. The French Inhaler

7. Mohammed's Radio [Side 2]

8. I'll Sleep When I'm Dead

9. Carmelita

10. Join Me In L.A.

11. Desperados Under The Eaves

Tracks 1 to 11 are the debut album "Warren Zevon" – released June 1976 in the USA on Asylum 7E-1060 and in the UK on Asylum K 53039

Disc 2 – "Excitable Boy" (31:49 minutes):

1. Johnny Strikes up The Band

2. Roland The Headless Thompson Gunner

3. Excitable Boy

4. Werewolves Of London

5. Accidentally Like A Martyr

6. Nightime In The Switching Yard [Side 2]

7. Veracruz

8. Tenderness On The Block

9. Lawyers, Guns And Money

Tracks 1 to 9 are his 2nd album "Excitable Boy" – released January 1978 in the USA on Asylum 6E 118 and March 1978 in the UK on Asylum K 53073

Disc 3 – "Bad Luck Steak In Dancing School" (35:35 minutes):

1. Bad Luck Streak In Dancing School

2. A Certain Girl

3. Jungle Work

4. Empty-Handed Heart

5. Interlude No. 1

6. Play It All Night Long

7. Jeannie Needs A Shooter [Side 2]

8. Interlude No. 2

9. Bill Lee

10. Gorilla, You're A Desperado

11. Bed Of Coals

12. Wild Age

Tracks 1 to 12 are his 3rd album "Bad Luck Streak In Dancing School" – released March 1980 in the USA on Asylum 5E 509 and in the UK on Asylum K 52191

Disc 4 – "Stand In The Fire – Recorded Live At The Roxy" (42:35 minutes):

1. Stand In The Fire

2. Jeannie Needs A Shooter

3. Excitable Boy

4. Mohammed's Radio

5. Werewolves Of London

6. Lawyers, Guns And Money [Side 2]

7. The Sin

8. Poor Poor Pitiful Me

9. I’ll Sleep When I'm Dead

10. Bo Diddley's A Gunslinger/Bo Diddley

Tracks 1 to 10 are the album "Stand In The Fire – Recorded Live At The Roxy" – released January 1981 in the USA on Asylum 5E-519 and in the UK on Asylum K 52265

Disc 5 - "The Envoy" (32:16 minutes):

1. The Envoy

2. The Overdraft

3. The Hula Hula Boys

4. Jesus Mentioned

5. Let Nothing Come Between You

6. Ain't That Pretty At All [Side 2]

7. Charlie’s Medicine

8. Looking For The Next Best Thing

9. Never Too Late For Love

Tracks 1 to 9 are his 5th album "The Envoy" – released August 1982 in the USA on Asylum 9 60159 1 and in the UK on Asylum AS K 52365

All of these "Original Album Series" sets are visually the same - a flimsy outer card slipcase houses 5 x 5" single card repro sleeves each aping the front and rear artwork of the original vinyl LPs. Each disc has generic Rhino colouring, song credits (including writers) and some basic recording info on the label – but that's it (no booklet). They look great it has to be said and are space saving for sure...

Audio-wise there's good news and bad news. In 2007 - Asylum/Rhino reissued "Excitable Boy" (1978), "Stand In The Fire" (1980) and "The Envoy" (1982) as first time CD Remasters with bonus tracks on each – but they have 'not' been used here (I own them and can immediately hear the difference). Having said that - the good news is that for the brilliantly recorded "Stand In The Fire" and "The Envoy" albums both of the non-remastered CDs don't represent such a dramatic dip in Audio quality (they sound pretty good and are more than acceptable). But "Excitable Boy" couldn't be more different. Like "Warren Zevon" and "Bad Lad Streak In Dancing School" - older non-remastered standard versions have been used in this box and subsequently the drop in Audio quality is very marked. When you hear the fantastic Dan Hersch and Bill Inglot 2007 Remaster of "Excitable Boy" (Asylum/Rhino 8122-79997-7 - Barcode 081227999773) – the Audio is awesome – all the power and muscle and clarity you would want from what is probably his best album. But what you get here is a weedy audio effort and unfortunately "Warren Zevon" and "Bad Luck..." are the same. Don't get me wrong – they're acceptable - and at roughly two quid per CD – bloody good value for money. But if Rhino had only used the three Remasters they already have and done two new ones for "Warren Zevon" and "Bad Luck..." – what an "Original Album Series" addition this would have been. It's a point worth pointing out. Now let's get to the other good news – the musical quality of what's actually on offer...

The debut album features an astonishing list of guest musicians. Check out the backing vocalists alone - Phil Everly of The Everly Brothers on "Frank And Jessie James" and "Hasten Down The Wind", Jackson Browne on "Mama Couldn't Be Persuaded" and "Desperados Under The Eaves" (also plays piano "Join Me In L.A."), Lindsey Buckingham and Stevie Nicks of Fleetwood Mac on "Mohammed's Radio" (Lindsey also sings on "Poor Poor Pitiful Me" and plays Guitar on "Backs Turned Looking Down The Path"), Bonnie Raitt and Rosemary Butler sing on "Join Me In L.A." while Glenn Frey and Don Henley of The Eagles sing on "The French Inhaler" (Frey also plays guitar on "Carmelita") and Carl Wilson of The Beach Boys is just one of the voices behind "Desperados Under The Eaves". Ace horn player Bobby Keys of Rolling Stones fame provides Saxophone on "Mohammed's Radio" and "Join Me In L.A." - while stalwarts of his band Waddy Watchel and David Lindley plays guitars and fiddle.

The "Excitable Boy" album is a sensation really. All that potential on "Warren Zevon" came screaming to fruition on a record where there isn't a bad track (many would become synonymous with him). The bloodthirsty and kooky "Werewolves Of London" features Mick Fleetwood and John McVie of Fleetwood Mac on Drums and Bass while Linda Ronstadt and Jennifer Warnes lend backing vocals to the giddily macabre "Excitable Boy" with Waddy Watchel chopping that axe and sessionman Jim Horn blowing a mean Saxophone. Karla Bonoff does lovely Harmony Vocals on "Accidentally Like A Martyr" while his long-time musical cohort Jorge Calderon plays Spanish Guitar on the hurting "Veracruz". Waddy Watchel's guitar work makes the gorgeous "Tenderness On The Block" - a song that always makes me think of my growing kids (who aren't kids anymore). And who doesn't laugh at the touch-and-go 'gambling in Havana' wit of "Lawyers, Guns And Money" where the you-know-what has unceremoniously hit the fan...(send help Daddy please). 

"Bad Luck Streak In Dancing School" continues themes of nutjobs, society outcasts and his own personal and physical demons (drink and women). But while the mournful ballad "Empty-Handed Heart" with wonderful counter harmony vocals from Linda Ronstadt and the punk-cocky "Jeannie Needs A Shooter" (co-written with Bruce Springsteen and featuring Joe Walsh on Guitar) both sound like the two light and dark facets of Warren Zevon's music that fans love – the awkward Ernie K-Doe cover of "A Certain Girl" (written by Allen Toussaint) seems like its reaching - almost foolish (Jackson Browne on Backing Vocals with Don Felder of The Eagles on Guitar). "Jungle Rock" once again features Joe Walsh on Guitar (Solo) but the weedy CD lacks the musical punch this rather good little New Wave tune deserves. I've always liked the short but sweet 'string' interludes (even if they're sad and weirdly placed). But then you get the utterly brilliant and savage "Play It All Night Long" where he jabs at Lynyrd Skynyrd's big "Sweet Home Alabama" hit and farming life in general - giving us harsh lyrics like "...grandpa pissed his pants again...he don't give a damn...brother Billy has both guns drawn...he ain't been right since Vietnam..." The recently passed Glenn Frey of The Eagles adds his vocals to the piano hurt of "Bill Lee" - but Side 2 is let down by the cod reggae vibe of "Gorilla, You're A Desperado" where not even Jackson Browne on Guitars/Vocals with Don Henley on Backing Vocals can save it. The sleeping on a "Bed Of Coals" is good but also a tad maudlin for him (nice vocals though from Linda Ronstadt and J.D. Souther). The difficult third album is that – difficult - but still with its nuggets in-between the emotional nails...

No such problem with the barnstorming live set "Stand In The Fire..." This sucker rocks and has a HUGE audio presence that makes you wish you were there. There are two new songs in amongst the "Mohammed's Radio" perennials and the Bo Diddley Medley that ends the album – the wicked opener "Stand In The Fire” and "The Sin" on Side 2. The band too is 'so tight' – like they've rehearsed these things to within an inch of their lives. It feels contemporary too – like Graham Parker and The Rumour on fire. Special mention has to go to the blistering band that barely puts a foot wrong – David Landau and Zeke Zirngiebel on Guitars, Bob Harris on Keyboards, Robert Pinon on Bass and Vocals and Marty Stinger on Drums. Warren plays 12-String Guitar, Piano and of course sings all Lead Spots. Suddenly songs like "Jeannie Needs A Shooter" explode into riffage life – but its when we get to "Werewolves Of London" followed on Side 2 by "Lawyers, Guns And Money" that the gig really erupts – the excitement in the whooping audience is literally palatable. Thankfully the expertly produced original audio (Zevon and Greg Ladanyl did the honours) on this disc is far better than "Bad Luck..." - but my 2007 Remaster is fantastic and contains four bonuses from the gig that are absolutely having too.

On a more down-note. I once saw Zevon live in Dublin at the Dublin Stadium in the early 80ts (it was after the release of "Stand In The Fire"). But it was easily one of the worst concerts I've ever seen. The Promoter used the "Stand In The Fire" album in radio adverts (with that band and that huge sound). But when the packed stadium lights went down – Zevon came out on his own without a band to do an acoustic gig and just couldn't cut it. Worse - he was clearly not aware it hadn't been promoted as a solo gig - so after a couple of songs the dissatisfied audience grew ever more restless and started to heckle his every move. Every song needed the muscle of a group. But when he then did the folk ditty "Cum By A" (the Boy Scouts song) – the audience had had enough and started booing big time. He did one forced encore where he poured Bourbon over his harmonica in rage – but by then people where out trying to get their money back from a terrified promoter. It was awful. I'd rather remember Warren Zevon like this – standing in the fire - kicking and vital – genuinely exciting – one of my songwriting heroes...

I loved and hated "The Envoy" on its release in 1982. The contrasts between the gorgeous love songs like "Let Nothing Come Between You" and "Never Too Late For Love" and the political jabbing of "The Envoy” (wrestling guns in Damascus), the hatred of Drugs, Junkie Life and all its lies in "Ain't That Pretty At All" beside the stark and tender beauty of "Jesus Mentioned" made the whole album one big contrast of styles. But that's its strength. You think something like "The Hula Hula Boys" is a flippant indigenous folky lightweight - but its way deeper than that. Same applies to the menacing "Charlie's Medicine" where someone's pill hook-up has been shot in Beverley Hills by a crazed Doctor. Zevon sings of Charlie and his pharmaceutical supplies with self-loathing also - "...I gave him all my money...what the hell was I thinking of..." We get a crazed but thoroughly effective backing vocal from Lindsey Buckingham of Fleetwood Mac on the topical "The Overdraft" – the banks screwing the little guy. And his visit to Elvis' home in "Jesus Mentioned" predates Paul Simon's "Graceland" by three or four years...

You could argue that it's better to buy the 2007 Asylum/Rhino versions of "Excitable Boy", "Stand In The Fire" and "The Envoy" for the vastly improved audio and excellent bonus tracks (they're easily available and reasonably priced too) – but "Warren Zevon" and "Bad Luck Streak In Dancing School" are must-owns in their own patchy ways.

"...All alone on the road to perfection...at the inspection booth they tried to discourage me..." - Warren Zevon sang on the uplifting "Looking For The Next Best Thing". Despite its audio niggles – I'd say look no further and dig in...

"Guy Clark/The South Coast Of Texas/Better Days" by GUY CLARK (2015 Beat Goes On 2CD Set – Andrew Thompson Remasters) - A Review by Mark Barry...

"...Lone Star Hotel..."

With his first two favourably-received albums under his belt at RCA Records – “Old No.1” in August 1975 and “Texas Cookin’” in October 1976 – Singer-songwriter GUY CLARK signed a new deal with Warner Brothers and slowly sneaked out this trio of affectionately-remembered Country LPs across the next five years (1978, 1981 and 1983). Quickly acquiring a reputation as a Texas-Born Troubadour down with the drunks, the broken marriages and the outlaw fringes of society – Guy Clark saw his biggest chart success in the early Eighties. But more than that - his albums (like those of say John Hiatt, Chris Smither and John Prine) were also greeted with huge affection by other artists and became a wellspring – a provider of catchy tunes for the likes of Johnny Cash, Vince Gill, Waylon Jennings, Nicolette Larson, Emmylou Harris and Ricky Scaggs (to name but a few). Fellow Texan and lifelong friend Rodney Crowell produced both the 80’s LPs – co-writing “The Partner Nobody Chose” and the US Country No.1 “She’s Crazy For Leavin’” on “The South Coast Of Texas” album.

England’s Beat Goes On Label has licensed these three long-deleted albums from WEA and presents them here in their usual classy way – a card slipcase, quality remastered sound and decent liner notes. There’s a lot on offer – so let’s get to the jailhouse now...

UK released June 2015 (July 2015 in the USA) – “Guy Clark/The South Coast Of Texas/Better Days” by GUY CLARK on Beat Goes On BGOCD 1190 (Barcode 5017261211903) provides 3LPs onto 2CDs and breaks down as follows:

Disc 1 (69:29 minutes):

1. Fool On The Roof

2. Fools For Each Other

3. Shade Of All Greens

4. Voila, An American Dream

5. One Paper Kid

6. In The Jailhouse Now [Side 2]

7. Comfort And Crazy

8. Don’t You Take It Too Bad

9. The Houston Kid

10. Fool On The Roof Blues

Tracks 1 to 10 are his 3^rd studio album “Guy Clark” – released May 1978 in the USA on Warner Brothers BSK 3241 and in the UK on Warner Brothers K 56565

11. Who Do You Think You Are

12. Crystelle

13. New Cut Road

14. Rita Ballou

15. South Coast Of Texas

16. Heartbroke [Side 2]

17. The Partner Nobody Chose

18. She’s Crazy For Leavin’

19. Calf-Rope

20. Lone Star Hotel

Tracks 11 to 20 are his 4^th studio album “The South Coast Of Texas” – released February 1981 in the USA on Warner Brothers BSK 3381 and in the UK on Warner Brothers K 56902.  

Disc 2 (31:30 minutes):

1. Blowin’ Like A Bandit

2. Better Days

3. Homegrown Tomatoes

4. Supply & Demand

5. The Randall Knife

6. The Carpenter [Side 2]

7. Uncertain Texas

8. No Deal

9. Tears

10. Fool In The Mirror

Tracks 1 to 10 are his 5^th studio album “Better Days” – released 1983 in the USA and Europe on Warner Brothers 9 23880-1.

The card slipcase that is now standard with all BGO releases lends the whole thing a classy feel and look while the pleasingly chunky 24-page booklet features the original album credits, inner sleeve artwork spread across the text and the lyrics to all three records at the rear. Inbetween is a typically superb and detailed analysis of his whole career by noted-writer and long-time BGO-collaborator JOHN O’REGAN. The “Better Days” album sleeve is used as the back inlay on the inside. The remasters are by ANDREW THOMPSON and sound gorgeous – the production values of NEIL WILBURN (“Guy Clark”) and RODNEY CROWELL (the other two) shining through – not to mention the long line of quality players including names like Buddy Emmons, Albert Lee, Don Everly and KT Oslin.

The self-titled Warner Brothers debut has six Clark originals with the other four being covers of old and new songs – “In The Jailhouse Now” (Jimmie Rogers), “Voila, An American Dream” (Rodney Crowell), “One Paper Kid” (Walter Cowart) and “Don’t You Take It Too Bad” (Townes Van Zandt). Guy Clark, Rodney Crowell and Irishman Phillip Donnelly provide the acoustic and electric guitars for most tunes but England’s Albert Lee puts in lead (once with Heads, Hands & Feet and later The Crickets). And along with Dave Briggs and the legendary Buddy Emmons on Pedal Steel Guitars and Mickey Raphael on Harmonica – the sound was slicker and dare-we-say-it more radio-friendly Country than that of the first two records. There are a lot of broken-hearted lovers in these tunes and people who are just plain out of luck – the accusations fly in slyly lovely “Fools For Each Other” as Clark croons with a side-order of blasé “...who took off when their heart got broke...” while an innocent local dreamer is taken out by a drunk-driver in “One Paper Kid” and now sings in a place where “...it’s legal to dream...” The prettiness of “Shade Of All Greens” is about as languid as Country Rock gets with Buddy Emmons adding so much to the song as he slides up and own those pedal steel strings in the background. For me one of the album highlights is the sad yet hopeful “One Paper Kid” which Emmylou Harris would cover that year on her “Quarter Moon In A Ten Cent Town”. Side Two opens with Jimmie Rogers’s fun as he camps up the pace with “In The Jailhouse Now” which the Coens would have Tim Blake Nelson sing in their 2000 movie “O, Brother Where Art Thou?” (as “The Soggy Bottom Boys”). Soft and gentle comes at you twice on Side 2 – his own “Comfort And Crazy” and his delicious cover of Townes Van Zandt’s “Don’t You Take It Too Bad” with both Don Brooks on Harmonica and Kay T. Oslin on Duet Vocals making the song.

His 4^th album “The South Coast Of Texas” from 1981 saw some high-profile (soon to be stars) contributions – Ricky Scaggs plays Fiddle and sings on “Heartbroke”, Roseanne Cash sings on “Crystelle” and Vince Gills puts in Vocals too. Emmylou Harris’ Hot Band made up the backing musicians – Hank DeVito on Guitars, Ricky Scaggs on Fiddle, Emory Gordy and Glen Hardin on Keyboards. “The South Coast Of Texas” has pleasing tunes on it like the chipper “New Cut Road” and the line-dancing shuffle of “Rita Ballou” – but on the underage song “Crystelle” and the title track – there feels like some of the magic of the “Guy Clark” album is somehow lost. The almost poppy “Heartbroke” is a clear aim at commercial Country but again it feels ordinary – while I find it inexplicable as to why “She’s Crazy For Leavin’” made it to Number One. Perhaps his love for his wife Susanna Clark (his lifetime partner) imbibed the Warners debut with something special that the follow up three years later didn’t have.

The “Better Days” album opens with a winning melody “Blowin’ Like A Bandit” where taking a boat out to sea will guarantee all occupants become shark-bait in the morning (Reggie Young on Lead Guitar). Once again Vince Gill and Hank DeVito bring their guitars to the backing group and the remaster is gorgeous on the “Better Days” title track. Paul Kennerley (who worked a lot with The Judds) provides Bass Vocals on the ever-so-slightly hick “Homegrown Tomatoes” but better is the side finisher “The Randall Knife” where Clark sounds and sings like John Prine’s younger brother (a great storytelling song about his father). Crowell sings on “Uncertain Texas” where again he sounds like John Prine circa 1991’s “The Missing Years”. It ends on the funky guitar chug of “Fool In The Mirror” where he bemoans that he’s putting on a little bit of weight because his “baby’s gone”.

So there you have it – three good albums sounding real sweet on one 2CD quality remaster/reissue. In 2014 Guy Clark’s album “My Favorite Picture Of You” pulled the Grammy for ‘Best Folk Album Of The Year’.

20-albums into a 40-year career and still a class act...

"Who's Gonna Play This Old Piano... (Think About It Darlin')/Sometimes A Memory Ain't Enough" by JERRY LEE LEWIS (2015 Beat Goes On CD Remaster) - A Review by Mark Barry...

"...Honky Tonk..."

Having renewed a better contract with Mercury Records - 1972 and 1973 saw the Killer riding high with chart success and sold-out tours. But his album-releases for the period uncomfortably straddled two worlds - American Country Music that was commercially lucrative but laced in strings and cheesy productions - against albums that snuck out inbetween the cracks that still showed his wild man Rock 'n' Roll piano-pumping chops. These two albums are firmly in the Country sphere and while there are moments on them for sure - they haven't weathered the years well. Those looking for touches of his old Rock 'n' Roll magic and mojo should look elsewhere.

UK released January 2015 - "Who's Gonna Play This Old Piano... (Think About It Darlin')/Sometimes A Memory Ain't Enough" by JERRY LEE LEWIS on Beat Goes On BGOCD 1174 (Barcode 5017261211743) features 2LPs on 1CD and breaks down as follows (66:44 minutes):

1. Who's Gonna Play This Old Piano

2. She's Reachin' For My Mind

3. Too Many Rivers

4. We Both Know Which One Of Us Was Wrong

5. Wall Around Heaven

6. No More Hanging On

7. Think About It Darlin' [Side 2]

8. Bottom Dollar

9. No Traffic Out Of Abilene

10. Parting Is Such Sweet Sorrow

11. The Mercy Of A Letter

Tracks 1 to 11 are the album "Who's Gonna Play This Old Piano... (Think About It Darlin')" - released December 1972 in the USA on Mercury SR 61366 (No UK release)

12. Sometimes A Memory Ain't Enough

13. Ride Me Down Easy

14. Mama's Hands

15. What My Woman Can't Do

16. My Cricket And Me

17. I'm Left, You're Right, She's Gone

18. Honky Tonk Wine [Side 2]

19. Falling To The Bottom

20. I Think I Need To Pray

21. The Morning After Baby Let Me Down

22. Keep Me From Blowing Away

Tracks 12 to 22 are the album "Sometimes A Memory Ain't Enough" - released October 1973 in the USA on Mercury SRM-1-677 (no UK release)

The card-wrap and 16-page booklet lend the release a classy feel while ANDREW McRAE provides the affectionate and informative liner notes to compliment the album credits (there's also Country Music magazine covers, artwork and photos reproduced). ANDREW THOMPSON has done the remasters in 2015 at Sound Mastering and they're typically excellent - full of details and audio punch without being over-trebled for the sake of it.

The witty opener "Who's Gonna Play This Old Piano" sets the Country Music tone - Jerry giving the lyrics his sly acidic slant "who's gonna touch these keys with feeling...really get to you...the Killer ain't through!" There's a touch of Fats Domino piano boogie with "We Both Know Which One Of Us Was Wrong" where Jerry tells us where the blame squarely lies (oddly enough its not with him). Jimmy Webb provides a half-decent song in "No Traffic Out Of Abilene" where Lewis does his best Glen Campbell impression. On the second album "Honky Tonk Wine" provides a welcome boogie to the syrupy Country but again its drowned in girl singers and strings. It ends on the talking "Keep Me from Blowing Away" again drowned in kill-me-now strings.

You wouldn't call either of these records JLL's finest moments - but fans will enjoy the quality presentation and audio...

"1-40 Country/Odd Man" In by JERRY LEE LEWIS (2015 Beat Goes On CD Remasters) - A Review by Mark Barry...

"...The Alcohol Of Fame..." 

Two long-forgotten American LPs from the Killer’s Pure Country period at Mercury Records – "1-40 Country" from 1974 and "Odd Man In" from 1975 (neither of which received a UK release). Both are chockers full of society outcasts, habitual sinners, randy barroom trysts with cheating ladies of the night and alcohol-fuelled misdemeanours that chill the bones of the motel receptionist in the cold light of dawn (nice). Here are the other sides of life....

UK released November 2015 (December 2015 in the USA) – "1-40 Country/Odd Man Out" by JERRY LEE LEWIS on Beat Goes On BGOCD 1216 (Barcode 5017261212160) features 2 LPs onto 1CD and plays out as follows (62:40 minutes):

1. He Can't Fill My Shoes

2. Tell Tale Signs

3. A Picture From Life's Other Side

4. I Hate Goodbyes

5. I've Forgot More About You (Than You'll Ever Know)

6. Tomorrow's Taking Baby Away [Side 2]

7. Cold, Cold Morning Light

8. The Alcohol Of Fame

9. Where Would I Be

10. Bluer Words

11. Room Full Of Roses

Tracks 1 to 11 are the album "1-40 Country" – released 1974 in the USA on Mercury Records SRM-1-710

12. Don't Boogie Woogie (When You Say Your Prayers Tonight)

13. Shake, Rattle And Roll

14. You Ought To See My Mind

15. I Don't Want To Be Lonely Tonight

16. That Kind Of Fool

17. Goodnight Irene

18. A Damn Good Country Song [Side 2]

19. Jerry’s Piece

20. When I Take My Vacation In Heaven

21. Crawdad Song

22. Your Cheatin' Heart

Tracks 12 to 22 are the album "Odd Man in" – released 1975 in the USA on Mercury Records SRM-1-1064

There's an outer card slipcase that lends the release a classy feel, the 16-page booklet has liner notes from ANDREW McRAE with album credits and there's new 2015 Remasters by ANDREW THOMPSON licensed from Phonogram. As usual with all BGO releases - it sounds great as always.

I was determined in many ways to hate these records. My memories of these string-laden LPs are that of horrid Country pap – the kind of piano-rolling pedal steel schlock Lewis could run off in his sleep. And in some respects on re-hearing these contractual filler albums those initial assessments haven't changed. But as ever with The Killer - both have their moments and remain stubbornly likeable precisely because of his languid delivery on boozy tales of infidelity and the headache-filled aftermath (and actually there's not a truck in sight). There's a knowing wink in the hit single "He Can't Fill My Shoes" and the sly stab of "I've Forgot More About You (Than You'll Ever Know)". But stuff like "Where Would I Be" and "I Hate Goodbyes" with their lonesome fiddle and paint-by-number pedal steel whines just feel like elevator music – and even a good melody like "Bluer Words" gets utterly drowned in strings and sappy backing vocals. And all that trucker CB Radio crap depicted on the cover was only pandering to the fad of the day...

At least the "Odd Man In" LP resurrected some of that old Rock 'n' Roll swagger and wit. The doctor tells old Jerry Lee to lay off the booze and pills – to which he promptly goes into a Rock 'n' Roll piano chorus which includes pleads to Jesus as he lashes the keys. It’s followed by a updated cover of Joe Turner's "Shake, Rattle & Roll" – boogie that feels more alive than the entire "1-40 Country" LP. Back to the honky-tonk swing with the excellent "You Ought To See My Mind" and he even sounds drunk as he sings "I Don't Want To Be Lonely Tonight". Side 1 ends on a rambunctious "Goodnight Irene". He returns to real world problems with "...I took enough pills for the whole damn town..." as he tells us that "...my life would make a damn good Country song..." His stay at Sun Records finally comes through with "Jerry's Place" where he boogies through a song about a favourite watering hole - a bar where the girls don't have to worry about romance (peopled by nice guys and decent chappies). The same spirit of Fifties R&B permeates "Crawdad Song" - but it ends not surprisingly with a Hank Williams standard "Your Cheatin' Heart" - right back to the safety of his Country musical bread and butter of the day.

Neither album is a winner by any stretch of the imagination – but at least "Odd Man Out" shows traces of that old magic and some of the Country ballads on "1-40" put a grin on your face. Fans will love the presentation, the quality Audio and the chance to have these lesser-seen albums on their shelves. All others should hear first before they buy...