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Friday 4 March 2016

"Thankful/I Love You So/Don’t Look Back" by NATALIE COLE (2014 Beat Goes On 2CD Remasters) - A Review by Mark Barry...



"…Right Back In Your Arms..."

Already 3 albums into a Capitol Records contract – this 2CD reissue picks up on Phase 2 of that successful association – giving us 3 expertly remastered Natalie Cole albums from 1977, 1979 and 1980. Here are the La Costa details…

UK released 30 June 2014 (July 2014 in the USA) – "Thankful/I Love You So/Don't Look Back" by NATALIE COLE on Beat Goes On BGOCD 1155 (Barcode 5017261211552) breaks downs as follows:

Disc 1 (74:55 minutes):
1. Lovers
2. Our Love
3. La Costa
4. Nothing Stronger Than Love
5. Be Thankful
6. I Can’t Stay Away
7. Annie Mae
8. Keeping A Light
Tracks 1 to 8 are the album “Thankful” released December 1977 in the USA on Capitol SW-11708 and February 1978 in the UK on Capitol E-ST 11708

9. I Love You So
10. You’re So Good
11. It’s Been You
12. Your Lonely Heart
13. The Winner
14. Oh, Daddy
15. Sorry
16. Stand By
17. Who Will Carry On
Tracks 9 to 17 are the album “I Love You So” released March 1979 in the USA on Capitol SO-11928

Disc 2 (41:52 minutes):
1. Don’t Look Back
2. (I’ve Seen) Paradise
3. Hold On
4. Stairway To The Stars
5. I’m Getting In To You
6. Someone That I Used To Love
7. Danger Up Ahead
8. Beautiful Dreamer
9. Cole-Blooded
Tracks 1 to 9 are the album “Don’t Look Back” released June 1980 in the USA on capitol ST-12709

The generic card wraps that Beat Goes On uses on their reissues are really lovely – giving the whole package a quality look and feel. The packed 24-page booklet inside features liner notes by noted musicologist CHARLES WARING with full recording details for each album (including liner notes), photos, internet references (no lyrics) as well as a collage of colour picture sleeves on the rear.

The 2014 Andrew Thompson remasters are beautiful - giving ballads like “Nothing Stronger Than Love” and “I Can’t Stay Away” (lyrics above) lovely clarity and power while dancers like “Be Thankful” and her own “Annie Mae” are filled with punchy brass and strings. The second album features yet more Marvin Yancey and Charles Jackson steppers and smoochers like “It’s Been You” and the title track – but the quality dips. There’s a noticeable Soul-By-Numbers feel to “Sorry” and “Who Will Carry On” and her funked-up cover of Fleetwood Mac’s “Oh, Daddy” (from “Rumours”) sucks the life out of the song. The 3rd album is another uber-smooth production with slinky ballads like “(I’ve Seen) Paradise” and “Hold On” testing the patience of even the most liberal Soul fan. Too much schlock like “Beautiful Dreamer” and the cod-funk of “Cole-Blooded” never really convinces.

This is a quality re-issue from Beat Goes On – with superb presentation and top quality sound. I just wish more of the actual songs were worth it…

Wednesday 2 March 2016

"Rumours: 35th Anniversary Edition" by FLEETWOOD MAC - February 1977 LP featuring Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie and Mick Fleetwood (January 2013 UK Warner Brothers 3-CD Expanded Edition - Bill Inglot and Dan Hersch Remasters) - A Review by Mark Barry...






"…Wrapped Around Your Dreams…"

Pitched as a 35th Anniversary Edition (they were a year late) - you could argue that this 2013 'Expanded Edition' of Fleetwood Mac's love/hate opus "Rumours" is just another excuse to extract hard-earned readies from fans. And with Disc 1 sporting the same remaster as the last Anniversary issue in 2004 - then why bother? The two answers are a 65-minute slew of staggeringly raw and revealing outtakes on Disc 3 (all previously unreleased) and a frankly better than expected live fest on Disc 2 recorded on the "Rumours" World Tour in 1977. Here are the chains that can't be broken, dreams of oh daddy and the ways you should go (as long you go on your own)...

Released January 2013 - "Rumours: 35th Anniversary Edition" by FLEETWOOD MAC on Warner Brothers 8122-79709-4 (Barcode 081227970949) is a 3CD Reissue/Remaster that breaks down as follows:

Disc 1 (44:54 minutes):
1. Second Hand News
2. Dreams
3. Never Going Back Again
4. Don't Stop
5. Go Your Own Way
6. Songbird
7. The Chain [Side 2]
8. You Make Loving Fun
9. I Don't Want To Know
10. Oh Daddy
11. Gold Dust Woman
Tracks 1 to 11 are the album "Rumours" - released February 1977 in the UK on Warner Brothers K 56344 and Warner Brothers BSK 3010. It reached Number 1 on both the UK and USA charts and is one the biggest selling albums of all time.

Track 12 is "Silver Springs" - the non-album B-side to "Go Your Own Way" - released as a 7" single January 1977 in the UK on Warner Brothers K 16872 and Warner Brothers 8304 in the USA

Disc 2 "Live, 1977 "Rumours" World Tour (55:39 minutes):
1. Intro
2. Monday Morning
3. Dreams
4. Don't Stop
5. The Chain
6. Oh Daddy
7. Rhiannon
8. Never Going Back Again
9. Gold Dust Woman
10. World Turning
11. Go Your Own Way
12. Songbird

Disc 3 "More From The Rumours Sessions" (65:00 minutes):
1. Second Hand News (Early Take)
2. Dreams (Take 2)
3. Never Going Back Again (Acoustic Duet)
4. Go Your Own Way (Early Take)
5. Songbird (Demo)
6. Songbird (Instrumental, Take 10)
7. I Don't Want To Know (Early Take)
8. Keep Me There (Instrumental)
9. The Chain (Demo)
10. Keep Me There (With Vocal)
11. Gold Dust Woman (Early Take)
12. Oh Daddy (Early Take)
13. Silver Springs (Early Take)
14. Planets Of The Universe (Demo)
15. Doesn't Anything Last (Acoustic Duet)
16. Never Going Back Again (Instrumental)

It's presented in a three-way foldout card digipak - the four inner flaps have outtake photos from that famous shot of the band playing about in front of the camera - while the other flaps sport live shots from some vast American football stadium. Each of the three CDs has different photos - "Rumours" a cropped version of the cover, the other two with outtake photos. The 20-page booklet has an essay called "The Truth About Rumours" by DAVID WILD, reproductions of the albums insert with the photo spread and lyrics as well as detailed reissue credits. It's all very tastefully done.

The album itself was remastered for the March 2004 reissue to perfection by long-standing Rhino tape engineers BILL INGLOT and DAN HERSCH who have had their hands on more important master tapes than we've had hot dinners. Their remastering credits probably run into thousands between them - and the sound on Disc 1 is truly gorgeous - amazing clarity and power. Unfortunately fans will notice that the 9 bonus tracks on the 2004 reissue aren't here - neither are the Alternate Mixes of "The Chain" and "Dreams" that turned up on "The Chain" 4CD Box Set in 1992 - so don't sell those just yet. However what you do get as bonuses are excellent...

Hersch and Inglot did the vault research and transfers for Disc 2 and 3 too - and the results are heavily dependent on the source material. The live disc sounds huge and has warmth ("Dreams" sounds fab with the crowd loving it) and even live "Never Going Back Again" is delightful with Buckingham going solo on the vocals. Nicks lets rip on "Gold Dust Woman" that a fantastic slow power to it live. Buckingham gets the crowd going with two guitar rippers - "World Turning" from 1975's "Fleetwood Mac" and the ass-kicking "Go Your Own Way". The live set is far better than I had expected - the band tight and playing tremendous new material.

The demos and outtakes on Disc 3 are a mixture of polish versus rough and ready - but they are all a revelation in a way Mac fans haven't heard before. The band's inner dynamics and toxic love affairs are well documented and many have said its 'the' reason why the album is so good - flitting from love highs to relationship lows and the rage that often follows. Never is this more obvious than on these 'demos' - the Stevie Nicks stuff in particular having an edge to it that is almost like an open wound. It imbibes these early takes with a sense of truth that was hidden under all that production-polish the final album mix received.

Disc 3 opens badly with a ramshackle short early take of "Second Hand News" where Buckingham hasn't even got the lyrics down and he just mumbles through - easy to see why it's been left in the can until now. Far better is Take 2 of "Dreams" which even at this rough stage has magic written all over it - although the lyrics are there verbatim - the looseness of the keys and the guitars in the background are in direct contrast to the hugely polished finished take. And Nicks sounds so young - and truth be told - so emotionally raw - a feature that will crop up again and again in this deeply personal outtakes. The truly gorgeous "Never Going Back Again" gets a rougher `duet' vocal and a different guitar refrain as a solo. It's a fascinating insight into Buckingham's fantastic and stylistic type of guitar playing - others would have kept the clever runs - but he dropped them (less is more). Then the meanness comes with a counted-in "Go Your Own Way" - it has that menace pending - but while the band rock - his vocal is awful. Even at this early stage you see it's going to be a barnstormer when its finished (and it is).

You then get a very hissy and delicate "Songbird" - lovely and aching at the same time. McVie also plays some gorgeous piano runs that aren't in the album version on the Instrumental Take 10 where she's feeling out how the song should go - it may not be audiophile standard (you can tape clicking) but it's bare in a real way and moving because of it. "Keep Me There" turns out to be an early working on "The Chain" but as a different song. That famous bass run in "The Chain" turns up here and is electrifying. The "Planets Of The Universe" demo is simply Stevie Nicks at the piano. "I will never love again the way I loved you...you will never rule again the way you ruled..." - the words are painfully honest and perhaps the reason it was kept in the can all these years is precisely because its so revealing. The short duet "Doesn't Anything Last" sounds like Fleetwood Mac does The Everlys (only lasts a minute) and it finishes on something akin to "Brushes" - the "Never Going Back Again" outtake that turned up on the bonus tracks on the 2004 CD.  I've been playing this disc a lot more than the album...

"Roll the tape...we'll just see what happens..." Christine McVie says at the beginning of "Oh Daddy". I for one am glad someone in the control room kept those boxes for posterity...

This review is part of my SOUNDS GOOD Music Book Series. One of those titles is CLASSIC 1970s ROCK - an E-Book with over 260 entries and 2450 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). 


"Tusk" by FLEETWOOD MAC (2015 Warner Brothers 3-CD Expanded Edition Remasters) - A Review by Mark Barry...







"…I've Always Been A Storm..." 

Following the global monolith that was 1977's "Rumours" (the most successful Rock album in history at that point) – Fleetwood Mac didn't cow down to 'more of the same please' cries from WB executives pandering to a post-punk world that wanted (nay demanded) more radio-friendly relationship angst. Instead they stuck to their artistic guns, went all Communist and produced the workers warts 'n' all double-album sprawl that was "Tusk" in the autumn of 1979.

Not everyone was pleased – many of who were fans. I remember at the time "Tusk" was greeted with a kind of 'what's this all about?' bewilderment and even palatable disappointment. Sure it looked nice with its four beautiful but slightly wasteful and pointless inner sleeves. But what was this Neil Young grunge guitar from Buckingham on tunes that seemed to repeat a single lyric line from start to finish? Or that title-song used as lead off 7" single with the Trojan Marching Band sounding like an engineer with a bad ear-infection had recorded them in a very rusty bucket? And why were all the tunes so relentlessly whiny and miserable? While "Tusk" managed the top slot in the UK LP charts – it made only No. 4 in the USA – which after the juggernaut of "Rumours" was a major come down...

But of course time and distance has turned "Tusk" into an altogether different musical beast – revered and beloved by fans and even sometimes cited by the true faithful in moments of drunken abandon as 'better' than "Rumours". Well this truly awesome 2015 Warner Brothers '3-CD Expanded Edition' certainly wants to make you reassess and re-appreciate that 1978/1979 splurge of creativity – even put up a case that suddenly Fleetwood Mac's "Tusk" demands respect. And I think they're right. Here are the Sisters Of The Moon...

Released 4 December 2015 - "Tusk: 3-CD Expanded Edition" by FLEETWOOD MAC on Warner Brothers 081227950842 (Barcode 081227950842) is a 3CD Reissue/Remaster and plays out as follows:

Disc 1 "Tusk (Original Album)" 2015 Remaster (74:25 minutes):
1. Over & Over [Side 1]
2. The Ledge
3. Think About Me
4. Save Me A Place
5. Sara
6. What Makes You Think You're The One [Side 2]
7. Storms
8. That's All For Everyone
9. Not That Funny
10. Sisters Of The Moon
11. Angel [Side 3]
12. That’s Enough For Me
13. Brown Eyes
14. Never Make Me Cry
15. I Know I'm Not Wrong
16. Honey Hi [Side 4]
17. Beautiful Child
18. Walk A Thin Line
19. Tusk
20. Never Forget
Tracks 1 to 12 are the double-album "Tusk" - released October 1979 in the UK on Warner Brothers K 66088 and in the USA on Warner Brothers 2HS 3350. It reached Number 1 in the UK and No. 4 in the USA LP charts.

Disc 2 "Singles, Outtakes, Sessions" (77:37 minutes):
1. Think About Me (Single Remix, 2:46 minutes) – February 1980 US 7" single on Warner Brothers WBS-49196, A
2. That's All For Everyone (Remix, 2:52 minutes)
3. Sisters Of The Moon (Remix, 4:43 minutes) – May 1980 US 7" single on Warner Brothers WBS-49500, A
4. Not That Funny (Single Remix) – February 1980 UK 7" single on Warner Brothers K 17577, A as "It's Not That Funny"
5. Sara (Single Edit, 4:40 minutes) – December 1979 US 7" single on Warner Brothers WBS 49150
6. Walk A Thin Line (3/13/79 Song No. 3)
7. Honey Hi (10/18/78 Version)
8. Storms (11/30/78 Version)
9. Save Me A Place (10/10/78 2nd Version)
10. Never Make Me Cry (4/17/79 Version)
11. Out On The Road (12/19/78 Demo – "That's Enough For Me")
12. I Know I'm Not Wrong (Demo – Lindsey's Song No. 1)
13. I Know I'm Not Wrong (10/10/78 Version)
14. I Know I'm Not Wrong (11/3/78 Version)
15. I Know I'm Not Wrong (4/25/79 Version)
16. I Know I'm Not Wrong (8/13/79 Version)
17. I Know I'm Not Wrong (1/23/79 Version)
18. Tusk (1/15/79 Demo)
19. Tusk "Stage Riff" (1/30/79 Demo)
20. Tusk (21/1/79 Outtake)
21. Tusk (1/23/79 Outtake Mix)
22. Tusk (6/4/79 USC Version)
Tracks 9, 11 and 13 to 22 are PREVIOUSLY UNRELEASED
Tracks 6 to 8, 10 and 12 first appeared on the March 2004 2CD Remaster of "Tusk" and were Previously Unreleased at the time

Disc 3 "The Alternate Tusk" (79:44 minutes):
1. Over & Over (4/2/79) [Side 1]
2. The Ledge (3/13/79)
3. Think About Me (2/18/79)
4. Save Me A Place (10/18/78)
5. Sara (3/10/79)
6. What Makes You Think You're The One (2/24/79) [Side 2]
7. Storms (6/2/79)
8. That's All For Everyone (10/20/78)
9. Not That Funny (5/19/79)
10. Sisters Of The Moon (11/12/78)
11. Angel (4/2/79) [Side 3]
12. That's Enough For Me (9/29/78)
13. Brown Eyes (with Lindsey Buckingham & Peter Green, 9/20/78)
14. Never Make Me Cry (2/8/79)
15. I Know I'm Not Wrong (11/2/78)
16. Honey Hi (10/11/78) [Side 4]
17. Beautiful Child (10/8/78)
18. Walk A Thin Line (4/6/79)
19. Tusk (7/19/79)
20. Never Forget (6/29/78)
Tracks 1, 3, 4, 6 to 9 and 11 to 20 are PREVIOUSLY UNRELEASED
Tracks 2, 5 and 10 first appeared on the March 2004 2CD Remaster of "Tusk" and were Previously Unreleased at the time

It's presented in a tactile and pleasing four-way foldout card digipak (dog photo embossed on the cover) - the four inner flaps having beautiful black and white outtake photos from a shoot that sees all five members of the band larking about in front of the camera (I think most of these are unseen). The other two flaps reproduce two sides of the four inner sleeves while each CD has the same colouring as the album cover. The 24-page booklet is a pleasingly in-depth affair with new Liner Notes from JIM IRVIN called "The Elephant In The Room: The Background To Tusk" (Pages 2 to 9) and Track-by-Track song analysis with contributions from LINDSEY BUCKINGHAM, STEVIE NICKS and MICK FLEETWOOD (Pages 10 to 15) followed by Lyrics, Photos and Reissue Credits. Long-time Rhino and Warner Brothers Audio Engineers BILL INGLOT and DAN HERSCH have handled the transfers and Remasters – and beautiful is the only word to describe it. The 2004 version had fabulous audio too but here they've somehow found more depth – sleepers like "Brown Eyes" and "Never Forget" sound breathtaking. The band trusted Inglot and Hersch with "Rumours" and anyone who's heard that beauty will know what to expect here...

Album tracks that stand out in the improvement stakes are the gorgeous Christine McVie opener "Over & Over" (the first of six compositions she did for the album – Tracks 3, 13, 14, 16 and 20 are the others) and both of the truly haunting love songs "Storms” and "Beautiful Child" by Stevie Nicks. Lindsey Buckingham's "The Ledge" and "What Makes You Think You're The One" both sound gimmicky still – but not so his brilliant and layered "That's All For Everyone" (fantastic harmonies) and the mellow "Walk A Thin Line". Christine's "Think About Me" is probably closest to that "Rumours" sound (the remixed single version has real clout) – but its Nicks who dominates the double with the soft and harsh – light and dark of "Sara" and "Sisters Of The Moon". It ends on a McVie ballad that is 'so' Fleetwood Mac – so slyly sweet - the plaintive and prophetic "Never Forget". A great job done by Inglot and Hersch...

Of the Extras - It won’t take long for fans to notice than the 2CD 'Expanded Remaster' of "Tusk" from March 2004 has superb previously unreleased outtakes like "Come On Baby (Never Forget)", "Kiss And Run" and "Farmer's Daughter" which are clearly a no-show here – so you can't quite throw that 2CD baby out of the bathwater just yet. What you do get in 2015 is the full 20-track album newly Remastered on Disc 1, six rare remixes/7" single edits of album cuts and 29 Previously Unreleased Versions/Outtakes across Discs 2 and 3 along with other tracks from previous reissues. There's even an entire 'Alternate Version' of the 2LP set on Disc 3 with a whopping 17 out of the 20 tracks being unheard before. You can't argue that you don't get diversity (quality and quantity too).

The first Previously Unreleased outtake from the sessions is a 3rd version of "Walk A Thin Line" dated March 1979 – Lindsey chugging away on Guitar while Mick hammers the drum kit and the ladies harmonise trying to find that mood and groove (its bloody good too). But then you're hit with something really special – the loveliest version of "Save Me A Place" which is all Buckingham vocals and high acoustic guitars. As a Previously Unreleased outtake (credited as a 2nd version) – it's properly worthy of the moniker 'bonus'. A really great variant of "Out On The Road" (an early version of "That's Enough For Me") graced the 2004 2CD set. Here we get a Demo that's all over the place but stylistically cool and interesting as they search for something inside all that chugging and vocal shouting (mumbles rather than words). One of the undoubted highlights of Disc 2 on the 2004 Remaster was Version No. 1 of "I Know I'm Not Wrong" which is an Instrumental in its earliest form. The compilers have decided (not surprisingly) to repeat it here but also follow it with 5 more rock-guitar variants – the song developing from take to take. In October 1978 Buckingham has a 'here comes the night' and 'I Know I'm Not Wrong' lyric in place while he ad-libs the rest. Come November 1978 the drums and guitar and more developed as are the full set of lyrics and suddenly the song is motorvatin'. By the time you get to August 1979 (the song as we know it) "I Know I'm Not Wrong" is almost fully formed. It might seem indulgent putting on six versions in a row - but actually when they're this good - it's a properly fab look into the process and it doesn’t bore because the song is great in the first place. It could just be me but I'd swear that there's an unidentified child's voice at the beginning of the January 1979 demo of "Tusk". Whatever you hear – it's more-drawn-out five-minutes is beautifully recorded with just Guitar and Drums whacking your speakers while Buckingham ad-libs vocals wails. The 'Stage Riff' version is an utter blast and even better – Buckingham playing a distorted guitar while Christine McVie gives it some Clavinet. By the time you get to the late January and early February 1979 mixes of the track – Buckingham has the 'don't tell me that you love me' roared chorus in place.

For me the 'Alternate Tusk' is a brill idea that works way better than it should. All 20 songs run in the same order but all are alternates (17 never heard before). While "The Ledge" is virtually indistinguishable to the finished track – both "Over And Over" feature thrilling new passages – a longer piano run on "Over and Over" and a different arrangement/added duet Stevie Nicks vocals on "Think About Me". The gorgeous "Save Me A Place" is another outtake winner – all beautiful acoustic guitars and ensemble vocal harmonies that makes Fleetwood Mac feel as special as Don Henley and Glenn Frey whenever they pitch their larynxes at any song. Stevie Nick's "Sara" started out as a monumental 16-minute demo, proceeded to a "...I want to be a star...I don't want to be a cleaning lady...." mix at 8:48 minutes, made the album version at 6:30 and then got chopped further down to a 7” single edit at 4:40. Here they use the 8:48 minute version – very cool stuff.

I actually prefer the unreleased 'more guitars' version of "What Makes You Think You're The One" - better to my ears than the finished article which seemed to loose something to over production. The very acoustic guitar take of "Storms" still has that aching pain in her vocal and lyrics – but the finished version that's on the album is still the one. "Never Make Me Cry" is radically altered and fab for it too. But one of the real prizes on here will be the 5:09 minutes of "Brown Eyes" with Peter Green's guitar work which was relegated to an uncredited 'end section' of the song on the album at 4:27 minutes. Now you can 'hear' those famous licks and Greeny-style as it trucks along to the finish line (how good is this)...

Reissues and Remasters come in for stick from fans – and in some cases – rightly so (look at Disc 2 of McCartney's 2012 version of "Ram" – pitiful 33 minutes of which 80% is unlistenable dreck). But presently languishing in Amazon's empty warehouse at £7.99 (March 2016) – Fleetwood Mac's 2015 3-CD Deluxe Edition overhaul of "Tusk" is not one of those crappy cash-ins. Time to welcome the mongrel back into your musical doghouse...

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). 


Tuesday 1 March 2016

"Goodbye Yellow Brick Road" by ELTON JOHN - October 1973 2LP-Set on DJM Records (March 2014 UK Universal/Mercury 'Single CD' Reissue - Bob Ludwig Remaster) - A Review by Mark Barry...




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"...Dogs Of Society Howl..." 

I hesitate to think of the number of times Elton John's 1973 magnum opus "Goodbye Yellow Brick Road" has been reissued on CD since 1984 – what is it by now – 6 thousand or 6 million. But all numeric puns aside – this 2014 Universal/Mercury version with a brand new and comprehensive BOB LUDWIG Remaster is way out in front of them all. And I'd argue that the 'single disc' variant at under a fiver is all the audio love you'll ever need...

Fans will know that there's the Deluxe Edition with an Extra Disc of the whole album re-interpreted into modern day duets – and a 5-disc Super Deluxe Variant that gives us previously live shows, the duets set and DVD stuff too. But is all that fluff actually necessary - especially when you have to pay a pretty penny for it? I'd argue no - sometimes less is more. Let's get to the Norma Jeans, Bennie and His Jets and some sociable Fighting on a Saturday Night...

UK and US released 24 March 2014 – "Goodbye Yellow Brick Road" by ELTON JOHN on Universal/Mercury 375 858-9 (Barcode 602537585892) is a '40th Anniversary' single disc CD Remaster of the original 17-track 1973 double-album and plays out as follows (76:11 minutes):

1. (a) Funeral For A Friend (b) Love Lies Bleeding [Side 1]
2. Candle In The Wind
3. Bennie And The Jets
4. Goodbye Yellow Brick Road [Side 2]
5. This Song Has No Title
6. Grey Seal
7. Jamaica Jerk-Off
8. I've Seen That Movie Too
9. Sweet Painted Lady [Side 3]
10. The Ballad Of Danny Bailey (1909-34)
11. Dirty Little Girl
12. All The Girls Love Alice
13. Your Sister Can't Twist (But She Can Rock 'n' Roll) [Side 4]
14. Saturday Night's Alright For Fighting
15. Roy Rogers
16. Social Disease
17. Harmony
Tracks 1 to 17 are his 9th album "Goodbye Yellow Brick Road" – a double-LP set released October 1973 in the UK on DJM Records DJLPD 1001 and in the USA on MCA Records MCA2-10003. All tracks were written by Elton John and Bernie Taupin – David Hentschel (Dave Henschel) was the Engineer and Gus Dudgeon Produced. Del Newman did Orchestral Arrangements on Tracks 4, 8, 9, 10, 15 and 17. The core band was Elton John on all Keyboards and Lead Vocals, Davey Johnstone on All Guitars and Backing Vocals, Dee Murray on Bass and backing Vocals and Nigel Olsson on Drums and Backing Vocals. David Hentschel plays A.R.P. Synth on "Funeral For A Friend" and "All The Girls Love Alice". the 2LP set "Goodbye Yellow Brick Road" hit the No. 1 spot on both the UK and USA LP charts in October 1973.

The 12-page booklet features the same layout as the Gus Dudgeon 1995 remaster in that it reproduces the inner tri-gatefold of the original vinyl double album with Ian Beck's lovely artwork as well as David Larkham and Michael Ross's illustrations and lyrics. There's no liner notes per say and basic credits. Long-time tape supremo BOB LUDWIG has handled the new 2014 Remaster. Fans will know that the 2003 DELUXE EDITION double had stunning remasters from Andy Strange, Chris Bellman and Tony Cousins – so is this version any better? I don’t know if better is the word – more 'equal too'. I like both - but there's something about this new go at it that sounds just that little bit more nuanced...

1973 was a huge year for Elton. Along with Bernie Taupin his lyricist – their collaborative songwriting mojo seemed to be not just on fire but blazing. His 8th album the beautifully and elaborately packaged "Don't Shoot Me I'm Only The Piano Player" with the big hits "Daniel" and "Crocodile Rock" had gone to No. 1 in both Blighty and The States in February - and no sooner had the public drawn breath then they were hit with his double-album meisterwerk in October 1973 – "Goodbye Yellow Brick Road" (another Number 1 winner). It opens with the eleven-minute magnificence of "Funeral For A Friend/Love Lies Bleeding" – a two-part almost Prog monster that rocks, rolls and sweeps for the whole of its brilliant duration. It proved such a winner with fans that DJM Records couldn't resist actually releasing its eleven minutes as the A-side to a 12" Single EP in September 1978 in a unique Picture Sleeve (DJT 15000). The hero of the hour is surely Davey Johnstone and his stunning axework that seems to be everywhere in your speakers. It's followed by the album's most iconic song "Candle In The Wind" – a love song and homage to the sad demise of Hollywood legend Marilyn Monroe – later reprised by Elton to reflect the world's sadness at Diana Spencer's loss in 1997 – another princess taken too soon. There's real warmth in this transfer and the song is still touching. The 'live' feel to "Bennie And The Jets" comes over like a football anthem – those punched piano riffs are in your face and threatening to smash the cocktail glasses over the hotel waiter's head.

Another hero of the album is the Jazz sleaze shuffle of "I've Seen That Movie Too" – here in gorgeous Audio (Drums, Bass and Piano all shining) – the whole thing elevated into a thing of musical beauty by Del Newman's complimentary string arrangements. Its cleverly followed by another forgotten Elton sweetie - "Sweet Painted Lady" - and to this day I don't know whose playing the Accordion or Tuba (all part of Del Newman’s strings)? The transfer of "Danny Bailey..." gives more muscle to those Backing Vocals and Strings - while Davey's lowdown and snotty Guitar sound on "Dirty Little Girl" gives the 'hasn't had a bath in years' tune real anger and attack. Speaking of Blistering Guitar parts – the sexually knowing "All The Girls Love Alice" rocks like a mother – Davey ripping it up while David Hentschel bottoms the chorus with that clever ARP Synth fill. The faster-than-anything-else bubblegum pop of the souped-up "Your Sister Can't Twist..." sounds utterly amazing but actually leaves me cold. You can't say the same of the 'belly full of beer' rocker "Saturday Night's Alright For Fighting" leaping out of your speakers like a boot boy intent on damaging private property (what a tune this is).

Side 4 winds down with "Roy Rogers" – the dynamic duo's obsession with all things Wild West surfacing once again. The overall soundstage is full and incredibly alive – those strings and pedal steel wrapping themselves around Elton's vocals. The twittering birds and bulldog barks of "Social Disease" start to increase in Volume as the song progresses – and again the Remaster is fantastic - highlighting Elton's Piano and Davey's Banjo plucking. It ends on the surprisingly upbeat "Harmony" and there's amazing clarity on the Acoustic Guitars and those layered backing vocals.

Re-listening to 1973's "Goodbye Yellow Brick Road" in its entirety in 2016 and you're struck by its track-after-track brilliance – a genuine 1970s Classic Rock LP masterpiece. My only fidget would be that there's a truly gorgeous 'Acoustic Mix' of "Candle In The Wind" on the 2003 Deluxe Edition that would have made the most perfect singular additional Bonus Track on here – ending the whole thing on a reminder of just how touching Elton’s songwriting chops were/still are (but alas).

"...Never knowing who to cling to when the rain set in..." - Elton sang sadly on "Candle In The Wind". Well if you're in a nostalgic mood - start your journey back down the Yellow Brick Road right here. And remember - this gorgeous Audio '40th Anniversary' trek won't cost you a flight to Vegas or a night at Caesars Palace either...but I suspect it'll feel just as good...

Monday 29 February 2016

"Honky Chateau" by ELTON JOHN (2004 Universal/Rocket 'Hybrid SACD, Surround and CD Audio' Remaster) - A Review by Mark Barry...




"...I Am At Home..." 

I always thought it odd that after the truly stunning 'Deluxe Editions' afforded Elton John's 2nd and 3rd albums "Elton John" and "Tumbleweed Connection" - Universal didn't follow up with more of the same for his revered and much-loved 4th and 5th LPs – "Madman Across The Water" (1971) and "Honky Chateau" (1972). But in a kind of a way – they did – it just seems that no one has noticed.

Instead of a two-disc DE – this variant of "Honky Chateau" is a single-disc 'SACD HYBRID' release – a new 2004 Remaster offering up three levels on one CD. The spine banner beneath the see-through jewel case tells you it's a 'SACD Surround Sound, SACD Stereo and CD Audio' release featuring new DSD and Surround Sound SACD mixes. It will play the 'CD Audio' variant on standard CD players - but if you want the best out of the Disc its better to have SACD playback or Surround or both. My Marantz CD Player has the SACD option – and man of man – do these digital babies shine compared to their 1995 Gus Dudgeon predecessors. There are SACD variants of 1971's "Madman Across The Water", 1973's "Goodbye Yellow Brick Road" and 1975's "Captain Fantastic And The Brown Dirt Cowboy" also. Let's get to the Honky Cat...

US released November 2004 (December 2004 in the UK) – "Honky Chateau" by ELTON JOHN on Universal/Rocket B0003609-36 (Barcode 602498240304) is a 'HYBRID SACD Surround Sound, SACD Stereo and CD Audio' Single Disc Reissue of the original 10-track 1972 album plus one bonus 'Alternate Version' and plays out as follows (48:34 minutes):

1. Honky Cat
2. Mellow
3. I Think I’m Going To Kill Myself
4. Susie (Dramas)
5. Rocket Man (I Think It’s Going To Be A Long, Long Time)
6. Salvation [Side 2]
7. Slave
8. Amy
9. Mona Lisas And Mad Hatters
10. Hercules
Tracks 1 to 10 are his 5th album "Honky Chateau" – released May 1972 in the UK on DJM Records DJLPH 423 and in the USA on Uni Records 93135. All tracks were written by Elton John and Bernie Taupin – Ken Scott was the Engineer and Gus Dudgeon Produced. It hit the No. 1 spot in the USA on the LP charts and No. 2 in the UK.

BONUS TRACK:
11. Slave (Alternate Version)
First appeared as a bonus track on the 1995 Rocket CD Remaster.

The 12-page booklet features the same layout as the Gus Dudgeon 1995 remaster in that it reproduces the inner gatefold of the original vinyl album (has the SACD logo in the bottom left corner). The JOHN TOBLER liner notes from 1995 are there also as are the colour pages with lyrics and musician credits. The only addition is a SACD HYBRID acknowledgement page that advises about the team of 4 who handled this version. GREG PENNY produced, mixed and mastered the Surround Sound version – RICKY GRAHAM did the Digital Transfers at Sphere Studios in London, GUS SKINAS did the DSD Editing at Super Audio Center, Boulder, Colorado while TONY COUSINS re-mastering the Original Stereo Mixes at Metropolis Mastering in London. You get a rounded-corner jewel case with a visible 'SACD Surround Soul, SACD Stereo, CD Audio' side banner to differentiate it from previous issues. I have to say that the audio on the 1995 CD always felt weedy to me – but I’m taken aback at how good these 2004 versions are – clarity, warmth and truly gorgeous audio throughout the entire SACD Remaster. I suspect fans who’ve grown up with this album for over four decades will be shocked when they hear LP nuggets like "Mellow" or the piano funk of "Susie (Dramas)" on this Hybrid Disc.

It opens with the wonderfully chipper "Honky Cat" – a Number 8 hit in August 1972 in the States (Uni 55343). I've had the 1995 variant and the Greatest Hits version to try to get the best Audio – but this 2004 baby trounces all that went before. The transfers of "Mellow" gives more muscle to Dee Murray's Bass and Nigel Olsson’s Drums (Jean Luc-Ponty plays his Electric Violin) while Elton's Piano on "I Think I'm Going To Kill Myself" and those great Harmony Vocals between him and Dee Murray get to shine too (Larry "Legs" Smith the drummer with the Bonzo Dog Doo Dah Band provided 'tap dancing' instead of his usual skill with the sticks). But if I was to nail down one track that exemplifies how good the audio is – it would absolutely huge punch that now comes off "Susie (Dramas)". As the piano pumps – you can now hear Davey Johnstone's Electric Guitar fills – and when that off-kilter solo hits the speakers – your cones will be rattling. We then get a truly gorgeous transfer of the classic "Rocket Man" which was the natural single choice (it made No. 2 in the in April 1972 on DJM DJX 501 and No. 8 in the USA in May 1972 on Uni 55328). Everything here is improved – those Acoustic strums from Davey Johnstone – the A.R.P. Synth played by David Henschel. You kind of wish they used this in Ridley Scott's film "The Martian" instead of Abba's hokey "Waterloo" in that prepping for departure from Mars scene.

The accumulated Harmony Vocals on "Salvation" are fantastically clear (Madeline Bell, Lisa Strike, Larry Steel and Tony Hazzard guest) as the song sails into your living room on a sea of voices and piano. The biting ‘bullwhip in his hand’ song "Slave" was the US B-side to “Honky Cat” and I’d forgotten how good (and indeed) funky "Amy" is – Jean Luc-Ponty’s wild violin strokes and Elton’s accentuated Vocals to the fore – both abled assisted by Ray Cooper’s rumbling Congas in the background. You also 'feel' the sweet playing of Dee Murray on Bass throughout the highlight that is "Mona Lisas And Mad Hatters" – Davey Johnstone’s Mandolin and Acoustic suddenly crystal clear too (“...I thank the lord for the people I have found...”). It ends on five and a half minutes of "Hercules" piano boogie – nicely done even if that ‘distant’ Elton vocal still irritates and takes some power away from the song’s impact. The single Bonus Track is the ‘ridiculously fast’ Alternate Take of “Slave” that both Taupin and John felt wasn’t right – one of the few outtakes to have ever surfaced from the Chateau Sessions. It comes on like a barroom barrelhouse tune and I can see why they slowed it down – but you have to say that it makes for a fascinating listen (and its in tip-top audio too)...

The album is dominated and probably best remembered for the monster hit "Rocket Man (I Think It's Going To Be A Long, Long Time)" - but on re-hearing it in 2016 – I'm struck again by the songwriting/melody classiness of Elton John's "Honky Chateau". In seemed that 1971 to 1975 produced the best in Rock.

I've just finished reviewing 1971's "Madman Across The Water" on this format and all the same 'wow factors' apply. To sum up - this stunning 'Hybrid SACD' Reissue of Reggie's "Honky Chateau" leaves me awash with admiration...and isn't that the best recommendation of all...

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). 


Sunday 28 February 2016

"Madman Across The Water" by ELTON JOHN (2004 Universal /Rocket 'Hybrid SACD, Surround and CD Audio' Single-Disc Remaster) - A Review by Mark Barry...




"...Tiny Dancer..."

I always thought it odd that after the truly stunning 'Deluxe Editions' afforded Elton John's 2nd and 3rd albums "Elton John" and "Tumbleweed Connection" - Universal didn't follow up with more of the same for his revered and much-loved 4th and 5th LPs – "Madman Across The Water" (1971) and "Honky Chateau" (1972). But in a kind of a way – they did – it just seems that no one has noticed.

Instead of two-disc DE's for "Madman Across The Water" and "Honky Chateau" - we got single-disc 'SACD HYBRID' releases (there are SACD variants of 1973's "Goodbye Yellow Brick Road" and 1975's "Captain Fantastic And The Brown Dirt Cowboy" also). The single-disc 'Hybrid SACD/Surround Sound/CD Audio' reissues both feature new DSD and Surround Sound SACD mixes and both will play on standard CD players. But if you want the best out of the Disc - better to have SACD playback or Surround or both. My Marantz has the SACD option – and man of man – do these digital babies shine compared to their 1995 Gus Dudgeon predecessors. Let's get to the Blue Jean Babies...


US released November 2004 (December 2004 in the UK) – "Madman Across The Water" by ELTON JOHN on Universal/Rocket B0003610-36 (Barcode 602498240298) is a 'HYBRID SACD Surround Sound, SACD Stereo and CD Audio' Single Disc Reissue. It's a straightforward transfer of the original 9-track 1971 album and plays out as follows (45:33 minutes):

1. Tiny Dancer
2. Levon
3. Razor Face
4. Madman Across The Water
5. Indian Sunset [Side 2]
6. Holiday Inn
7. Rotten Peaches
8. All The Nasties
9. Goodbye
Tracks 1 to 9 are his 4th album "Madman Across The Water" – released November 1971 in the UK on DJM Records DJLPH 420 and in the USA on Uni Records 93120

The 20-page booklet features the same layout as the Gus Dudgeon 1995 remaster in that it reproduces the booklet attached to the inner gatefold of the original vinyl album (has the SACD logo in the bottom left corner). The JOHN TOBLER liner notes from 1995 are there also as are the colour pages with lyrics and musician credits. The only addition is a SACD HYBRID acknowledgement page that advises about the team of 4 who handled this version. GREG PENNY produced, mixed and mastered the Surround Sound version – RICKY GRAHAM did the Digital Transfers at Sphere Studios in London, GUS SKINAS did the DSD Editing at Super Audio Center, Boulder, Colorado while TONY COUSINS re-mastering the Original Stereo Mixes at Metropolis Mastering in London. You get a rounded-corner jewel case with a visible 'SACD Surround Soul, SACD Stereo, CD Audio' side banner to differentiate it from previous issues. I have to say that the audio on the 1995 CD always felt weedy to me – but I’m taken aback at how good these 2004 versions are – clarity, warmth and truly gorgeous audio throughout the entire SACD Remaster. I know this album so well that it stills comes as something of a shock every time I play "Tiny Dancer" or "Madman Across The Water" on this Hybrid Disc.

It opens with a classic – the wonderfully evocative "Tiny Dancer". I've had the 1995 variant and the Greatest Hits version to try to get the best Audio – but this 2004 baby trounces all that went before. Beautiful is the only word to describe it. The transfers of "Levon" gives more muscle to Barry Morgan's Drums and Brian Odger's Bass while Rick Wakeman plays Organ on "Razor Face" and that fantastic Accordion playing from Jack Emblow gets to shine too. But if I was to nail down one track that exemplifies how good the audio is – it would the Side 1 finisher and album title song – "Madman Across The Water". When Chris Spedding's Electric Guitar comes at the opening - it has a real punch and presence – as do the stunning Paul Buckmaster orchestrated strings. And as Davey Johnstone's Acoustic guitar re-surfaces – it's so clear (Diana Lewis and Rick Wakeman contribute Synth and Organ respectively on the track too).

The Mandolin and Guitars of "Indian Sunset" are fantastically clear and that Ecclesia Choir (conducted by Robert Kirby) sails into your room too. You forget how good "Holiday Inn" is with backing vocals from Leslie Duncan, Sue & Sunny, Barry St. John and Roger Cook (to name but a few). Chris Spedding provides Slide Guitar for "Rotten Peaches", Rick Wakeman of Yes plays Organ and that huge ensemble of Backing Vocalists kicks in again. You also 'feel' the sweet playing of Herbie Flowers on Bass (I hate to say he's a lovely bottom end but in the interests of art I will). The echoed vocal intro to "All The Nasties" suddenly feels huge too as does the Ecclesia Choir. It ends on the short but moving "Goodbye" – just Elton, his Piano and some tasteful string orchestration (the remaster is properly gorgeous)...

The obvious let down (if you could call it that) is that this 2004 Hybrid doesn’t improve on track numbers over the 1995 standard CD – you still only get the basic 9-track album with no bonus cuts. That aside – this is the version to own.

Ace filmmaker Cameron Crowe famously used "Tiny Dancer" on the Tour Bus Scene of his 70ts Music flick "Almost Famous" to amazing effect – and I can remember the chills returning to my arms as the "...seamstress for the band..." played and each person on the bus knew why they were there - their love for the music. This stunning 2004 'Hybrid SACD' Reissue leaves me feeling the same...

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). 


INDEX - Entries and Artist Posts in Alphabetical Order