"Climbing!" by MOUNTAIN (2003 Columbia/Legacy 'Expanded CD' – Bob Irwin/Vic Anesini Remasters) - A Review by Mark Barry...

"...Mississippi Queen..." 

"...His crime was a passion..." - Felix Pappalardi sings on "The Laird" and that kind of sums up this most American of Rock bands for me – loud, proud and ear-splitten-louden-boomer. They couldn't give a rat's ass who out there in radio-land thinks its aural hedonism turned up to 13 on a scale of 12. MOUNTAIN rocked and this cool little CD reissue of their second platter "Climbing!" from 1970 shows why these New York boys with Mississippi in their veins are remembered with such affection and loyalty. And in Leslie West they had an ace axeman - geometrically over-sized for sure but charismatic and great fun too. Here is 'The Great Fatsby' and Rocking Friends...

UK and USA released April 2003 – "Climbing!" by MOUNTAIN on Columbia/Legacy 510719 2 (Barcode 5099751071921) is an 'Expanded CD Remaster' and plays out as follows (36:56 minutes):

1. Mississippi Queen

2. Theme From An Imaginary Western

3. Never In My Life

4. Silver Paper

5. For Yasgur's Farm [Side 2]

6. To My Friend

7. The Laird

8. Sittin' On A Rainbow

9. Boys In The Band

Tracks 1 to 9 are their second album "Climbing!" – released March 1970 in the USA on Windfall 4501 and May 1970 in the UK on Bell Records SBLL 133 (both in Stereo only). Bassist and Studio Wizard Felix Pappalardi Produced – the album rose to No. 17 in the US LP charts (didn’t chart in the UK). All songs are band originals except "Theme From An Imaginary Western" which is a Jack Bruce cover version.

BONUS TRACK

10. For Yasgur's Farm [Live] – recorded prior to 1972

MOUNTAIN was:

LESLIE WEST – Guitars and Vocals

FELIX PAPPALARDI – Bass on all Tracks except 6 and 7, Keyboards on Track 1, 2 and 9 and Rhythm Guitar on Track 7

CORKY LAING – Drums and Percussion

STEVE KNIGHT – Keyboards (Mellotron on Tracks 2 and 9, Organ on Tracks 2 to 5)

The 12-page booklet has new liner notes from CORKY LAING and LESLIE WEST (dated November 2002) - and as well as band photos (supplied by the group) features reminiscences on the making of their 'loud' 2nd album with the line-up most feel had that classic hard-rocking Mountain sound, their former band Energy, songwriting/lyric collaborations between Laing and West and more. The CD reflects the original Windfall Records label logo and there's even a Leslie West photo beneath the see-through tray. But the big news is the new BOB IRWIN/VIC ANESINI Remaster from original tapes done at Sony Music Studios in New York. The last time "Climbing!" saw CD reissue was in 1993 as part of Sony's 'Rewind' Series – it was a good stab at the record but this variant is a whole lot better and features a live track as a bonus. As the line on the rear cover famously announced 'This Record Was Meant To Be Played Loud' - you quickly find out that none of the band's players are joking. This mother rocks – vibrato, fuzzy, grunge guitar noises emanate from Leslie West's speaker stacks and threaten to cause a public disturbance with your docile Laura Ashley stereo. The album was never an Audiophile event – so expect some hiss on cuts like the slowish "The Laird" and the gorgeous "To My Friend" – but also expect presence and 'in-the-moment' feel. After my battered copy on Windfall – this CD sounds revelatory to me...

It opens on a rasper – the brilliant snotty Boogie Rock of "Mississippi Queen" – co-written by West, Laing, Pappalardi and Ohio songwriter David Rea. Huge riffage accompanies soloing guitars as Leslie West roars on about a Cajun gal from Vicksburg in Louisiana who isn't exactly unfamiliar with the ways of the world. At 2:32 minutes it was an obvious single and popular too. Released March 1970 with the album - Windfall 45-532 climbed to a respectable No. 21 in the US singles charts with the album cut "The Laird" on the flipside. After two failed sevens from the first album "Mountain" in September 1969 – it became Mountain's first real 45-impression on the charts and remains a huge fan fave to this day. Blighty tried the same combo of tracks on Bell BLL 1113 in May 1970 - but it sold naught and was deleted quickly. "Theme From An Imaginary Western" is a cover of a track from Jack Bruce's debut solo LP after Cream - 1969's "Song For A Tailor" on Polydor (UK)/Atco Records (USA). Bruce co-wrote the tune with Avant Garde British artist Pete Brown (Harvest Records). Mountain take the song's Soulful-Rock feel and layer it with more guitars and organs so that it sounds very Cream in ways – or even Derek & The Dominoes.

Both Laing and West agree that "Never In My Life" is probably the best track on the album – a great riff played at almost "Fireball" speed (they slowed it down in concert because it adds more muscle to it). It's a fantastic piece of American 'Rawk' and odd that Windfall Records went instead to the less catchy "For Yasgur's Farm" for the next single (Windfall 45-533) – a tune that isn't nearly as immediate as "Never..." They paired it with the fabulous Leslie West solo instrumental "To My Friend" - an Acoustic tour de force that shows off West's considerable playing chops and is almost Indian Sitar in some passages. But despite both sides being strong in their own right – "Yasgur's..." didn't follow "Mississippi Queen" into the charts (no British release either). "Silver Paper" is basic rock and similar in vibe to "Theme From An Imaginary Western" in its assembly. Far more interesting is "The Laird" that is co-written with Gail Collins (did the artwork, wrote lyrics) that has touches of the more melodic acoustic side of Uriah Heep and Led Zeppelin (circa 3) – sweet little tune that I couldn't stop playing at the time. How cool is it to hear it with such clarity - even if it is hissy. Massive Corky Laing drums open the driving-down-the-highway riffage of "Sittin' On A Rainbow" – a very Mountain good time rocker that stills sounds beer-belly-rowdy after 45 years on camomile tea. It ends on the piano melody of "Boys In The Band" - pretty hissy it has to be said and probably my least favourite song on the album (the vocal is all over the mix)...

The live version of "For Yasgur's Farm" runs to 4:19 minutes and is plucked from the band's own archive (bit hazy on exact dates). In truth I'd say it's good rather than being great (much like the song itself) and you can't help thinking that at four seconds short of 37-minutes – this entire CD reissue could have done with a few more choice bonus cuts in the live vein to bolster up matters...

Still - what you do get with "Climbing!" is fabarooney – a ballsy American Rock Band in the same vein as Cactus and Grand Funk Railroad – groups that somehow never seemed to gain the recognition they deserved beyond fanatical fan circles. In some ways Mountain's loose 'rawk' feel and gutbucket style recordings remind me of that fabulous sloppiness FREE used to get - effortlessly cool too. And isn't that the best compliment. So lodge your grappling hook and throw out your musical rope...because it's time to abseil bare-bottomed down the barroom underpants of this particularly boozy digital rock face. And I mean in that in the nicest possible way...

"Come Spy With Us: The Secret Agent Songbook" by VARIOUS ARTISTS (March 2014 UK Ace Records 25-Track CD Compilation of Remasters) - A Review by Mark Barry...

"...The Name's Kuryakin...Illya Kuryakin..."

I have to admit as a Bond devotee and lover of anything remotely I Spy/Secret Agent (or spoof of the same for that matter) - I was licking my chops in glee at this beautifully presented Ace Records CD compilation (best Audio too). And while there's so much to enjoy on here - I'd warn against over-excitement because in my view the replacement of original themes with lesser-known versions has in some cases shot the MI5 Jetpack Agent in the head. Here are the 005½ details first...

UK released March 2014 - "Come Spy With Us: The Secret Agent Songbook..." by VARIOUS ARTISTS on Ace Records CDCHD 1392 (Barcode 029667058421) is a 25-Track CD Compilation of Remasters that gadgets out as follows (61:56 minutes):

1. A Man Alone (Theme From "The Ipcress File") - JOHN BARRY & HIS ORCHESTRA (1965 UK 7" single on CBS Records 201747, A)

2. Deadlier Than The Male (Title Song From The Film "Deadlier Than The Male" - THE WALKER BROTHERS (1966 UK 7" single on Philips BF 137, A)

3. Arabesque (From The Film "Arabesque") - THE VENTURES (1966 USA 7" single on Dolton 321, A)

4. The Look Of Love (Theme From "Casino Royale") - DUSTY SPRINGFIELD (1967 UK 7" single on Philips BF 1557, A)

5. Theme From "Danger Man" - THE RED PRICE COMBO with Orchestra (1962 UK 7" single on Parlophone 45-R 4789, A)

6. The Silencers (From The Movie "The Silencers") - VICKI CARR (1966 USA 7" single on Liberty 55857, A)

7. Secret Agent Man - AL CAIOLA (from the 1965 US Stereo LP "Al Caiola...Sounds For Spies And Private Eyes" on United Artists UAS 6435)

8. Who Needs Forever (Theme From "The Deadly Affair") - ASTRUD GILBERTO (1966 US 7" single on Verve 10457, A)

9. Theme From The Man From Uncle - THE CHALLENGERS (1965 USA 7" single on GNOP Crescendo 362, A)

10. The Last Of The Secret Agents (From The Film "The Last Of The Secret Agents") - NANCY SINATRA (1966 USA 7" single on Reprise 0461, A)

11. Mission: Impossible - LALO SCHIFRIN & HIS ORCHESTRA (1968 USA 7" single on Dot 17059, A)

12. Dr. Goldfoot And The Bikini Machine (Theme From The Film) - THE SUPREMES (1965 USA 7" single on American International 65-1335, A)

13. Our Man Flint - BILLY STRANGE (1966 USA 7" single on GNP Crescendo 367, A)

14. Wednesday's Child (Theme From "The Quiller Memorandum") - MATT MONRO (1967 USA 7" single on Capitol 5823, A)

15. Theme From "Get Smart" - BOB CRANE, HIS DRUMS & ORCHESTRA (1968 USA 7" single on Epic 5-10038, B-side of "Happy Feet")

16. We Should've (Theme From "Modesty Blaise") - CLEO LANE & RAY ELLINGTON (1966 UK 7" single on Fontana TF 704, A)

17. The James Bond Theme (Dr No) - JOHNNY & THE HURRICANES (1963 USA 7" single on Big Top 3148, A)

18. Burke's Law Theme - WYNTON KELLY (1963 UK 7" single on Verve VS 518, A)

19. Where The Bullets Fly - SUSAN MAUGHAN (1966 UK 7" single on Philips BF 1518, A)

20. High Wire (Theme From "Danger Man") - BRIAN FAHEY & HIS ORCHESTRA (from the 1967 UK LP "Time For TV" on Columbia Studio 2 TWO 175)

21. Bye-Bye (Theme From "Peter Gunn") - SARAH VAUGHAN (1965 USA 7" single on Mercury 72417, B-side of "The Pawnbroker")

22. Theme From "Where The Spies Are" - JIMMY SMITH (1966 USA 7" single on Verve VK 10382, A)

23. The Liquidator - SHIRLEY BASSEY (1966 UK 7" single on Columbia DB 7811, A)

24. I Spy - ROLAND SHAW & HIS ORCHESTRA (from the 1966 UK LP "Themes For Secret Agents" on Decca Phase 4 Stereo PFS 4094)

25. Come Spy With Me - SMOKEY ROBINSON & THE MIRACLES (1967 USA 7" single on Tamla T 54145, A)

Tracks 1, 3, 5, 8, 9, 12, 13, 16, 17, 19, 23 and 25 are MONO

Tracks 2, 4, 6, 7, 10, 11, 14, 15, 18, 20 to 22 and 24 are STEREO

The 24-page booklet is beautifully laid out - crammed to periscope depth full of Spy Novels, Sixties Paperbacks, Film Posters, label repros of original 45's from the UK and US (even a Japanese issue of "The Man From U.N.C.L.E.") and period evocative Sheet Music. Inbetween all that visual richness is superlative and informative liner notes by long-time archivist TONY ROUNCE who has for my money written some of his best descriptions on records and their murky history here (and that's saying something). The attention to detail is stunning. If you take the artwork for the CD and look to the top left - they've changed GREAT PAN from the paperback cover of Casino Royale into GREAT ACE as a very clever homage to the iconic artwork of the Swinging Sixties (the paperback is featured in the booklet). Every page is a feast. The rear is a full-colour plate of the "A Man Alone" sheet music showing Michael Caine in Harry Saltzman's film adaptation of Len Deighton's "The Ipcress File". The business as ever from Ace...

We should talk about the audio quality - this may indeed be the 'best' sounding Ace Records CD I've heard in nearly 10 years of reviewing (the audio is off the charts good for most tracks) and compiler Tony Rounce/Remaster Engineer NICK ROBBINS have made some genius choices in the sequencing too. But as a downside it's worth reiterating what I said earlier. When you go to the Bond Theme - it's not the John Barry original but a crap take from Johnny & The Hurricanes - The Man From U.N.C.L.E. theme isn't Hugo Montenegro but the lesser Challengers version and Patrick McGoohan's Danger Man is by Red Price and not the Bob Leaper version we all know and love. And the two Soul inclusions of Smokey Robinson & The Miracles and The Supremes sound utterly ludicrous, forced and out of place instead of being fun or even good (others may love them and want them for sheer rarity value). Edwin Astley's "Danger Man" used in 47 episodes between 1964 and 1968 isn't used - but as Rounce explains it wasn't available for licensing. And I suspect that this may have been the case for many of the bigger names and tunes.

Having said that goodies include Bob Crane's slyly hip "Get Smart", Lalo Schifrin's cool masterpiece "Mission: Impossible", Bacharach's gorgeous "The Look Of Love" and the so Sixties opener "The Ipcress File" by the incomparable John Barry - all fabulous. But I would have preferred anything from "You Only Live Twice" rather than Nancy Sinatra's half-hearted "The Last Of The Secret Agents". Better is "Secret Agent Man" by Al Caiola (the American name for the "Danger Man" TV Series) and Matt Monro's version "Wednesday's Child" from "The Quiller Memorandum" (by John Barry) sounds unbelievably good too. Unexpected gems include Sarah Vaughan's lyrically sassy version of the Henri Mancini instrumental "Peter Gunn" theme and the witty "Modesty Blaise" theme sung by Cleo Lane and Ray Ellington clearly enjoying their inner secret agent. The Roland Shaw full-on Sixties Jazz and Strings version of "I Spy" is a blast too.

What a ride! Upon my Blofeld Dug Out Volcanic Lair, but I'm looking forward to Volume 2 - "Come Spy With Me Some More..." And should Ace Records choose to accept their mission - for round two we'd like more John Barry - say "Here Comes Nancy Now!" from "The Knack" or "Little Nellie" from "You Only Live Twice", maybe "Hawaii Five-O" by The Ventures, "Thinking Of Baby" by Elmer Bernstein ("Staccato" US TV Theme) with "Search For Vulcan" by Leroy Holmes (an instrumental Bond mimic) and of course Lalo Schifrin's stunning "Bullitt" theme - to name but a few. I'm sure they're working on their Aston Martin DB9 of a CD as we speak.

Did you know that Robert Vaughn, David McCallum and Leo G. Carroll from the United Network Command for Law Enforcement (U.N.C.L.E.) had to weekly fight the diabolical forces of Technological Hierarchy for the Removal of Undesirables and the Subjugation of Humanity (T.H.R.U.S.H.)? I can tell you now that James Bond's women had to fight THRUSH on a daily basis too. But we won't go into that. See you next time around 007...

"BOWIE Heard Them Here First" by VARIOUS ARTISTS [DAVID BOWIE Cover Versions] (2014 Ace Records CD Remasters) - A Review by Mark Barry...

"...Wild Is The Wind..."

The premise is simple – tunes that have moved/inspired David Bowie throughout his extraordinary five-decade career – the original songs by the original artists – 24 melodies he’s covered from 1964 right through to 2003. But this is Ace Records of the UK doing the CD compilation - so the annotation and sound quality is top notch. There’s a wad of facts to get through so let’s have at the Thin White Duke’s Pin-Ups...

UK released April 2014 – "BOWIE Heard Them Here First" by Various Artists [DAVID BOWIE Cover Versions] on Ace Records CDCHD 1387 (Barcode 029667058322) breaks down as follows (76:06 minutes):

1. Louie – Go Home by PAUL REVERE & THE RAIDERS (1964 USA 7” single on Columbia 43008, A)

Covered by Davie Jones & The King Bees in 1964 on the UK 7” single Vocalion Pop V 9221, A

2. I Pity The Fool by BOBBY BLAND (1961 USA 7” single on Duke 332, A)

Covered by Manish Boys in 1965 on the UK 7” single Parlophone R 5250, A

3. Fill Your Heart by BIFF ROSE (on the 1968 USA LP “The Thorn In Mrs. Rose’s Side” on Tetragrammaton Records T-103)

Covered by Bowie on the “Hunky Dory” LP in 1971

4. It Ain’t Easy by RON DAVIES (on the 1970 US LP “Silent Song Through The Land” on A&M Records SP-4264 – also a USA 7” single on A&M 1188, A)

Covered by Bowie on 1972 LP “The Rise And Fall Of Ziggy Stardust And The Spiders From Mars”

5. White Light/White Heat by THE VELVET UNDERGROUND (on the 1967 LP “White Light/White Heat” on Verve VK 10560)

Covered by Bowie on the 1983 Soundtrack album (recorded 1973) “Ziggy Stardust: The Motion Picture”

6. Everything’s Al’right by THE MOJOS (on a 1964 UK 7” single on Decca F 11853, A)

Covered by Bowie on the 1973 all-covers album “Pin Ups”

7. Friday On My Mind by THE EASYBEATS (on a 1966 UK 7” single on United Artists UP 1157, A)

Covered by Bowie on the 1973 all-covers album “Pin Ups”

8. Rosalyn by THE PRETTY THINGS (on the 1964 UK 7” single on Fontana TF 469, A)

Covered by Bowie on the 1973 all-covers album “Pin Ups”

9. Sorry by THE MERSEYS (on the 1966 UK 7” single on Fontana TF 694, A)

Covered by Bowie on the 1973 all-covers album “Pin Ups”

10. Where Have All The Good Times Gone by THE KINKS (on the 1965 UK 7” single on Pye International 7N.15981, A

Covered by Bowie on the 1973 all-covers album “Pin Ups”

11. Around And Around by CHUCK BERRY (on a 1958 USA 7” single on Chess 1691, A)

Covered by Bowie as “Round And Round” on the B-side of “Drive-In Saturday”, a 1973 UK 7” single on RCA Records RCA 2352

12. Knock On Wood by EDDIE FLOYD (on a 1966 USA 7” single on Stax 194, A)

Covered by Bowie in live form on the 1974 UK 7” single on RCA Records RCA 2466, A

13. Amsterdam by JACQUES BREL (on a 1964 French 7” EP “Brel En Direct” on Barclay 70)

Covered by Bowie as the B-side to “Sorrow” – a UK 7” single in 1973 on RCA Records RCA 2424

14. Wild Is The Wind by JOHNNY MATHIS (on a 1957 USA 7” single on Columbia 4-41060, A)

Covered by Bowie on the 1976 album “Station To Station” and as a 7” single

15. Alabama Song by LOTTE LENYA & THE THREE ANIMALS (on a 1930 USA 78” on Ultraphon A 370, A)

Covered by Bowie on a 1980 UK 7” single on RCA Records BOW 5, A

16. Kingdom Come by TOM VERLAINE [from Television] (on his self-titled 1979 debut Solo LP on Elektra Records 6E-216)

Covered by Bowie on his 1980 LP “Scary Monsters”

17. Criminal World by METRO [featuring Duncan Browne] (on the 1976 UK 7” single on Transatlantic Records BIG 560, A)

Covered by Bowie on his 1983 LP “Let’s Dance”

18. Don’t Look Down by IGGY POP (on his 1979 album “New Values” on Arista AB 4237)

Covered by Bowie on his 1984 “Tonight” LP

19. Dancing In The Street by MARTHA REEVES and THE VANDELLAS (on a 1964 USA 7” single on Gordy 7033, A)

Covered by Mick Jagger and David Bowie as a 1985 7” single for Band Aid/Live Aid Famine Support

20. If There Is Something by ROXY MUSIC (on their 1972 debut album “Roxy Music” on Island ILPS 9200)

Covered by Bowie on the 1991 “Tin Machine II” album

21. Nite Flights by THE WALKER BROTHERS (on their 1978 LP “Nite Flights” on GTO Records GTLP 033)

Covered by Bowie on his 1993 “Black Tie, White Noise” album

22. Cactus by THE PIXIES (on their 2^nd album “Surfer Rosa” from 1988 on 4AD Records CAD 803)

Covered by Bowie on his 2002 album “Heathen”

23. Pablo Picasso by THE MODERN LOVERS (on their 1976 debut album “The Modern Lovers” on Home Of The Hits HH-1910)

Covered by Bowie of his 2003 album “Reality”

24. I Took A Trip On A Gemini Spacecraft by LEGENDARY STARDUST COWBOY (on a 1969 USA 7” single on Mercury 72891, A)

Covered by Bowie on his 2002 album “Heathen”

The 20-page booklet is beautiful – crammed full of the original 45’s (mixture of UK and US issues) – there’s a foreign picture sleeve of Ron Davies’ fabulous “It Ain’t Easy” single – sheet music for The Mojos and The Pretty Things (full page on the rear of the booklet) and even the 1930 78” of “Alabama Song” on Ultraphon. In-between all that visual richness is superlative and informative liner notes by IAN JOHNSTON who goes into Bowie’s eclectic choices right up to Iggy Pop, The Modern Lovers and The Pixies. Beneath the see-through CD tray is the sheet music to “Friday On My Mind” by The Easybeats - it’s really well done.

With so many varying sources and time frames the audio flits from period to period but is still superb throughout (mastered with skill by longstanding Ace Engineer NICK ROBBINS). I’ve been after the Ron Davies tune, “It Ain’t Easy” for years and here it is in superb remastered form (Three Dog Night and John Baldry both named albums after it in 1970 and 1971 respectively). The only turkeys sound wise are the Brel track “Amsterdam” and the 78” from 1930 – in fact both songs are the low points on this compilation for me – dreadful stuff.

Given that this is David Bowie’s influences – the listen was always going to be eclectic – interesting – and possibly even slightly unnerving – and in some respects “Bowie Heard Them Here First” is all of those things (and why would you want it any other way). In fact once you get away from the Sixties influences – the compilation starts to flow and work so much better – the Iggy Pop, Tom Verlaine, Metro and Pixies tracks – more than impressive. Roxy’s masterful “If There Is Something” and The Velvet’s anarchic “White Light/White Heat” could have been tailor-written for Seventies Bowie. But better are gems like the lesser-heard Walker Brothers “Nite Flights” and the whacky 1969 fruitcake song that is “I Took A Trip On A Gemini Spaceship”.

But you’re also struck not so much by the excellence of the originals but hearing (in your head) how good his own interpretations were - “Sorrow” and “Wild is The Wind” in particular – taking ordinary songs and making them into something extraordinary. Compiler inclusions like “Knock On Wood”, “Around And Around” and “Dancing In The Street” are cliché for sure and fans would have probably have preferred “All The Young Dudes” or his version of The Who’s “Seeker” or Lennon’s “Working Class Hero”. In fact what would have rocked is the originals on CD1 with his versions on CD2 – but I’d think we’d have been looking at a licensing nightmare on that one.

As it is “Bowie Heard Them Here First” is a superb CD – not flawless for sure – but amazing in its depth and scope. A little like the great man himself...

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). 

"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…

"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).