"Life On Mars" by DEXTER WANSEL (Inside the 'Philadelphia International Records: The Collection' 2014 Sony Music 20CD Mini Box Set) - A Review by Mark Barry...

"…Theme From The Planets…" 

I suspect many Jazz Funk nutters (like me) can trace their obsession to the genre when they 'stumbled' on this Fusion masterpiece in the late summer of 1976 – "Life On Mars" by Keyboardist DEXTER WANSEL. But in some instances it’s become expensive to acquire on CD.

Might I suggest – cheap as the proverbial chip bag – the best and cheapest place to get the song is the magnificent 20CD Box Set "The Collection" given over to that most iconic of American Soul and Funk labels - Philadelphia International Records. Before the album - let's get to the details of the Box Set first...

"Philadelphia International Records: The Collection" offers you 20 Philly Soul albums in single repro card sleeves inside a hard-card box set with a chunky 36-page booklet (5 of the discs even have bonus tracks). UK released May 2014 – Disc 11 with "Life On Mars" by DEXTER WANSEL inside Sony Music 8843055662 (Barcode 88430556621) is a straightforward Remaster of the album and breaks down as follows:

CD 11 (36:40 minutes):

1. A Prophet Named K.G.

2. Life On Mars

3. Together Once Again

4. Stargazer

5. One Million Miles From The Ground [Side 2]

6. You Can Be What You Wanna Be

7. Theme From The Planets

8. Rings Of Saturn

Tracks 1 to 8 are the album "Life On Mars" by DEXTER WANSEL - released August 1976 in the USA on Philadelphia International PZ 34079 (no UK release).

All albums are documented in the lovely 36-page colour booklet with features brief reviews of each title by long-time Soul aficionado DEAN RUDLAND. These are followed by page-after-page of the albums pictured alongside detailed track lists. Each of the CDs is numbered on the label so you know where they're placed in the order of things. There are no mastering credits - but as all of these albums have been available before at one point on Sony/Legacy reissues so those remasters have been used and the sound quality is uniformly great. "Life On Mars" sounds incredible here – chunky and funky to the max...

The album opens on the famous wavering synth funk of "A Prophet Named K.G." – then the strings kick in and about two minutes into it's four BOBBY MALACH hits us with His Saxophone playing ably abetted by AL HARRISON on Trumpet. The swirling magic continues with the title track "Life On Mars" where Philly band INSTANT FUNK soon turn the proceedings into the nastiest groove cleverly made more accessible by the trio of ladies singing along to the Funk – BARBARA INGRAM, CARLA BENSON and EVETTE BENTON. "Together Once Again" is almost Jon Anderson of Yes in its fusion beginning - but soon settles into love song territory as TERRY WELLES takes lead vocals – a very pretty number indeed. Arranged by Jack Faith "Stargazer" is a breakneck-speed instrumental that perfectly mixes his Funk with those Philly Strings.

Side 2 opens with one of my faves - the ballad 'n' strings floater "One Million Miles From The Ground" where Dexter fronts the Lead Vocals (again subtle doubled-vocals from the ladies). I've always thought it a gorgeous tune – a Philly nugget hidden on an album too many people don't know about. They issued it Stateside as a 45 on Philadelphia International ZS8-3606 with "Stargazer" on the flipside but it didn't break the Top 40. One of the albums Big Funk cornerstones is "You Can Be What You Wanna Be" which again features INSTANT FUNK as the backing band. Even sweeter for me is superlative instrumental "Theme From The Planets" – a fabulous piece of slick and smooth Funk that never overdoes it as the synths soar and the Saxophone blows cool and sexy (gorgeous remastered Audio too). It ends on "Rings Of Saturn" – another Fusion instrumental that even has ‘Blade Runner’ vibes in the Sax soloing.

For over 40 years fans of Jazz Funk and Jazz Fusion have had a 'thing' for "Life On Mars" by Dexter Wansel.

"...Hold me real tight when it starts to storm..." – Wansel sings on "One Million Miles From The Ground" and I agree. Embrace this space I say...

"Turnstiles" by BILLY JOEL (1998 and 2001 Columbia 'Remaster' CD) - A Review by Mark Barry...

"...It's Either Sadness Or Euphoria..." 

As so many have noted - New Yorker Billy Joel smashed his way into people's heart (and charts around the world) in 1977 with his magnificent album "The Stranger". But the one that went before "Turnstiles" in 1976 is an unsung masterpiece in my book and equal to its more famous follow-up in many ways. Here are the New York States Of Mind...

UK and USA released October 1998 (reissued April 2001) - "Turnstiles" by BILLY JOEL on Columbia 491183 2 (Barcode 5099749118324) is a straightforward transfers and 'Remaster' of that album and plays outs as follows (43:23 minutes):

1. Say Goodbye To Hollywood

2. Summer, Highland Falls

3. All You Wanna Do Is Dance

4. New York State Of Mind

5. James [Side 2]

6. Prelude/Angry Young Man

7. I've Loved These Days

8. Miami 2017 (Seen The Lights Go Out On Broadway)

Tracks 1 to 8 are his 4th studio album "Turnstiles" - released May 1976 in the USA on Columbia PC 33848 and July 1976 in the UK on CBS Records S 81195. Produced by BILLY JOEL - it peaked at No. 122 in the USA but didn't chart in the UK.

The Band:

BILLY JOEL - Piano and Lead Vocals

HOWIE EMERSON, JAMES SMITH and RUSSELL HAVORS - Electric and Acoustic Guitars

RICHIE CANNATA - Saxophone

DOUG STEGMEYER - Bass

LIBERTY DeVITTO - Drums

MINGO LEWIS - Percussion

KEN ASCHER - Orchestra Arrangements

The supposed 'upgraded' 8-page booklet offers lyrics to all eight songs; original recording credits with reissue details and little else by way of history or input. Still - the TED JENSEN Remaster (done at Sterling Sound in New York) is good - if not a little too clean in the bottom end.

But that's quickly wiped away by the quality of the songs that keep hammering you - one after another. Compared to "Piano Man" (1973) and "Street Life Serenade" (1974) - there’s huge songwriting maturity in the opening double salvo - the castanets and Ronettes big-bass-drum sound of "Say Goodbye To Hollywood" and the gorgeous "Summer, Highland Falls" - a piano masterpiece if ever there was one. He opens with "...they say these are not the best of times...but their the only times I've ever known..." and later on "...so we argue and we compromise...and realize that nothing's ever changed..." I've never liked the cod-reggae rhythms in "All You Wanna Do Is Dance" but if you're a fan - the Audio is amazing - right in your face for all the right reasons. Side 1 ends with the album's high water moment - the amazingly poignant "New York State Of Mind" - a song that he has to play live every night or they may indeed be a riot that would require the NYPD to sort it out.

Side 2 opens with the plinking keyboard sound of "James" - sounding for a moment like "Just The Way You Are" - a tale about Joel who goes on the road while his pal pursues an education and a possible writing career. We get that rapid-fire piano "Prelude" to the caustic and street-witty "Angry Young Man" where the listener is asked to empathise "...give a moment or two to the angry young man...with his foot in his mouth and his heart in his hand..." Here we have a man that’s proud of his battles and scars - and while his finger-pointing anger irritates - at least his Soul is the right place even if his chances of success are in the crapper.  Both the hurting "I've Loved These Days" and the finisher "Miami 2017..." have featured heavily in his live sets - that fabulous piano opening being the perfect appetite wetter. There's a melodrama to "Miami 2017..." - an opera out on the turnpike, as Bruce would say - with that defiant guitar chopping. This is a song where "...they burned the churches up in Harlem..." and "...The Mafia took over Mexico..." What a tune and an epic way to finish the album.

"...There are not many who remember...they say a handful still survive..." And as those piano notes fade out like some Saturday Night hangover melody on the brilliant "Miami 2017 (Seen The Lights Go Out On Broadway)" - you can't feel that's true about this whole brilliant but overlooked album...

"The Bothy Band" by THE BOTHY BAND - March 1976 UK Debut Album on Polydor Records (Mulligan Records in Ireland with Three Different Rear Sleeves) - Featuring Donal Lunny, Matt Molloy, Tommy Peoples and Paddy Keenan, Michael and Triona O'Donnell] (1990s Mulligan CD Reissue and Remaster) - A Review by Mark Barry...

"...Do You Love A Laddie With Curly Brown Hair?" 

Taking their name from the ramshackle homes of migrant workers (they were called 'bothies') and the traditional music groups that sprang up from them – as a Dubliner who lived through it - I loved THE BOTHY BAND then and have done with a passion all of my life. But a bit of history is needed to fully review the impact of their arrival and especially their magical first platter "The Bothy Band" aka "The Bothy Band 1975" or just "1975" because of the photos on the front cover (it's actually credited as "The Bothy Band" on the label and spine so that's its official title).

When their properly Traditional debut album hit the streets of the UK in March 1976 on Polydor Super 2383 379 (reissued by Mulligan in June 1976) - Irish Folk music was often mired in horrible pro-Nationalist rhetoric and the bloodshed that followed it. Sure we had Planxty with Christy Moore (who were also wonderful and on Polydor Records) and Clannad and the boozy shenanigans of The Dubliners and the crossover Folk-Rock of Horslips and The Woods Band - but little else we young Irish with half a brain wanted to hear. THE BOTHY BAND changed all of that. They brought the 'Tradition' back into the Traditional. And in the live environment, they were utterly magical too. 

First up there were six in THE BOTHY BAND...

MICHAEL O'DOMHNAILL (Michael O'Donnell) - Guitar and Lead Vocals

TRIONA NI DHOMHNAILL (Triona O'Donnell) - Harpsichord, Bodhran and Lead Vocals

DONAL LUNNY - Bouzouki and Vocals

MATT MALLOY - Flute and Whistle

TOMMY PEOPLES - Fiddle

PADDY KEENAN - Uilleann Pipes and Whistle

1. The Kesh Jig/Give Us A Drink Of Water/The Flower Of The Flock/Famous Ballymote – Instrumental [Side 1]

2. The Green Groves Of Erin/The Flowers Of The Red Hill - Instrumental

3. Do You Love An Apple? - Lead Vocals, Triona

4. Julia Delaney - Instrumental

5. Patsy Geary's/Coleman's Cross - Instrumental

6. Is Trua Nach Bhfuil Me In Eirinn - Lead Vocals, Michael

7. The Navvy On The Line/The Rainy Day - Instrumental

8. The Tar Road To Sligo/Paddy Clancy's - Instrumental [Side 2]

9. Martin Wynn's/The Longford Tinker

10. Pretty Peg/Craig's Pipes

11. Hector The Hero/The Laird Of Drumblaire (Strathspey & Reel)

12. The Traveller/The Humours Of Lissadel

13. The Butterfly

14. The Salamanca/The Banshee/The Sailor's Bonnet

Tracks 1 to 14 are their debut album "The Bothy Band" - released March 1976 in the UK on Polydor Super 2383 379 and May 1976 in Ireland on Mulligan Records LUN 002 (with three different rear sleeve photos).

The significance of the sheer number of bodies meant that The Bothy Band's rhythm section had an 'oomph' other four-piece Traditional Irish Folk groups like say Planxty simply didn't have. As the songs progressed - the combo of Triona's Harpsichord and Donal Lunny's Bouzouki would provide a backbeat that elevated the expert Fiddle playing of Tommy Peoples and the amazing pipes of Paddy Keenan. The power of this both in the studio and live would have audiences in raptures - clapping and feet-stomping. This musical set up is taken for granted now – but at the time it was kind of revolutionary (see You Tube footage of The Bothy Band doing The Green Groves of Erin and you will get the gist of what I'm saying). 

Throw in two deeply beautiful voices from the leads (brother and sister) - Triona singing "Do You Love An Apple" or Michael singing "Is Trua Nach Bhfuil Me In Eirinn" and the heartstrings would be tugged as well. Bands such as STOCKTON'S WING and DE DANAAN followed in their wake at the time and into the 90's and 00's with ALTAN, DERVISH and even Scotland's CAPERCAILLIE.

The 'Irish' CD I have is made in Austria and distributed by CM Distributions in Harrogate, North Yorkshire using the Mulligan Records logo and catalogue number Mulligan LUN CD 002 (Barcode 5016364300859) and is a straightforward transfer of the album (47:48 minutes) issued in the 1990s. Outside of the musician credits that came with the original LP - there's absolutely zero info on the gatefold slip of paper that acts as an inlay - essentially an advert for other CM Distribution titles. There are no mastering credits of any kind but the AUDIO IS GREAT - full and lively. There's a wonderful vitality to the disc. I know there's a Shanachie Records reissue of the album out of the States but I can't comment on it as I don't own a copy.

Of all the 14 songs - each was a Traditional Irish air arranged by the group - and most unknown to us. These were musicians in their late 20s when they formed - steeped in Irish Folk - expert players - giving us jigs, reels, pipe solos and following the instrumental dexterity with vocal ballads full of fun - songs about love and longing. I can remember being in The National Stadium in Dublin when Triona sang "...before I got married I wore a black shawl...but since I got married...I wore bugger all...but still I love him...I can't deny him...I'll be with him wherever he goes..." in "Do You Love An Apple". The men laughed but the women shed a tear because they knew the woman's voice and heart (too damned true). 

Triona would then make us laugh with "Pretty Peg" where a frisky girl has "...a boy in her bed..." with her mum downstairs - prayer book in hand - praying for the doubtful soul of her lusty daughter. The lyrical craic then segues into Paddy Keenan and Tommy Peoples doing a Pipes/Fiddle double that romps it home. I can also remember feeling an 'Irish' awakening at the time - this was music we could be proud of off. I even had "The Bothy Band" sewn onto the back of my Wrangler shirt by a girlfriend of mine in beautiful gold and green Irish calligraphy - it was the envy of many and I got asked to sell it a hundred times over (wore out after too many washes).

Of the jigs and reels the opening "Kesh Jig" ensemble is fantastic stuff and if you've heard the posthumous live BBC set - you'll know that Paddy Keenan's pipe playing on "Patsy Geary's..." would bring the house down. I don't know how many notes he hit in three minutes but I wouldn't like to count them. The Harpsichord is used to fabulous effect on "The Butterfly" lending the song an English madrigal feel. Other highlights include "Pretty Peg" and the builder "Julia Delaney" - an instrumental that would convert even the doubter. In fact, "The Kesh Jig..." Medley appears as an entry for exemplary Irish Folk Music on the 2002 Topic Records 4CD Box set "The Acoustic Folk Box" - all tracks Remastered by Denis Blackham at Skye Mastering in Scotland (see separate review). 

MULLIGAN Records and THE BOTHY BAND. 

DONAL LUNNY (who'd been with Planxty) formed Mulligan Records in Ireland in 1975 releasing important albums like Paul Brady's brilliant "Welcome Here Kind Stranger" from September 1978 as well as Rock acts like Scullion (Sonny Condell from Tir na n'Og with Phillip King and Greg Boland)), Matt Malloy's debut solo LP, pre Scullion Irish band Supply Demand And Curve (with guitarist Greg Boland), Gay and Terry Woods, Freddie White and even Irish punk band The Vipers. But Mulligan Records was primarily about Irish Folk and gave voice to Mick Hanley, Kevin Burke, Jim Crowley, Andy Irvine, Matt Molloy, Liam Weldon, Dolores Keane and Christy Moore's brother Barry Moore (know as Luka Bloom now) whose "Treaty Stone" LP from September 1978 is one of the most beautiful Irish Folk-Rock LPs I've ever heard. Lunny would also have involvement with U2 and Windmill Lane Studios and remains a leading light in Irish music to this day. 

Irish Pressings of Bothy Band albums were usually on Mulligan Records with the circled 'p' before the date that normally denotes a 'Made In The Republic of Ireland' pressing. You can see from a discography that I've provided below – they were usually issued 'after' the Polydor pressings in England and I've provided those British release dates from a rare 'Fifth Anniversary Special Presentation Copy' of the Music Master Catalogue of 1979 (hardback). It's one of the few places where you can get accurate release dates for the mid Seventies onwards. 

A little known ditty is that the Irish album covers of "The Bothy Band" on Mulligan Records also featured three different rear photos in black and white – the shots missing from the photo-album depicted on the front sleeve. So one variant has Michael and Paddy (Top Left), another has Triona and Matt (Top Right) whilst the most commonly seen one has Donal and Tommy (Bottom Left) which is also the one used on the March 1976 British release. It is also often cited as first available 1975 on Vinyl and Cassette - but with cover photos dated early November 1975 (copyright date too) - it is more likely that 1976 is the true release date.

The Mulligan CDs usually all use those reissue catalogue numbers LUN CD 002 and LUN CD 007 etc.  There isn't any CD anywhere that tells you this nor did they use the three different photo rears. And as I say, they lazily call it "1975" because that is what is on the front cover or it suits them - leading to confusion over the release date of the LP (didn't arrive until March 1976). 

"The Bothy Band" debut has been reissued any number of times on Mulligan CDs with the same catalogue number – 1990, 1998, 2011 – it's hard to get any accuracy on exact dates and it seems they want it that way. There is also a Compass Records (USA) CD variant from 2008 on Mulligan LUNCD 3002 (use Barcode 766397300221 to locate it) that is readily available on Amazon. None give mastering credits. 

As for The Bothys music - hell even a dance band sampled the entirely Acapella 'mouth music' vocal racehorse that is "Fionnaghula" on their second album "Old Hag You Have Killed Me" from October 1976. If they reformed – many would come running from wide and afar...

"The Bothy Band" is a great album and a forgotten masterpiece of the Irish Folk genre minus any of its more dubious politics. They went on to make two more studio LPs and one cracking live album (see list below) – but my heart will always be with this brilliant opening salvo.

"...Do you love an apple...do you love a pear..." – they sang nigh on 50 years ago.

Indeed I do and I suggest (in the best possible taste of course) you get rightly fruity with them too...

THE BOTHY BAND Discography on LP and CD

1. The Bothy Band

March 1976 UK LP on Polydor Super 2383 379, reissued May 1976 on Mulligan LUN 002 - Mulligan LUN CD OO2 (Barcode 5016364300859)

2. Old Hag You Have Killed Me

October 1976 UK LP on Polydor Super 2383 417, reissued November 1976 on Mulligan LUN 007 - Mulligan LUN CD 007 (Barcode 5016364300774)

3. Out Of The Wind, Into The Sun

October 1977 UK LP on Polydor Super 2383 456, reissued September 1978 on Mulligan LUN 013 - Mulligan LUN CD 013 (Barcode 5098990120803)

4. Afterhours – Recorded Live In Paris

February 1979 UK LP on Polydor Super 2383 530 (with insert), reissued March 1979 on Mulligan LUN 030 - Mulligan LUN CD 030 (Barcode 5098990120902)

5. The Best Of The Bothy Band

September 1980 UK LP on Polydor Super 2383 583, reissued August 1986 on Mulligan LUN 041 - Mulligan LUN CD 041 (Barcode 5098990121008)

6. Live In Concert (Recorded in London in 1976 and 1978)

May 1994 CD-only compilation on Windsong International WINCD 060 (Barcode 5018766943061)

"Give It Up" by BONNIE RAITT (2002 Warner Brothers 'Remasters' CD) - A Review by Mark Barry...

This Review Along With 300+ Others Is Available In My

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"...Love Has No Pride..." 

Bonnie's second Warner Brothers platter "Give It Up" from the winter of 1972 cemented the reputation and career opener of "Bonnie Raitt" in 1971 - another great Blues Rock album played by a woman steeped in the traditions of American R&B and ably supported by a gang of likeminded quality musicians. And for "Give It Up" - the Burbank Blues woman threw in three songs of her own amidst the cleverly chosen covers. Here are the ladylike details...

UK released March 2002 – "Give It Up" by BONNIE RAITT on Warner Brothers 8122-78378-2 (Barcode 081227837822) is a straightforward Remaster of the album and plays out as follows (36:57 minutes):

1. Give It Up Or Let Me Go

2. Nothing Seems To Matter

3. I Know

4. If You Gotta Make A Fool Somebody

5. Love Me Like A Man

6. Two Long At The Fair [Side 2]

7. Under The Falling Sky

8. You Got To Know How

9. You Told Me Baby

10. Love Has No Pride

Tracks 1 to 10 are her second studio album "Give It Up" - released October 1972 in the USA on Warner Brothers BS 2643 and November 1972 in the UK on Warner Brothers K 46189. Produced by MICHAEL CUSCUNA - it peaked at No. 138 on the US album charts.

The 8-page inlay gives song-by-song breakdowns, photos of the ensemble musicians and some liner notes on the players by producer MICHAEL CUSCANA (as well as reissue credits). There's a 'Digitally Remastered' logo sticker on the jewel case and a silver inlay that says the same. GREGG GELLER has co-ordinated the Warner Remasters Series with TERESA CAFFIN and ED CHERNEY carrying out the transfers and remasters. They've done a fab job. This CD sounds fantastic – a transfer that's brought out the original production values with aplomb. Fans are going to love it.

It opens on the barnstorming and decidedly jolly (for a mean song) "Give It Up Or Let Me Go" where our Bonnie warns her potential suitor that if he wants he's... The ragtime Bluesy tune benefits from her giving it some National Steel bottleneck while John Payne, Peter Eckland, Amos Garrett and Freebo do the honours on Saxophone, Cornet, Trombone and Tuba. It's followed by the gorgeous "Nothing Seems To Matter" (without you) - a ballad with Dave Holland on Double Bass and John Payne on Saxophone (of "Astral Weeks" fame) both adding a huge amount of ambience to the song. Both opening tracks are singing with the Remaster too. New Orleans songwriter and R&B singer Barbara George enjoyed a No. 3 Pop placing with her own "I Know" on the obscure A.F.O. Records 302 way back December 1961 - Bonnie keeps it Orleans and does some fantastic National Steel while Marc Jordan plays funky piano and John Hall (later with Orleans) and British Apple singing Jackie Lomax provide backing vocals). The goodies just keep on coming with a wickedly good cover of James Ray's "If You Gotta Make A Fool Of Somebody" (written by Rudy Clark) - a No. 22 Pop hit Washington DC singer way back in December 1961 on Caprice Records 110. 

A perfect Side 1 ends on another winner - a Chris Smither Blues boogie and probably many people's fave track on the album - "Love Me Like A Man". I loved Smither's CD album "Drive You Home Again" from 1999 on Hightone Records (check it out if you can) and fell for his huge voice and sly way with a lyric. They’re songwriting/musical connection stretches way past 1972 though. Raitt does a duet with him on a haunting cover of Bob Dylan's "Desolation Row" on Smither's "Train Home" CD album from 2003 – fantastic stuff. Back to 1972 - on "Love Me Like A Man" it's like Smither has tapped into her zeitgeist - the swagger and sexiness of the woman mixed with a need for a pair of strong arms and not flapping jaws ("...a man who take me home instead of taking me for a ride..."). And she plays great slide on it too - superb stuff.

Side 2 changes mood big time and offers us "Too Long At The Fair" by Joel Zoss - a forlorn tired song with John Hall giving it some superb Lead Electric Guitar. None other than Jackson Browne penned the driving boogie of "Under The Falling Sky" which features Paul Butterfield on Harmonica and Tim Moore on Backing Vocals (very cool little tune and the remaster rocks). "You Got To Know How" is an old Sippie Wallace song with additional lyrics from Jack Viertel - Van Morrison's blower John Payne giving it some ragtime clarinet throughout. Bonnie's own "You Told Me Baby" is original number three - an excellent song that's a bit marred by too many instruments fighting for supremacy (horn arrangements by Eric Kaz). Libby Titus and Eric Kaz wrote the touching closer "Love Has No Pride" where Bonnie sings with conviction - "...love has no pride...when I call out your name...I'd give anything...to see you again..." She also plays all instruments except Freebo on the Fretless Bass.

You'd have to say that Side 2 isn't as consistently good as Side 1 - but that doesn't stop the whole album from feeling like "Give It Up" is some kind an 'overlooked' gem that begs rediscovery.

In February 2016 Bonnie released her 20th album "Dig In Deep" and already it's received a warm welcome and many rave reviews. This great American Blues Lady has been a class act for a very long time...time to respect that...

"The Clovers" by THE CLOVERS (2012 Japan 'Atlantic 1000 R&B Best Collection' CD Remaster) - A Review by Mark Barry...

"...Lovey Dovey All The Time..."

THE CLOVERS rare self-titled debut LP from 1956 on Atlantic Records (re-issued in 1957) is a bit of a R 'n' B and Vocal group barnstormer. And although it didn't contain the immortal drinking-creates-babies song "One Mint Julep" – its cracking 14 tracks represented a sort of 'Best Of' in all but name (US singles that sold huge numbers between 1950 and 1956 on the American R&B charts).

First though a little bit about the CD Series this reissue is presented on - using the generic title 'Atlantic 1000 Best R&B Collection' - these 'limited release' titles out of Warner Brothers Japan were released steadily between October 2012 and February 2014. In the end the tally reached an amazing 250+ different rare releases across the huge WEA catalogue covering Atlantic, Atco, Stax, Curtom and so on (mostly 50ts R&B and Blues with 60ts and 70ts Soul and Funk - see my online blog for a full list and catalogue numbers). Some (you may have noticed) have even been re-pressed in Europe and sold with the Japanese Obi strips behind the shrinkwrap at less than a fiver (using the same Barcodes and Masters).

For the Japanese-Pressed issues the '1000' in the title refers to their price code. Each features a budget price tag of 952 Yen that depending on exchange rates is roughly $9 to $11 for US customers, £5.50 to £7.50 for UK buyers and 8 to 9.20 Euros for Europeans (with P&P added on of course). Roughly speaking they weigh in at about £10 sterling per title INCLUDING post - which is the cheapest I've seen quality Japanese-pressed CDs ever go for.

And what's really enticing is that all issues feature 2012 and 2013 Digital Remastering (DSD) with many titles reissued that were long out of print (and due sonic upgrades) – or new to CD entirely. They come in standard jewel cases (NOT mini repro sleeves – nor SHMs) with an inner booklet containing the lyrics and description etc and an outer Obi strip. The CD label design will usually mimic the original release too – in this case the black 'Atlantic' Records logo with its 'Long Playing Unbreakable' promise beneath.

This 7 November 2012 Japan-only reissue of "The Clovers" by THE CLOVERS on Atlantic/Rhino/Warner Music WPCR-27567 (Barcode 4943674126668) is a straightforward CD transfer of the rare American LP (37:45 minutes). The 12-page booklet features Japanese-language liner notes - lyrics in English and a very clear repro of the LP's rear sleeve liner notes by Jack Walker. The Obi has 'Digital Remastering' on it – other than that It doesn't say who or what. Having said that - the Audio is fantastic - there's a great depth of sound off these Japanese issues - although I'd say in a heartbeat that the 9 tracks across Bear Family's fabulous "Street Corner Symphonies" CD Series (stretching from 1950 to 1959) sound better - especially in the notorious "Don't You Know I Love You" track that seems to have distortion on every version. The Bear issue is the cleanest I've ever heard it - although the rest are excellent - that track here is decidedly sub-par.

Side 1:

1. Love, Love, Love (May 1956 USA 7" single on Atlantic 45-1094, A)

2. Lovey Dovey (March 1954 USA 7" single on Atlantic 45-1022, A)

3. Yes, It's You (March 1953 USA 7" single on Atlantic 45-989, B-side of "Crawlin'")

4. Ting-A-Ling (July 1952 USA 7" single on Atlantic 45-969, A)

5. I Played The Fool (October 1952 USA 7" single 45-977, A)

6. Hey Miss Fanny (October 1952 USA 7" single 45-977, B-side of "I Played The Fool")

7. Don't You Know I Love You (March 1951 USA 7" single 45-934, A - their 1st Atlantic 45)

Side 2:

8. Middle Of The Night (March 1952 USA 7" single on Atlantic 45-963, B-side of "One Mint Julep")

9. Blue Velvet (April 1955 USA 7" single on Atlantic 45-1052, A)

10. Little Mama (March 1954 USA 7" single on Atlantic 45-1022, A)

11. Crawlin' (March 1953 USA 7" single on Atlantic 45-989, A)

12. Here Goes A Fool (June 1953 USA 7" single on Atlantic 45-1000, B-side of "Good Lovin'")

13. I Got My Eyes On You (July 1954 USA 7" single on Atlantic 45-1035, A)

14. Devil Or Angel (January 1956 USA 7" single on Atlantic 45-1083, A)

Tracks 1 to 14 are their debut LP "The Clovers" (aka "Rock & Roll") - released 1956 in the USA on Atlantic 1248, re-issued in 1957 on Atlantic 8009 (both in Mono). The 1957 reissue Artwork and Label are used for this Japanese CD.

As you can see from the list above - every track was a single - what the 14 entries don't tell you is the amazing track record they had on the R 'n' B charts. Between the years this LP covers (1950 and 1956) - they clocked up three No. 1's - "Don't You Know I Love You", "Fool, Fool, Fool" and "Ting-A-Ling" - four No. 3's - "Middle Of The Night", "I Played The Fool", "Crawlin'" and "Devil Or Angel" with the remainder Top 5 or Top 10 at worst. Along with Joe Turner, Ruth Brown and LaVern Baker - THE CLOVERS were a huge star attraction for Atlantic Records - and that's what makes this LP so damn good - it's chock full of hits and their equally cool flip-sides. 

You could argue I suppose that you just get "The Platinum Collection" 22-track CD for less than five quid (remastered also - see separate review) - but I'd argue there's something about these Japanese issues that both sounds and looks the part. 

And that's all the Rock 'n' Roll enticement I need...

"In Dreams" by ROY ORBISON (2006 Monument/Legacy 'Extended' CD Remaster) - A Review by Mark Barry...

"...I'm Going Back One Day To Blue Bayou..."

Having established his vocal credentials with his December 1960 debut LP "Roy Orbison Sings Lonely And Blue" (a legendary Audiophile creation especially in Stereo) followed by sucker-punch number two – April 1962's "Crying" – the 'Big O' continued in that vein with a third classic platter of lusty growls and dignified pleading – August 1963's "In Dreams".

Re-listening to it in 2016 on this fab little CD and you’re struck by the awesome Audio, the sheer classiness of the songwriting and his battle weary persona – a strangely warm and accessible thing that seemed to straddle that thin line between young love's emotional highs vs. bottomless heartbreak and still come out smelling of roses. And like its two CD predecessors - this tasty Sony/Legacy 'Extended Edition' CD Reissue/Remaster does that old 60ts long player a solid by adding on four cleverly chosen bonus tracks actually worthy of the moniker (singles in and around the LP). Here are the dreamlike details...

USA released August 2006 (October 2006 in the UK and Europe) – "In Dreams" by ROY ORBISON on Monument/Legacy/Sony BMG 82876 85573 2 (Barcode 828768557327) is an 'Expanded Edition' CD Remaster and plays out as follows (41:47 minutes):

1. In Dreams

2. Lonely Wine

3. Shahdarabo

4. No One Will Ever Know

5. Sunset

6. House Without Windows

7. Dream [Side 2]

8. Blue Bayou

9. (They Call You) Gigolette

10. All I Have To Do Is Dream

11. Beautiful Dreamer

12. My Prayer

Tracks 1 to 12 are his third album "In Dreams" - released August 1963 in the USA on Monument MLP 8003 (Mono) and Monument SLP 18003 (Stereo) and November 1963 in the UK on London HA-U 8180 (Mono) and London SH-U 8180 (Stereo). Produced by FRED FOSTER – the STEREO Mix is used for the CD.

BONUS TRACKS:

13. Falling

14. Distant Drums

Tracks 13 and 14 are the non-album A&B-sides of a 7” single released May 1963 in the USA on Monument MO 815 and in the UK on London HL-U 9727. It peaked at No. 22 and No. 9 in the US and UK singles charts respectively. "Distant Drums" was also used as the B-side to "Let The Good Times Roll" in the USA on Monument 906 in October 1965 (peaked at No. 81).

15. Mean Woman Blues

Track 15 is the non-album 7” single Double-A with "Blue Bayou" released August 1963 in the USA on Monument 45-824 (written by Claude DeMetrius) and September 1963 in the UK on London HL-U 9777. It peaked at No. 3 in the UK and twice in the USA, first at No. 5 as the lead song in September 1963 and then at No. 29 as the B-side of "Blue Bayou" in October 1963.

16. Pretty Paper

Track 16 is a non-album 7” single A-side (written by Willie Nelson) released December 1963 in the USA on Monument 45-830 and November 1964 in the UK on London HLU 9930 with "Summersong" on the B-side.

MUSICIANS:

GUITARS – Harold Bradley, Hank Garland, Fred Carter Jr., Ray Edenton, Jerry Kennedy, Scotty Moore, Wayne Moss and Joe Tanner

TRUMPET – Carl Garvin and Cam Mullins

SAXOPHONE – Boots Randolph

HARMONICA – Charlie McCoy

PIANO – Floyd Cramer and Bill Pursell

BASS – Bob Moore

DRUMS – John Greubel and Buddy Harman

VIOLA - Howard Carpenter

CELLO – Bryan Bach

VIOLINS – Brenton banks, George Binkley III, Aileen Fentress, Solie Fott, Lillian Hunt, Jane Norris, Vernal Richardson, Wilda Tinsley and Dorothy Walker

BACKING VOCALS – Joe Melson and The Anita Kerr Singers

Although it has three sepia-tinted Roy photos (smiling at camera) – apart from the repro of Boudleaux Bryant's liner notes – there is naught else by way of history or discussion (more's the pity). The booklet is pretty to look at admittedly but such a shame that Sony and compiler GREG GELLER didn't stretch out a tad with the info (he deserved more). There's a fourth sepia photo of Roy beneath the see-through CD tray.

But all of that is naught to the truly beautiful CD Audio you get the second you start playing the expertly crafted songs. VIC ANESINI did the Remasters at Sony Studios in New York – and he's a name I've sung the praises of before. Anesini has handled very prestigious SONY catalogue – Elvis Presley, Simon & Garfunkel, The Byrds, Nilsson, Stevie Ray Vaughan, Carole King, Janis Joplin, Blood, Sweat & Tears, Santana, Paul Simon, Mountain, Lou Reed and The Jayhawks to name but a few. Clean – full of presence and warmth – this thing is a joy to listen too. And even if the strings and Anita Kerr Singers do tend to over dramatise some of the songs – Orbison's voice is a thing of wonder throughout. It's also one of those reissues that become vastly enhanced by the addition of four smartly chosen and apt bonus tracks - the two sides of the shuffling single "Falling" (with "Distant Drums" on the flip) and the fantastic 'shapely hips' dancer "Mean Woman Blues" double A-sided with the beautiful "Blue Bayou". When he does that 'grrrrr' growl in "Mean Woman Blues" it always raises a grin...

Like the "...Only The Lonely" LP – this album opens with a mighty epic – "In Dreams". Our hero only has to "...close my eyes and drift away..." and he's with his squeeze in some beach setting where the cruelty of reality is no more. The audio on this mini masterpiece is (if you'll forgive the pun) – monumental – and all the more impressive to see that like much of the album the song is penned by Roy with his songwriting buddy of choice – Joe Melson. Roy Wells wrote the lovely ballad "Lonely Wine" - a very classy affair with gorgeous Production values. The desert rhythms of the 'Nile' song "Shahdaroba" is probably a bit naff by today's reckoning but the rat-a-tat-tat marching beats of "No One Will Ever Know" is superb - another melodrama builder supplied by the great Tennessee songwriter Fred Rose. Another hidden nugget is the Side 1 finisher "House Without Windows" where the Big O has moved into a windowless home so he never has to see his heart's desire pass by (bit radical Roy).

Side 2 opens with a beauty - Roy's cover of the Johnny Mercer classic "Dream" strummed on a Spanish Guitar before that familiar drum shuffle kicks in (the audio is beautiful on this track). Linda Ronstadt knew the sheer songwriting class that filled every second of "Blue Bayou" when she covered it for her 1977 album "Simple Dreams" - her 7" single version peaking at a huge No. 3 in October 1977 on the US Pop charts. Roy's version features a very cool Charlie McDaniels Harmonica solo. Other highlights on the side include a cover of The Everly Brothers classic "All I Have To Do Is Dream" and Stephen Foster's ancient but gorgeous and haunting ballad "Beautiful Dreamer" (check out Raul Malo of The Mavericks who did a version of it for the "Songs Of Stephen Foster 1826-1864" CD project in 2004). The Extras really pump up an already great album - four winners in exactly the same vein as the album cuts - all forlorn singing ("Falling") and saucy 'grrrrrrs' ("Mean Woman Blues"). In fact of the three Sony/Legacy 'Expanded Edition' CDs – I'd have to say that "In Dreams" is probably my favourite (I've reviewed the other two also).

Done in conjunction with the Roy Orbison estate – this is a sweetheart of a release and one that boasts exceptional Audio too (classy like the great man himself).

"...I feel so bad...I've got a worried mind...looking forward to happier times..." - Roy sang on "Blue Bayou". Happier times are right here...

"The Eddie Cochran Memorial Album" by EDDIE COCHRAN (Inside The 2009 Bear Family 'Somethin' Else: Ultimate Collection' Box Set Remasters) - A Review by Mark Barry...

"...You're Sure Fine Lookin'..." 

It's astonishing to think that when Ray Edward Cochran was taken from us in a freak car accident while on tour in England in April 1960 (Sunday the 17th on his way to London’s Heathrow) - he was only 6 months into his 21st year and had already clocked up over 200 recordings. Yet when it comes to CD – the fabulous Cochran is usually represented by a single disc ‘Best Of’ – few thinking to track down his LP legacy.

Well I’d argue that its time to go back to basics and hear his 2nd platter (posthumously) called "The Eddie Cochran Memorial Album" as a stand-alone. Despite its morbid title and artwork that wasn’t nearly as pretty as his July 1958 debut LP "Singin' To My Baby" - I'd argue it's a truly fantastic Rock 'n' Roll album that contains huge hits like "C'mon Everybody", "Three Steps To Heaven", "Summertime Blues" and "Somethin' Else" as well as other lesser-heard goodies like the rockin' "Jeannie, Jeannie, Jeannie".

You can get the album on this cheap-as-chips Hallmark CD - or do what I did - fork out big time. I found the tracks inside "Somethin' Else: The Ultimate Collection" by EDDIE COCHRAN – a mammoth Box Set typical of my favourite German reissue company’s legendary excellence. Released February 2009 on Bear Family BCD 15989 HK (Barcode 4000127159892) – “Somethin’ Else” gives punters best-audio 8CDs housed in label-themed 2-disc jewel cases inside a 12” x 12" Box Set offering up a huge 262 tracks. There's a beautifully illustrated album-sized 194-Page Hardback Book that is a truly a thing of beauty (yes ‘hardback’!). The set was compiled and prepared across several years by noted experts ANTOON VAN OLDEREN and Bear Family label boss RICHARD WEIZE. But this kind of quality and high-art finish doesn't come cheap - there's little change out of one hundred & fifty pounds - even online. A team consisting of 'BOPPIN' BOB JONES, JAY RANELUCCI, SAM SZCZEPANSKI (for Ivywood Productions) and PETER J. REYNOLDS handled the transfers and remasters. And being Bear Family - the sound quality is gorgeous - first generation tapes used - meticulous transfers - a superb job done. Here’s how to locate the album within the Box Set (3/6 = Disc 3, Track 6 and so on):

Side 1:

1. C'mon Everybody [3/6]

2. Three Steps To Heaven (Version 2) [3/32]

3. Cut Across Shorty (Speeded Up Version) [3/33]

4. Jeannie, Jeannie, Jeannie [2/26]

5. Pocketful Of Hearts [2/24]

6. Hallelujah, I Love Her So [3/26]

7. Don't Ever Let Me Go [3/5]

Side 2:

1. Summertime Blues [4/1]

2. Teresa [2/28]

3. Somethin' Else [3/17]

4. Pretty Girl [2/25]

5. Teenage Heaven [3/8]

6. Boll Weevil Song [3/18]

7. I Remember [3/9]

His 14-Track 2nd UK LP "The Eddie Cochran Memorial Album" was released in MONO on London HA-G 2267 in September 1960.

It was to be called "12 Of His Greatest Hits" and released just before the accident - but fate stepped in. Withdrawn and given the new moniker - Cochran's official 2nd LP opens on a stunner – "C'mon Everybody". Even now it gives me a thrill when he sings "...when you hear the music you just can't sit still...if you're brother won't rock...then your sister will..." This was young music and kids new that handsome Eddie was their kind of guy. Every bar band has cut their teeth on "Three Steps To Heaven" (not sure if they found the girl they love in Step 1 though). Marijohn Wilkin and Wayne Walker penned the witty rabbit and hare song "Cut Across Shorty" which Rod Stewart covered on his 2nd album "Gasoline Alley" in 1970. Next up is my fave-rave "Jeannie, Jeannie, Jeannie" - a fabulous Rock 'n' Roll rave up. There's a superb Rockstar Records reissue LP from may 1985 called "Portrait Of A Legend" that featured 10 STEREO tracks for the first time - one of which is a STEREO 'overdub with guitar' take of this stunning rocker - it turns up as Track 7 on Disc 5. Fred Dexter's "Pocketful Of Hearts" is a tad sappy but his cover of Ray Charles' "Hallelujah I Love Her So" lifts proceedings considerably. Dale Fitzsimmons provided "Don't Ever Let Me Go" - a very Buddy Holly influenced shuffling ballad.

Side 2 opens on another winner and teenage rebellion anthem – the 'too young to vote' song "Summertime Blues". It sounds great here - big acoustic guitar and those hand claps. Things get decidedly schlocky with "Teresa" - a 'cuter than a rosebud' crooner tune complete with awful girly vocals (best avoided). It's annihilated by the real deal - the 'sure fine looking' rumble of "Somethin' Else". What a tune and given full reign with the big remaster (a co-write with Sharon Sheeley). Cochran and songwriter Jerry Capehart pumped out the next three rockers - "Teenage Heaven" (featuring in the movie "Go, Johnny, Go!" in 1959 and was a hit single for Eddie on Liberty F-55177), "Boll Weevil Song" and the final ballad - the lovely and criminally forgotten "I Remember". It leaves you feeling that the whole album is one of the greats - albeit an overlooked one.

Issue No. 17,522 of The Daily Mail (Monday, 18 April 1960) headlined that 'Rock Star Dies In Crash' - picturing a smiling Cochran and the mangled British Taxi that took his life and injured Gene Vincent and Eddie's girl and songwriter Sharon Sheeley. Sad, sad, sad - better to remember him with this superb Rock 'n' Roll album...