"Just For Love" by QUICKSILVER MESSENGER SERVICE [feat Dino Valenti, John Cipollina and Nicky Hopkins] (December 1992 Beat Goes On CD Remaster) - A Review by Mark Barry...

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"...It's Alright With Me..."

Recorded in and around the beautiful at-one-with-nature Opaelua Lodge in Hawaii in May and June of 1970 - Quicksilver Messenger Service's 4th album certainly looked the part with its tasty Capitol Records gatefold cover and colour collage of the boys on the inner gatefold giving in some live aloha homage to the Goddess Pele.

I’ve always thought "Just For Love" to be bloody genius - but with the album’s space-filling meandering instrumentals that seemed to be in search of a song amidst the drugs and grass skirts – and those ever-so-slightly irritating echoed vocals by someone clearly just about holding it together - not everyone was so 'peaced out' when it was released. I've always thought "Just For Love" a product of the times – something that must be taken on face value (the Sixties still hanging on in a haze of mind altering substances). But me - I adore that sloppy feel - like QMS has suddenly morphed into a melodic Crosby, Stills, Nash & Young having way too much fun in the studio and not caring about the placing of the microphones (juts play and feel it boys). Here is the world's most reasonable non-druggy review...

UK released December 1992 (reissued many times since including the latest December 2008) - "Just For Love" by QUICKSILVER MESSENGER SERVICE on Beat Goes On BGOCD 141 (Barcode 5017261201416) is a straightforward CD Remaster of the 9-track 1970 US LP and plays out as follows (39:31 minutes):

1. Wolf Run (Part 1)

2. Just For Love (Part 1)

3. Cobra

4. The Hat

5. Freeway Flyer [Side 2]

6. Gone Again

7. Fresh Air

8. Just For Love (Part 2)

9. Wolf Run (Part 2)

Tracks 1 to 9 are their fourth album "Just For Love" - released August 1970 in the USA on Capitol SMAS-498 and November 1970 in the UK on Capitol EA-ST 498. Produced by JOHN SELBY - it peaked at No. 27 in the USA (didn't chart UK)

For "Just For Love" QUICKSILVER MESSENGER SERVICE was:

DINO VALENTI - Lead Vocals, Guitar, Congas and Flute

GARY DUNCAN - Lead Electric and Acoustic Guitars and Maracas

JOHN CIPOLLINA - Lead Electric and Slide Guitar

DAVID FREIBERG - Bass Guitar, Guitar and Vocals

GREGORY ELMORE - Drums and Percussion

NICKY HOPKINS (Guest) - Piano

The 8-page inlay doesn't feature liners notes (bummer that) but it does reproduce that beautifully laid out Capitol Records gatefold cover art of 1970. The colour-collage is spread across the centre-pages whilst the 'world's most magical brat' and 'world's most rhythmic mystic' annotation is reproduced on the other pages (Dan Healy is the 'wired wizard' Engineer etc). Truth be told – BGO could do with upgrading the presentation of this reissue – I for one think the music deserves such a treat (big booklet, card slipcase etc).

It doesn't say which engineer Remastered the album at Sound Engineering Technology in Cambridge in 1992 (sounds like Duncan Cowell?) – but they did a stomping good job. Always a sloppy recording and perhaps not to everyone's taste – it's this very element that I love most about "Just For Love" and that's been kept in tact sweetly by this tasty transfer.

The re-introduction of the volatile Valenti into the ranks along with the guitar magic of Cipollina (would later form Copperhead) trading off against Gary Duncan while England's Nicky Hopkins adds the whole sound stage a classiness on his old piano - added up to a powerhouse unit.

A Flute and Tabla open Part 1 of the short instrumental "Wolf Run" – a sort of precursor to the who-gives-a-monkeys stuff to come. Then Part 1 of the title track "Just For Love" features Valenti who seems to wander up to and away from the microphone as he warbles on about being "touched softly" and being "free as the wind" (yeah baby). Huge drums introduce the wickedly good slightly country-ish "Cobra" which sounds like Gram Parsons is about to rock out – guitars flicking as a funky piano anchors proceedings. The ten-minute Side1 finisher "The Hat" is the kind of Stephen Stills-Band-Van Morrison acoustic-guitar sloppy work out that I adore. It's loose and feels improvised for sure and of course it overstays its welcome in places - but actually I quite like that and the band's chemistry is incredible as Gary Duncan proves his 'world's most funky saint' moniker in the liner notes while Valenti moans the vocals and Nicky Hopkins earns his stunning piano-playing sessionman reputation.

"...Let's try one more..." comes the count in for the band on the rollicking Side 2 opener "Freeway Flyer" where QMS sound like a drugged out Band letting rip on lyrics like 'dangerous stranger' rhyming with 'Psychedelic stranger'. Freiberg and Elmore keep the Bass and Drums rhythm section tight yet loose as Cipollina wigs out of Electric Guitar (I'm reminded of that in-house-jam feel guitarists Danny Kirwan and Jeremy Spencer got to their "Kiln House" LP for Fleetwood Mac also in 1970). That's followed by the lovely and very Hawaiian-peaceful seven minutes of "Gone Again" - the strummed guitar - the echoed vocals - the distant piano plinking as he sings "...my mind gets lonely...my crazy heart starts to gambling..." - I've always thought this one of this inexplicably gorgeous blissed out songs that feels right on a Sunday morning coming down ("...letting go feels so groovy now..."). There’s an almost Beach Boys quality to the band’s harmony vocal work on the ‘have another hit’ of "Fresh Air" – and dig the stunning piano work from Nicky Hopkins and Valenti’s impassioned ‘take me home with you’ vocals. It ends on two short snippets – Valenti singing of masquerades and the end of charades in the wildly echoed Part 2 of "Just For Love" while Part 2 of "Wolf Run" sounds cool and all hippyish if not a little pointless.

There are many (and will be many) who think much of "Just For Love" is a band faffing about and producing genius amidst the knob with perhaps too much emphasis on the whimsy. But I for one dig it the most.

"...Whatever you're doing...it's alright with me..." - Dino Valenti sings as the mighty ten-minutes of "The Hat" starts to fade out. Amen to that man...

"Crying Song/Afro-Classic/The Rite Of Spring" by HUBERT LAWS (August 2014 Beat Goes On Reissue - 3LPs onto 2CD - Andrew Thompson Remasters) - A Review by Mark Barry...

"…Love Is Blue…" 

In their on-going trawl through the Charles Taylor Inc catalogue of primo Jazz albums from the late Sixties and into the late Seventies (CTI Records) - Beat Goes On of the UK (BGO) gives us 3 albums by Jazz Flutist HUBERT LAWS onto 2CDs.

Released 25 August 2014 – "Crying Song/Afro-Classic/The Rite Of Spring" by HUBERT LAWS on Beat Goes On BGOCD 1149 (Barcode 5017261211491) offers 3LPs Remastered onto 2CDs and breaks down as follows:

Disc 1 (71:32 minutes):

1. La Jean

2. Love Is Blue/Sing A Rainbow

3. Crying Song (from the motion picture “More”)

4. Listen To The Band

5. I’ve Gotta Get A Message To You

6. Feelin' Alright

7. Cymbaline

8. How Long Will It Be?

9. Let It Be

Tracks 1 to 9 are the album “Crying Song” – released 1969 in the USA on CTI Records CTI 1002

10. Fire And Rain

11. Allegro From Concerto No. 3 In D

12. Theme From Love Story

13. Passacaglia In C Minor

14. Flute Sonata In F

Tracks 10 to 14 are the album “Afro-Classic” – released 1970 in the USA on CTI Records CTI 6006

Disc 2 (30:53 minutes):

1. Pavane

2. The Rite Of Spring

3. Syrinx

4. Brandenburg Concerto No. 3 (First Movement)

5. Brandenburg Concerto No. 3 (Second Movement)

Tracks 1 to 5 are the album “The Rite Of Spring” – released 1972 in the USA on CTI Records CTI 6012

The chunky 20-page booklet has superb liner notes by noted musical expert CHARLES WARING with reminiscences from the great player himself - while the 2014 ANDREW THOMPSON remasters are typically lovely – the rhythm and vibes so complimentary – allowing Laws to solo over them without drowning them out. It also comes with a card slipcase.

Even with the best will in the world – it’s hard to get excited about someone doing a Flute interpretation of “Sing A Rainbow”- (Track 2 on “Crying Song”) - awful stuff that would embarrass elevator music. But then you’re suddenly hit with two unexpected hypnotic gems – his covers of Pink Floyd’s “Crying Song” and “Cymabaline” – both from their 1969 Soundtrack “More”. They’re trippy and very cool. Funk dudes on a Jazz tip will dig the hip version of a hip tune – “Feelin’ Alright” - Dave Mason’s Traffic hit – a song that’s been covered to buggery ever since because it’s just so damn good.

1970’s “Afro-Classic” opens with a great organ-flute Jazz interpretation of James Taylor’s “Fire And Rain” clocking in at just eight minutes with Dave Friedman giving it some fuzz-pedal vibes. The rest of the album’s mainly orchestral takes of Bach and Mozart seem wildly out of place after the tuned-in and turned-on opener.

Debussy, Bach and Stravinsky dominate 1972’s “The Rite Of Spring” this time upping the acoustic guitars in tandem with the vibes and flute. Both “Pavane” and the title track feature fusion centre passages while the second half of the album is taken up by orchestral versions the “Brandenburg Concerto No.3”.

Beautifully presented and sounding wonderful – it’s an acquired taste for sure – but if you’re a fan – then this BGO remaster is another quality buy…

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"Time And A Word" by YES (2003 Elektra/Rhino 'Expanded Edition' CD -Dan Hersch and Bill Inglot Remaster) - A Review by Mark Barry...

"...Life Will Be Even Bolder..."

Produced by TONY COLTON (a close friend of Jon Anderson and the lead singer with Heads, Hand & Feet - another Atlantic Records act on the up) - Yes' second platter "Time And A Word" from July 1970 saw our British Prog Heroes take on an 'orchestra' to mixed results - good and bad. 

Personally I've always thought their first two albums wildly underrated and under appreciated (most fans want to begin their catalogue with 1971's brilliant "The Yes Album" and i can understand that) - but I'd argue that the four 'Bonus Tracks' on this 2003 Elektra/Rhino CD Remaster of "Time And A Word" lift proceedings into the realms of essential purchase for fan and newcomer alike. Here are the timely details...

UK released February 2003 (reissued April 2013) - "Time And A Word" by YES on Elektra/Rhino 8122-73787-2 (Barcode 081227378721) is an 'Expanded Edition' CD Remaster with Four Bonus Tracks that plays out as follows (60:15 minutes):

1. No Opportunity Necessary, No Experience Needed

2. Then 

3. Everydays 

4. Sweet Dreams 

5. The Prophet [Side 2]

6. Clear days 

7. Astral Traveller 

8. Time And A Word 

Tracks 1 to 8 are their 2nd studio album "Time And A Word" - released June 1970 in the UK on Atlantic Records 2400 006 (reissued December 1971 on Atlantic K 40085) and November 1970 in the USA on Atlantic SD 8273. The US issue had different artwork to the UK original - the first page of the booklet uses the UK artwork (naked lady in black and white) whilst the last page of the booklet uses the US cover (a colour photo of the 5-piece band). 

BONUS TRACKS: 

9. Dear Father - UK-only 7" single on Atlantic 2091 004 released 15 June 1970 - B-side to "Sweet Dreams" (album track No. 3)

10. No Opportunity Necessary, No Experience Needed (Original Mix) 

11. Sweet Dreams (Original Mix) 

Tracks 9 to 11 also first appeared on an early German pressing of the "Time And A Word LP" in April 1970

12. The Prophet - UK-only 7" single on Atlantic 584 323 released 27 March 1970 - B-side to "Time And A Word" (album track No. 8)

For "Time And A Word" YES was:

JON ANDERSON - Leads Vocals

PETER BANKS - Lead Guitars 

TONY KAYE - Keyboards 

CHRIS SQUIRE - Bass

BILL BRUFORD - Drums

The first remaster of this album in November 1994 simply presented fans with the 8-track album and as it was a US based reissue - it used the American colour artwork. This new 2004 stab at it goes back to the British artwork and design of Laurence Sackman (the US variant is on the last page of the booklet) and adds on four tasty Bonus tracks Previously Unissued in the USA. The 16-page booklet detailed and informative liner notes from MIKE TIANO and the text is peppered with colour/black and white period photos of the band. The rare lyric insert that came with original vinyl issues is also reproduced - there's a photo f the band beneath the see-through CD tray and the only tiny glitch that I can see is that Rhino used the December 1971 reissue artwork for Atlantic K 40085 on Page 2 (the rear of the UK sleeve) with the WEA credit when it should have been Atlantic 2400 006 - the 1970 original when WEA didn't exist. Other than that the booklet is very tastefully done - Rhino's quality shining through. But the big news here is a new DAN HERSCH and BILL INGLOT CD Remaster at Digiprep from original master tapes and they've done a sterling job - full, alive and coming at you with real presence. 

The album opens with a Richie Havens cover version lifted from his second album on Verve Forecast "Somethin' Else" called "No Opportunity Necessary, No Experience Needed". YES take the 1968 Folk-Soul song and its inherent funky beat and add their Prog Classical slant and actually it works. Driven by Squire's huge Bass notes and Kaye's frantic Organ - it could actually be a Yes song - in fact you can hear "Yours In No Disgrace" in its structures. But it's "Then" and the fabulous "Everydays" that brings the LP to life - brilliant rhythms as Jon sings "...love is the only answer..." and that gorgeous languid Blues-feel to "Everydays". I know you could argue that "Then" in particular could have done without the strings - but the combo of strings and Kaye's slinky organ notes on "Everydays" along with that cool cymbals and guitar Prog break actually make the song. 

Atlantic figured the ever-so-slightly commercial feel to "Sweet Dreams" would make a great 45 - so they give it pride of place as an A-side in mid June 1970 with the none-album "Dear Father" on the flipside - but despite the strength of both sides - it sank without a trace presently clocking in at £45 in the latest 2018 RC Price Guide. But that's as naught to the rarity of the album's first single - the non-album mix of "The Prophet" b/w the album’s version of the title track "Time And A Word". No one seems to know how many stocks copies of Atlantic 584 323 were released in March 1970 in their native Britain - but it wasn't a lot and has subsequently become a notorious YES collectable clocking in at £175.00 - if you can actually find a copy. Both of those rare non-album 45 versions are included here as Bonus Tracks and welcome additions they are too. 

The album version of "The Prophet" opens Side 2 (different to the single mix) and at 6:40 minutes gives you the full Jon Anderson/Chris Squire penned gamut of Yes sounds. Again I think the when the strings come in - it adds rather than detracts (others would disagree). The remaster has great power when the band finally kicks in - that Peter Banks guitar passage particularly clear as Jon starts to sing "...a tale of yesterday..." Lead vocalist and founder member Jon Anderson penned "Clear Days" - a song that goes all "Eleanor Rigby" on the string additions to the point where it's difficult to hear any other instrument. But along with the piano - it feels epic and clever. The near six-minute "Astral Traveller" is more like "The Yes Album" Yes people love - Anderson warbling about "...wandering where lights go..." and leaving out the body load (know what you mean man). The opening acoustic guitars of “Time And A Word” are beautifully clear and I’d forgotten how good parts of the song is - similar musical themes that turned up on parts of "Tales From Topographic Oceans". 

The 1969 debut is better for sure and the next LP in 1971 "The Yes Album" is a masterpiece - a band finally arriving and unleashing their potential. "...And the word is love..." - Jon Anderson sings on "Time And A Word" - "...and it's right for me..." I feel the same way about this forgotten part of their mighty catalogue.

PS: This 2003 Remaster variant of "Time And A Word" including the Bonus Tracks also turns up inside "The Studio Albums 1969-1987" Box Set which is amazing value for money and includes repro artwork but not the booklet...

"In The Wake Of Poseidon: 40th Anniversary Series" by KING CRIMSON (2010 Panegyric CD and DVD-Audio Reissue - Steven Wilson and Robert Fripp Remasters) - A Review by Mark Barry...

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"...Cadence And Cascade...Sliding Mystified..."

Always in the shadow of its illustrious and shockingly original predecessor "In The Court Of The Crimson King" (their debut from October 1969) - KING CRIMSON's second platter "In The Wake Of Poseidon" arrived mid May 1970 in Blighty on Island ILPS 9127 to howls of genius and bollocks in equal measure.

The last Remaster stab at this album came in 1999 for a 30th Anniversary Edition (Simon Heyworth and Robert Fripp did the honours) - but this '40th Anniversary Series' Edition has had the magic and nimble fingers of STEVE WILSON around it's smiling throat - and once again the Porcupine Tree boy wonder has brought forth nuances that I for one hadn't heard before (the DVD-A includes the 1999 Remaster and Flat Transfer versions too). Here are the Cadences and Cascades...

UK released October 2010 - "In The Wake Of Poseidon: 40th Anniversary Series" by KING CRIMSON on Panegyric KCSP2 (Barcode 633367400222) is a CD and DVD-Audio Reissue and New Remaster that plays out as follows:

Disc 1 - CD (51:53 minutes):

Original Album - 2010 Mix

1. Peace-A Beginning

2. Pictures Of A City (Including 42nd At Treadmill)

3. Cadence And Cascade

4. In The Wake Of Poseidon (Including Libra's Theme)

5. Peace-A Theme

6. Cat Food

7. The Devil's Triangle (Part 1) Merday Morn

8. The Devil's Triangle (Part 2) Hand Of Sceiron

9. The Devil's Triangle (Part 3) Garden Of Worm

10. Peace-An End

Tracks 1 to 10 are their second studio album "In The Wake Of Poseidon" - released May 1970 in the UK on Island ILPS 9127 and September 1970 in the USA on Atlantic SD 8266. Produced by ROBERT FRIPP and PETE SINFIELD - the LP peaked at No. 4 and No. 31 on the UK and US album charts.

BONUS TRACKS:

11. Groon (2010 Mix)

12. Peace: An End (Alternate Mix)

13. Cadence & Cascade (Greg Lake Guide Vocal)

Disc 2 - DVD-AUDIO, NTSC, Region 0 (Code Exempt):

MLP Lossless 5.1 Surround

DTS 5.1 Digital Surround

Original Album

1. Peace-A Beginning

2. Pictures Of A City (Including 42nd At Treadmill)

3. Cadence And Cascade

4. In The Wake Of Poseidon (Including Libra's Theme)

5. Peace-A Theme

6. Cat Food

7. The Devil's Triangle (Part 1) Merday Morn

8. The Devil's Triangle (Part 2) Hand Of Sceiron

9. The Devil's Triangle (Part 3) Garden Of Worm

10. Peace-An End

11. Groon

Tracks 1 to 11 Mixed and Produced from the original multi-track tapes by STEVEN WILSON - except Tracks 7, 8 and 9 which were up-mixed to 5.1 from the original stereo master by SIMON HEYWORTH at Super Audio Mastering (Executive Producer Robert Fripp)

MLP Lossless Stereo (24/96)

PCM Stereo 2.0 (24/48)

2010 New Stereo Mix

As Per 1 to 11. Produced and Mixed by STEVEN WILSON and ROBERT FRIPP except Tracks 7 to 9 which are Pete Sinfield Produced original album mixes

Original 1970 Stereo Mix – 30th Anniversary Edition

Tracks 1 to 10 as above

30th Anniversary Edition Remastered by SIMON HEYWORTH and ROBERT FRIPP

DVD-Audio BONUS TRACKS:

1. Cat Food (Single Version) – March 1970 UK 7” on Island WIP 6080

2. Groon (Single Version) – Non-album B-side to Cat Food

Cadence And Cascade Versions:

3. Cadence & Cascade (Unedited Master)

4. Cadence & Cascade (Greg Lake Guide Vocal)

5. Cadence & Cascade (Instrumental Take from Wessex Studios)

Groon Versions:

6. Groon (Take 1)

7. Groon (Take 5)

8. Groon (Take 15)

9. The Devil's Triangle (Rehearsal Version from Wessex Studios)

10. Peace: An End (Alternate Mix)

Tracks 1, 2, 4 and 5 Produced by Robert Fripp and Pete Sinfield

Tracks 3, 6 to 8 and 10 Produced by Steven Wilson and Robert Fripp

KING CRIMSON was:

GREG LAKE – Vocals

ROBERT FRIPP – Guitars, Effects and Mellotron

KEITH TIPPET – Piano

PETER GILES - Bass

MICHAEL GILES – Drums

Guests:

MEL COLLINS (of Circus) – Saxophone and Flute

GORDON HASKELL – Vocals on "Cadence And Cascade" only

PETE SINFIELD – Words, Sleeve Design and Paintings

Like the other issues in this series – the outer card slipcase and 2-disc foldout digipak contained within are aesthetically nice in a limited sort of way – but the loose 16-page booklet leaves much to be desired despite a short and informative set of liner notes by noted writer and music nut – SID SMITH. Not surprisingly you get the "Cat Food" picture sleeve to Island WIP 6080 pictured as well as the rare New Zealand pressing of the album on none other than a Vertigo 'Spiral' label – but alongside some black and whites of the boys in the studio and a Disc/Music Echo advert for the LP – there's not a lot else. The print is tiny and when you consider just how stunning the Jethro Tull Book Reissues are (I think there's six now including a recently reviewed "Stand Up: Elevated Edition" which may well be Reissue of the Year 2016 in my books) – the presentation on all of these Crimson so called 'Definitive' editions is staggeringly ordinary by comparison.

Housed in a suitably obscure yet almost childlike gatefold sleeve with no obvious title in sight - Pete Sinfield's painted artwork followed on in visual style from the "Court Of The Crimson King" debut – only this time sporting a stippled effect on the gatefold (knowledgeable collector types will know what I mean). That artwork is fully represented here – albeit in a reduced form that lessens its impact considerably.

I can't honestly remember what the 1999 booklet looked like (I sold it years back) but I can't see much improvement except that this new one has endless lists of the same tracks in the booklet filling up a lot of space. And what's all that MLP Lossless Data on the rear cover that few seem to understand or even care about (doesn't even list the bonus tracks on the DVD-A which is what fans would want). Sure many of the tracks on the DVD-Audio are new and therefore Previously Unreleased – manna for fans of this most revered of KC line-ups – but in truth – it all feels a bit of a let down on the visuals. The CDs themselves are picture discs and a nice touch is the Pete Sinfield gatefold reproduced underneath the see-through CD trays – even if is impossible to read in such a small size. The booklet also reproduces the lyrics and some photos of Fripp and Lake at the BBC before old Greg buggered off to Emerson, Lake & Palmer. I'm afraid the Panegyric YES CD reissues resemble these in the looks department - could have done better boys...

The Audio is however thankfully another matter. As Lake's vocals come floating in for the short opener "Peace-A Beginning" and stop being echoed – the instruments are so clear. But of course the huge seven-minute Prog Rock of "Pictures Of A City" follows that – a Brass and Guitars King Crimson tune that is actually hooky (if we might be as bold as to say such a thing). Things mellow with the incredibly pretty "Cadence & Cascade" - an Acoustic ballad from the pen of Robert Fripp and lyricist Pete Sinfield. I'm loving that delicate piano and the double-vocals when he sings "...sad paper courtesan..." followed by a flourish on the Flute from super-sessionman Mel Collins. The speaker-bursting Mellotron opening of the title track "In The Wake Of Poseidon" was in yer face for the 1999 Remaster - here it's the same but a little more controlled. When Lake comes in - the Acoustic Guitar and those drums are assaulting yer speakers as he waxes on about a "...world on the scales..."

The beautiful "Peace-A Theme" passage only lasts just over a minute but it sounds awesome here. "Cat Food" is another audio winner - supermarket ladies grooning to the muzak. The near inaudible 30-second lead in to the three-part "Devil's Triangle" used to cause all many of problems on original 'Pink I' label original of the British LP (clicks and pops ahoy) - Part 1 quietly building in Bolero fashion with the Mellotron and marching drum pattern. But then after nearly seven and half indulgent minutes it all goes King Crimson with the 'Hand Of Sceiron' Part 2 that quickly morphs into the difficult 'Garden Of Worm' section. Greg Lake's lone vocals at the outset to "Peace-An End" are amazingly clean and I'd often thought that second voice over the acoustic guitar was a 'girl' but it’s just him doubling up!

I've listened to the 5.1 Surround Mix (on a friend's set up) and I can only describe it as 'powerful' with a capitol 'P'. I'm reminded of hearing those 'Quad' albums back in the Seventies - instruments coming out of speakers that you'd swear you've never heard before. As with all of these reissues - I can understand the completist reason for the Flat Transfer of the album but it’s just that - flat - and after the Wilson version - hard to go back to. And why weren't the Unreleased Versions put on the CD - there was room?

To sum up - I'm genuinely surprised at how much I like "In The Wake Of Poseidon" in my later years (I recall it didn't float my boat at the time) - but this gorgeous Audio makeover by Wilson and Fripp has made me rethink that. And despite my reservations about presentation - isn't that the best compliment you can pay a reissue...

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