"Rainbow Seeker" by JOE SAMPLE [of The Crusaders] (2011 Japan-Only UMC/MCA SHM-CD Remaster Using The RUBIDIUM CD Cutting Process) - A Review by Mark Barry...

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"…In All My Wildest Dreams…" 

Wow is the appropriate response! I'm loved Joe Sample's 1978 debut solo album "Rainbow Seeker" like I've loved Steely Dan's "Aja" from the year before. I can't be rational about either. So any excuse to get a better version is Nirvana to my ears...

In June and July of 2011 - Universal Music Japan launched what they called their "JAZZ THE BEST" series of reissues - 150 titles across their vast catalogue and all on the SHM-CD format (Super High Materials) and all apparently using the RUBIDIUM Atomic Clock Cutting Process. Each were pitched at roughly 1800 yen which is about £9 to you or I (mid price) and came in jewel-cases with new liner notes and of course the SHM-CD. 

Whatever the techno mumbo-jumbo - the remastered audio I'm listening to right now for "Rainbow Seeker" (one of those titles) has to be the best I've ever heard - and not just for this album - but in terms of a transfer that retains the warmth of the analogue original. This is gorgeous and has me frantically searching for other "Jazz The Best" titles I can buy in this series (see list below).

Here are the details... 

Released 22 June 2011 in Japan - "Rainbow Seeker" by JOE SAMPLE (of The Crusaders) in on Universal Music Japan/MCA UCCU-6047 (use Barcode 4988005651617) to get the right issue) and breaks down as follows (42:41 minutes):

1. Rainbow Seeker

2. In All My Wildest Dreams

3. There Are Many Stops Along The Way

4. Melodies Of Love

5. Fly With Wings Of Love - [Side 2]

6. As Long As It Lasts

7. Islands In The Rain

8. Together We'll Find A Way

The album was released May 1978 in the USA on ABC Records AA 1050 and in the UK on ABC Records ABCL 5245

The core band is STIX HOOPER and ROBERT 'Pops' POPWELL of The Crusaders on Drums and Bass with RAY PARKER, DAVID T. WALKER, DEAN PARKS and BARRY FINNERTY guesting on Guitars and stunning sessionmen like PAULINHO DaCOSTA providing Percussion. All eight instrumentals are in the Crusaders style of the time - funky one moment - Soulful piano the next (Bernie Grundman did the mastering - always a sign of class). And the whole album is really great - not just bits of it - all of it (something that can't be said of the albums "Carmel" or "Voices In The Rain" that followed in 1979 and 1981).

There's an Obi band around the jewel case and the rear artwork is altered. It doesn't say in the new 8-page inlay which engineer remastered what (the April 2011 liner notes are in Japanese)? There is a blurb on the RUBIDIUM process but again in Japanese. The SHM-CD of course plays in all standard CD players - it feels chunky - and picks out the nuances of the recording better. Regardless of the lack of written info in the booklet for anyone outside of Japan - sonically everything is improved and up for grabs here. Stuff like "Fly With Wings Of Love" has the Rhythm Section crystal clear and Barry Finnerty's fabulous guitar work suddenly alive like never before.  Comparing any of the tracks with the American GRP remaster from 1996 is like chalk and cheese. The soul-easing warmth of the ballad "In All My Wildest Dreams" has amazing clarity now bringing out the stunning musicianship - as does the slap bass and piano/brass funk of "There Are Many Stops Along The Way".

If you've any love for this album - or Jazz Fusion for that matter - I urge you to seek out this reissue and its exceptional sound quality...

PS: of interest are the following "Jazz Is Best" SHM-CD reissues using the same cutting process:

1. THE CRUSADERS - Street Life (June 2011, Universal UCCU-6061, Barcode 4988005651754)

2. THE CRUSADERS - Rhapsody & Blues (July 2011, Universal UCCY-6123, Barcode 4988005652348)

3. THE CRUSADERS - The Vocal Album (March 2012, Universal UCCU-6160, Barcode 4988005696335)

4. JOE SAMPLE - Carmel (June 2011, Universal UCCU-6143, Barcode 4988005652546)

PPS: Thanks Joe for all the great memories - another one of my musical heroes passed - RIP September 2014...

"Bob Stanley and Pete Wiggs Present ENGLISH WEATHER" by VARIOUS (2017 Ace Records CD Compilation - Nick Robbins Remasters) - A Review by Mark Barry...

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"...Edge Of The Sea..." 

In a sort of bleary-eyed screw-you Age of Aquarius mission statement - it says on the back inlay of the brilliantly exploratory CD compilation "English Weather" from those brave blokes over at Ace Records - "...with The Beatles gone and the pound sinking, a new and distinctive sound emerges, led by flutes and Mellotrons..."

I think what decent British chappies BOB STANLEY and PETE WIGGS (of Saint Etienne) are having us believe is that at the beginning of the Seventies over here in Blighty - something seriously Folk-Acid this way comes. Much of this compilation is incredibly mellow with only sporadic hints at Jazz Rock and complicated Prog stretching from early 1969 to mid 1976. But I hear you say (as you choke on your real ale that tastes like a Lindisfarne wetty on the wall) - I need another Prog-type CD compilation in my home like I need the phone number of Donald Trump's hairdresser. But actually there's much to love here and the dynamic duo have come up with an extraordinary set of uncommons (generous too at nearly 79 minutes).

Having said that - many tracks and artists are obscure for good reason (perceived pretty or no). But finds like the Prelude track "Edge Of The Sea", the pre-Pilot B-side "Pamela" and a pairing of obscure library track instrumentals will thrill lovers of melodic Rock like Mellow Candle, Keith Cross and Peter Ross, Trader Horne, Tudor Lodge and Spring. The Nick Robbins mastering is absolutely superb too - bringing out those acoustic flourishes and lovely melodies. And even as a fan of Prog and a long-time reviewer and collector - I can safely say that I've not heard at least 75% of this stuff before. Nice and I don't mean pre ELP. Here are the floatation tank details...

UK released 27 January 2017 (10 February 2017 in the USA) – "Bob Stanley & Pete Wiggs present ENGLISH WEATHER" by VARIOUS ARTISTS on Ace CDCHD 1484 (Barcode 029667077125) is a CD compilation of 18 Tracks and plays out as follows (78:35 minutes):

1. Love Song With Flute - CARAVAN (on their debut LP "Caravan" released February 1969 in the UK on Verve SVLP 6011 in Stereo)

2. Moon Bird - THE ROGER WEBB SOUND (instrumental on the Music Library LP "Vocal Patterns" released 1971 on Music De Wolfe DW/LP 3182)

3. Early Morning Eyes - THE PARLOUR BAND (on the studio album "Is A Friend?" released June 1972 on Deram SDL 10)

4. Pamela - SCOTCH MIST (non-album track, the 7" single B-side to "Ra-Ta-Ta" released July 1974 in the UK on EMI Records EMI 2208)

(Scotch Mist is Billy Lyall and Stuart Tosh before they formed Pilot)

5. Last Cloud Home - THE ORANGE BICYCLE (A-side to a June 1969 UK 7" single on Parlophone R 5789)

6. JLT - T2 (on the LP "It'll All Work Out In Boomland" released July 1970 in the UK on Decca SKL 5050)

7. 'Til The Christ Come Back - BILL FAY (on the LP "Time Of The Last Persecution" released January 1971 in the UK on Deram SML 1079)

8. Refugees - VAN DER GRAAF GENERATOR (A-side to a UK 7" single released April 1970 on Charisma CB 122)

9. Very Nice Of You To Call - AARDVARK (on their debut LP "Aardvark" released March 1970 in the UK on Deram Nova SDN 17)

10. Big White Cloud - JOHN CALE (on his debut solo LP "Vintage Violence" released June 1970 in the USA on Columbia CS 1037)

11. Bottles - BELLE GONZALEZ (A-side of a UK 7" single released February 1972 on Columbia Records DB 8852)

12. Watching White Stars - THE WAY WE LIVE (1971 Tractor Recording - first appeared on the 1998 CD compilation "Before, During And After The Dandelion Years, Through To Deeply Vale" on Ozit/Morpheus OZITCD 0024)

13. Windfall - OFFSPRING (Non-Album A-side to a UK 7" single released April 1972 on RCA Records RCA 2198)

14. Never Let Go - CAMEL (A-side to a UK 7" single released January 1973 on MCA Records MUS 1177)

15. Wise Man In Your Heart - DAEVID ALLEN and EUTERPE (on the LP "Good Morning" released May 1976 in the UK on Virgin V 2054)

16. O Caroline - MATCHING MOLE (on their debut LP "Matching Mole" released April 1972 in the UK on CBS Records S 64850 - Robert Wyatt vocalist)

17. Edge Of The Sea - PRELUDE (A-side to a UK 7" single released March 1972 on Decca F 13292)

18. Evening Shade - ALAN PARKER and ALAN HAWKSHAW (instrumental on the Music Library LP "Alternatives" released 1971 on Music De Wolfe DW/LP 3219)

The 14-page booklet has the usual plethora of rare 7”-single label-repro's (45s on Decca, MCA and CBS) alongside trade adverts for such obscuros as Billy Fay, The Parlour Band and T2. There's even a review of Caravan's Verve Records debut, A Roundhouse Benefit gig poster for Matching Mole with Soft Machine's Robert Wyatt and best of all - hugely informative and witty liner notes from compiler BOB STANLEY. I thought I knew my stuff (I've reviewed Aardvark and the Decca/Deram 3CD Box sets containing T2 and Camel and the like) - but Bob clearly goes deeper than most - offering up his knowledge with real affection for the subject matter (not just a blizzard of dry facts). But the best news is yet another stunning mastering job by NICK ROBBINS on a wide range of sound sources - his mastering of T2's superbly musical "JLT" is spot on. And as much of these songs are Acoustic based - the Audio rises to that challenge with aplomb. A top job done...

Despite the range of dates (February 1969 to May 1976) - the overall listen holds together very well. But as one other reviewer put it (and well) - there's good stuff on here but only a few genuinely stand out. The seven-minute "Watching White Stars" by Tractor saps your patience while I defy people who call the weedy Matching Mole ballad "O Caroline" gorgeous (Robert Wyatt or no) and I think there are better tracks on Bill Fay's album like the piano-beautiful  "I Hear You Calling". But I hadn't expected to be so impressed by the Van Der Graaf Generator single - which is a world away from their fearsome Moog anthems - five and half minutes of Peter Hammill pining for the sunshine of pretty London suburbs to the backdrop of violas, choral voices and unnervingly pretty melodies on strings.

Smart choices include running the Aardvark track immediately before the Velvet's John Cale song "Big White Cloud" – its huge Spector-esque production full of strings and longing and images of skies and trees – Cale's ragged druggy voice moaning his fate like Tim Rose on steroids. The Belle Gonzalez and Camel UK singles are rare as hen's teeth and again smart inclusions. Both display musical beauty and are bolstered up here by superb Nick Robbins mastering – especially on the Acoustic/Mellotron/Flute 'man must survive' eco-message song that is Andy Latimer's "Never Let Go". A clever slot-in is the African rhythms meets Kraut Rock feel of "Wise Man In Your Heart" by Gong's Daevid Allen and his band of the time Euterpe – a lengthy exercise in vibe with sonic rhythms predating those found on "Peter Gabriel 4" in September 1982.

But best of all for me is six and half minutes of Prelude's "Edge Of The Sea" - the only band on the compilation to brush the charts when they placed their beautiful Acapella cover version of Neil Young's "After The Gold Rush" in January 1974 on Dawn Records at the lofty heights of No. 21. Who thought this hippy-tastic acoustic folk tune with singing and spoken passages about mermaids and shaking the foam was a commercial 45 in 1972 was quietly off their rocker - but that doesn't stop "Edge Of The Sea" from being a fabulous slice of Mellow Candle Folk Rock with Acid tinges. And again - Robbins has mastered it so well. And there's no denying the musical brilliance also of Caravan's "Love Song With Flute" nor the truly lovely find in "Pamela" - an obscure B-side by Scotch Mist (Billy Lyall and Stuart Tosh) who would later become Pilot and have a UK No. 1 with "January" in January 1975 (again on EMI).

The Peter Mitchell photos on the front and rear of the booklet show a Britain in pain and even decay – crippling strikes - war overseas impacting here - the hippy dream of everyone loving each other fading fast in a cloud of three-day weeks and unemployment. Yet despite this backdrop of cold-chips and tepid teabags - English musicians produced extraordinary music in the early years of that decade - the Seventies – much of it hopeful. And some of it is here (man).

Not quite genius but brilliant in places (and changeable like its title) - "Bob Stanley & Pete Wiggs Present ENGLISH WEATHER" is a rather cool little CD to start off 2017 with. Deserving of your moody post-Brexit spondulicks - well done to all involved...

PS: the limited edition Vinyl Version is a 2LP set with 1 Bonus Track 
"The Prisoner (9 to 10)" by SPRING

"Trilogy: Deluxe Edition" by EMERSON, LAKE & PALMER (2015 Sony Music/Legacy 2CD/1DVD-A Set – Paschal Byrne/Andy Pearce/Nigel Wilkes/Jakko Jakszyk Remixes and Remasters) - A Review by Mark Barry...

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"...It Was All Clear...From The Beginning..." 

As an impressionable 14-year old in 1972 Dublin - I can remember holding the 4th ELP album under my arm in all its gorgeous Island Records Hipgnosis Gatefold Sleeve splendiffery as I trucked along the unsuspecting footpath to my mate's house in Clontarf (he later turned out to be a blindingly great bass player - Raymond "Gally" Kelleher). I was gamely determined to get him away from that grungy hard-rocking Black Sabbath and Budgie stuff and introduce the clearly unenlightened eejet Ray to the wondrous and complicated Moog glories of Prog Rock (some chance). He listened to Part One of "The Endless Enigma" and uttered adjectives beginning with 'f' that his mother wouldn't have approved of. Not even Carl Palmer saying the "s" word at the beginning of "The Sheriff" as he misses a beat (which seemed terribly exciting at the time) bought out the inner Rock ‘n’ Roller in him. No – none of it worked – in fact massively unimpressed - Gally looked at me sideways - like I might need to up the drugs-intake or get more therapy (and real fast). Ah well...

In equal measure ELP’s catalogue has long since been the stuff of devotion and utter derision as the decades roll by – and I’m down with both opinions. They were bloated and preposterous at times for sure – but they were also innovative and magnificent and with "Trilogy" – they moved me. "Trilogy" has always had a place in my clogged-up soft machine and this stunning 3-disc reissue finally does that nugget in their patchy catalogue a long-deserved solid. Here are laced-up boots and moody side profiles...

UK released 27 April 2015 (May 2015 in the USA) – "Trilogy: Deluxe Edition" by EMERSON, LAKE & PALMER on Sony Music/Legacy /Leadclass Limited 88875004902 (Barcode 888750049025) is a 2CD/1DVD Reissue which breaks down as follows:

Disc 1 – Original Trilogy (42:12 minutes):

1. The Endless Enigma (Part One)

2. Fugue

3. The Endless Enigma (Part Two)

4. From The Beginning

5. The Sheriff

6. Hoedown

7. Trilogy [Side 2]

8. Living Sin

9. Abaddon’s Bolero

Tracks 1 to 9 are their 4th album "Trilogy" – originally released July 1972 in the UK on Island Records ILPS 9186 and in the USA on Cotillion SD-9903 (Produced by Greg Lake and Eddie Offord). Original master tapes transferred by PASCHAL BYRNE at Audio Archiving in London – remaster for the original mix by ANDY PEARCE.

Disc 2 – New Stereo Trilogy (46:53 minutes):

1. From The Beginning (Alternate Version)

2 to 10 as per Disc 1 with each track as (New Stereo Mix)

Disc 3 – DVD-A 5.1 Trilogy:

Tracks 1 to 9 (as per Disc 1) offers the album in “Original Mixes Presented In Both MLP Lossless & LPCM – both at 24-bit 96kHz”

Tracks 10 to 18 (as per Disc 1) offers the album in “New Stereo Mixes Presented In Both MLP Lossless 5.1 & Stereo at 24-bit 96kHz, DTS 96/24 5.1 & Dolby Digital 5.1 (48kHz) and LPCM Stereo 24-bit 96kHz

Track 19 is “From The Beginning (Alternate Version)” – as per 10 to 18

The New Stereo and 5.1 Surround Mixes are both by JAKKO JAKSZYK - a musician who has been involved in some of the King Crimson Reissues with 5.1 Surround Mixes (all have been praised greatly). DVD-A Authoring is by NIGEL WILKES at Opus Productions. Both Disc 2 and 3 are listed as PREVIOUSLY UNRELEASED.

The DVD-A loads up the screen with the front cover artwork across the full widescreen spectrum as it displays EMERSON, LAKE & PALMER – Trilogy – DELUXE EDITION. It offers 3 options (a) Play (b) Audio Setup and (c) Original Mix. If you press play it will immediately launch into the New Stereo Mix by Jakko Jakszyk while the LPCM Stereo, DTS 5.1 Surround and Dolby Digital Surround options are all off the Audio Set Up link.

The four-flap foldout card digipak is a chunky affair with a picture of Keith Emerson (Keyboards), Greg Lake (Lead Vocals and Bass) and Carl Palmer (Drums) under each of the three see-through plastic trays. The 16-page booklet features new liner notes from noted writer and Musicologist CHRIS WELCH with a superbly in-depth interview from Jakko Jakszyk on the tapes and Surround mixes he had to make. A fan of the band since 1971 when he saw the group at the Oval Cricket Grounds in Kennington, London for £1.25 new pence – his enthusiasm and dedication to getting it right is palatable. The reproduce the inner gatefold trick photo by HIPGNOSIS where they are behind trees (Epping Forest), an advert for the American album on Cotillion and there’s even a fee paragraphs from all three musicians (signed beneath) about how they remember the album. It’s well done - but small change to the musical improvements...

"Trilogy" always had way too much hiss and little or no oomph. I’ve heard (I think) no less than three remasters of it – none of which elevated it beyond 'good'. And while you play Andy Pearce’s gallant attempt on Disc 1 – the truth for me is that the flat transfer doesn’t really sound improved. But all of that goes out the window when you get to Disc 2 and 3 where new Remaster Hero JAKSZYK has finally produced the Audio fans have craved for decades – and in two different ways (no less) that both excel. The New Stereo Trilogy is truly fabulous stuff – the hiss gone – the instruments to the fore – and yet it isn’t trebled up to the nines for effect – the whole sound stage is just better and more ballsy for the want of better words. When Greg Lake sings, "I've begun to see the reasons why I'm here..." as he finishes Part 2 of "The Endless Enigma" – the whole group punch is formidable. And there’s a heartbeat at the beginning of track one (Lake on Bass apparently) that predates "Dark Side Of The Moon" by a year as an intro effect that’s been hidden in the mix for decades.

But then you’re hit with a true sensation – the beautiful ballad by Greg Lake "From The Beginning". Having loved and heard this track for 40+ years in average sound – what an utter blast it is to hear it this clear, this gorgeous and dare we say - this powerful. The acoustic guitars strum with power and warmth, the bass is so sweet and man - when that Keith Emerson solo kicks it – you’re floored. Of the tracks on Side Two the best sounding has to be "Trilogy" with its piano intro and then that massive Synth break in the middle. Those huge keyboard blasts and drum rolls at the end of "Living Sin" also sound incredible.

I popped round to a mate's house to sample the 5.1 Surround and WOW is the only appropriate response. There’s instrumental stuff going in the album finisher "Abaddon's Bolero" that I’ve never heard – rhythm flourishes and guitars that swirl around the room – unbelievably good. The DVD-A is a triumph and I’m really going to have to invest in a decent Surround set up at home.

So there you have it – a good Emerson, Lake And Palmer reissue at last - glory be. Why I’m so animated I might even listen to the side and a half version of "Karn Evil 9" on the dreadful live triple "Welcome Back My Friends To The Show That Never Ends..." set?

Well I might...but then again...I may need to look at those med's levels again as Gally Kelleher once advised...

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"Emerson, Lake & Palmer: Deluxe Edition" by EMERSON, LAKE & PALMER (2016 BMG/Manticore 2CD 'Deluxe Edition' Reissue - Andy Pearce and Steve Wilson Remasters) - A Review by Mark Barry...

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"...Oh What A Lucky Man He Was..."

In many ways Emerson, Lake & Palmer's November 1970 debut LP (Island Records in the UK and Cotillion in the USA) was Part 2 of the Prog explosion set off in earnest by another extraordinary debut - King Crimson's "In The Court Of The Crimson King" in October 1969.

Dorset Guitarist and Singer GREG LAKE had been a founder-member of Crimson and featured on that first LP – Yorkshire keyboard virtuoso KEITH EMERSON had played with Gary Farr, The V.I.P’s and done his five-album stint with The Nice (even adding keyboard touches to Rod Stewart's "I Wouldn't Ever Change A Thing" on his debut album "An Old Raincoat Won't Let You Down" released February 1970 in the UK) - whilst Brummie Drummer CARL PALMER had whacked his sticks for The Crazy World of Arthur Brown and formed Atomic Rooster with Vincent Crane. When these three huge forces of 60ts Avant Garde came together as a band in June 1970 - their initial album was always going to be an event.

But before they unleashed that beast on a fractured counter-culture - a spot of Proggy grandstanding was in order. On the 29th of August 1970 - they took to the stage at the Isle Of Wight Festival with suitably bombastic crowd-pleasing results - cannon fire mixed with neo-classical arrangements and squealing keyboards with more wires and jump leads than Mission Control at Cape Canaveral. Island Records immediately thought - that's the band for me. They signed ELP pronto and in November the record was out - peaking at No.4 in the UK album charts with the Yanks waiting until February of 1971 to eventually push it up to No. 18 (it stayed on their charts for an impressive 42 weeks only to be replaced in July 1971 with the similarly challenging "Tarkus"). Which brings us to an equally tortured history of this first ELP album on CD...

In truth I've lost count at how reissues/remasters of their catalogue there's been – seven or eight hundred maybe – but I'm sure that this 2CD 'Deluxe Edition' for 2016 will offer fans what they've always wanted – the album in its best sound and tastily presented too. But therein again lies another battle. Some felt that the 2012 remix done by Reissue Godhead Steve Wilson was clean for sure but also sonically neutered from the waist down. Others loved it. What you get here is two versions – the 2012 Remaster carried out by an Engineer I hugely favour – ANDY PEARCE (who works in tandem with MATT WORTHAM) on Disc 1 – with the STEVE WILSON Alternate Version of Disc 2. Andy has even mastered this release for both discs. If the Wilson Mix is too clinical for your tastes – the warmer Pearce version is the baby for you. Pearce and Wortham have twiddled the knobs on CD reissue catalogues for Rory Gallagher, The Kinks, Frankie Miller, Pentangle, Thin Lizzy, Wishbone Ash, Budgie and the recent Free reissues (all praised) and are currently tackling Deep Purple's Seventies output as we speak (a knicker-wettingly exciting prospect). Wilson has transformed Jethro Tull, King Crimson, Gentle Giant and Yes catalogues with universally worshipped outcomes. All three Audio Engineer names are about as respected as it can get these days. So let's knuckle down to the details at hand...

UK released 29 July 2016 (1 September 2016 in the USA) - "Emerson, Lake & Palmer: Deluxe Edition'" by EMERSON, LAKE & PALMER on BMG/Manticore BMGCAT2CD1 (Barcode 4050538179897) is a 2CD 'Deluxe Edition' which features the Andy Pearce Remaster of the album on Disc 1 (2012) and the Steven Wilson 'Alternate Album Stereo Remix' from 2012 - both mastered in 2016 by Andy Pearce. It plays out as follows:

Disc 1 - The Original 1970 Album (2012 Remaster) - 41:18 minutes

1. The Barbarian

2. Take A Pebble

3. Knife-Edge

4. The Three Fates [Side 2]

(i) Clotho - Royal Festival Hall Organ

(ii) Lachesis - Piano Solo

(iii) Atropos - Piano Trio

5. Tank

6. Lucky Man

Tracks 1 to 6 are their debut album "Emerson, Lake & Palmer" - released November 1970 in the UK on Island ILPS 9132 (Pink Label Pressing) and February 1971 in the USA on Cotillion SD-9040. Arranged by ELP and Produced by GREG LAKE (Eddy Offord of Yes fame was the Engineer) - it peaked at No. 4 in the UK and No. 18 in the USA. "The Barbarian" is based on "Allegro Barbaro" by Bela Bartok (arranged by ELP), "Take A Pebble" by Greg Lake (arranged by Keith Emerson), "Knife-Edge" by Leos Janacek and Johann Bach (arranged by ELP), "The Three Fates" by Keith Emerson (all three-parts), "Tank" by Keith Emerson and Carl Palmer with "Lucky Man" by Greg Lake.

Disc 2 – The Alternate Album (2012 Steven Wilson Stereo Mix) – 55:41 minutes

1. The Barbarian

2. Take A Pebble

3. Knife-Edge (With Extended Outro)

4. Promenade

5. The Three Fates: Atropos

6. Rave Up

7. Drum Solo

8. Lucky Man

9. Take A Pebble (Alternate Take)

10. Knife-Edge (Alternate Take)

11. Lucky Man (First Greg Lake Solo Version)

12. Lucky Man (Alternate Version)

The three-way foldout card digipak has a series of three black and white photos of the boys larking about (ELP Archives) – various live shots of all three – a superlative worldwide 7” singles display on the centre-pages of the album's lone 45 "Lucky Man" b/w "Knife-Edge" (Holland, Germany and Japan are in there) – as well as new liner notes from noted writer and music buff CHRIS WELCH. The reissue is dedicated to Keith Emerson who died 14 March 2016 – and released in July 2016 – couldn't have known of Greg Lakes' sad passing on 7 December 2016. There's a full page trade advert for the album on Page 13 – the usual reissue credits – and interviews with Emerson and Lake regarding the recordings (Keith was only just learning the Moog when he played his solo on "Lucky Man" – done in one take – it was owned by Mike Vickers of Manfred Mann). Downsides - both CD labels are Manticore only - the reissue label from the mid Seventies - where's the British 'Pink I' Label or the American Cotillion original? The liner notes are good as I say but there's not a word on Disc 2 – no insights into the Alternates or Remix process. But that all goes out the window once you hear the actual audio on 'both' CDs...

ANDY PEARCE did the Remaster for Disc 1 back in 2012 – while Disc 2 is Porcupine Tree's STEVEN WILSON version also from 2012 – with both now mastered by ANDY PEARCE is 2016. I take on board what some have said about the cleanness of Wilson's take in 2012 – but frankly whatever Andy has done with this slight tweak in 2016 - I think most will absolutely love it. So if you want more breathing - AP's take is the one for you – if you want a more humane clean cut – then Disc 2 is your go-to. Either way – you're quids in. And I'm also shocked at the quality of the outtakes on Disc 2...superb stuff we'll get into later...

As the heavy-heavy monster sound of "The Barbarian" comes stomping into your living room (based on "Allegro Barbaro" by Bela Bartok and arranged by ELP) – in less than 20-seconds you’re immediately aware of the power of the band and that this is no-prisoners Progressive Rock. The audio is amazing – full and in your face – not over-trebled – but thumping you in the chest and making you think – this is probably what that Isle of Wight audience felt. "...Then watch the ripples that unfold into me..." – Greg Lake sings on the undeniably pretty "Take A Pebble" – for me one of their greatest moments on record. Opening with piano-frame strums that are soon followed by Bass and Drums – the Audio on this 12-minute album centrepiece is fabulous – Emerson showing beautiful piano delicacy as he plays – Palmer snaking his percussive way over those hi-hats. Then you get that distant acoustic guitar section – a very sweet transfer where Lake’s playing comes sailing out as the hand-claps build – finally followed by Keith showing his musicality. Before all the pomp took over – this is surely the ELP many fans want to remember – minus all the flashy synths – there’s just the three of them and their virtuosity making a sound that is Emerson, Lake & Palmer. For a band that’s (let’s face it) so often derided – I often play this track alone to prove the opposite – a piece of music that warrants respect. Again amazing clarity on the Bass and treated-vocal of Greg Lake as he sings about spread-eagle claws on "Knife-Edge" – a very Crimson song and the one chosen to represent ELP on the 2005 Island Records 3CD Mini Box Set "Strangely Strange But Oddly Normal".

Based on a Greek legend of three sisters who could control a person’s destiny and fate - Side 2 opens with the "The Three Fates" Suite by Keith Emerson. The first part is suitably grandiose utilising the Royal Festival Hall’s Organ for the massive chords of "Clotho" (special permission sought and given) while Part 2 is pure Emerson – sat at Advision Studios' seven-foot long Yamaha grand piano giving it some finger-plonking welly. Palmer and Emerson then join forces for the frenzied Piano/Percussion battle of "Atropos" that again feels like King Crimson having an epiphany moment. The near seven-minutes of "Tank" is a big ELP fan fave – a dancing Clavinet perfectly matched by Lake and Palmer – rounded off by Palmer giving it some Ginger Baker – a drum solo. Quite aside from the naff nature of Drum Solos in the live environment for the whole of the Seventies – you have to say that the audio here rocks. "Lucky Man" was apparently the first-song Greg Lake wrote after his mum bought him an Acoustic Guitar at the age of 12 (nice one Mrs. L). An obvious single with its ‘ooh what a lucky man he was’ voices and those lovely acoustic guitars – and of course the rupture-the-sky Moog solo that to this day sends chills up my arms (he used the Moog Mike Vickers from Manfred Mann had left in the studio).

Disc 2 offers up a lot more than I’d bargained for. The very hissy “Promenade” features Lake and Emerson duetting on Vocals and Organ for one and half minutes – while track 5 cleverly isolates "Atropos" in "The Three Fates" Suite and accentuates that rattling percussion as Keith hammers those piano keys. Of real interest is the near five-minute "Rave Up" where Lake flicks about on an Electric Guitar as Emerson and Palmer keep jabbing with Keyboards and Drums – like they’re searching for something interesting to happen. It descends into a go-as-fast-as-you-can-go race to the instrumental finish – but I love it and the Audio is absolutely blistering. The three minutes of "Drum Solo" pretty much does what it says on the tin – Carl hitting his kit like he’s doing Brand’s Hatch in a E-Type Jag and needs to get round in a hurry. If I’m truthful I prefer Wilson’s version of "Lucky Man" – gorgeous Audio that seems to get more out of the Vocals. The Alternate "Take A Pebble" is preceded by some studio banter (let’s do it from the top) but despite its wickedly good sound quality – it disappointingly only lasts just under four minutes. But that’s not to say that I don’t think ELP fans will be chewing this up for breakfast – Keith’s playing – Greg on a clear Bass while Palmer caresses those cymbals. It ends quickly because someone fluffed their part and they giggle about it in some more dialogue. It’s fantastic stuff. The Alternate Take of "Knife-Edge" has huge sound and Keith’s extraordinary playing. Another prize is surely Greg Lake’s First Acoustic Solo Version of "Lucky Man" – those voices different yet still beautiful and no Moog break - while the final Alternate Version of the song has a thrashing Electric Guitar solo instead of that keyboard moment we all know and love – interesting

ELP would conquer the Prog world with "Tarkus" in 1971, "Trilogy" in 1972 and the delightfully titled "Brain Salad Surgery" in 1973 – before it all went preposterous and OTT. But there was a reason why they were huge – and that’s more than evident of this timely 2016 reissue. And with the 2012 version deleted and now starting at £50+ on the used marketplace – this is a ten-spot well spent on Amazon (UK)...

PS: This review is affectionately dedicated to Keith Emerson and Greg Lake who both passed in 2016 - thanks for the pebbles and the ripples...