"Tarkus: Deluxe Edition" by EMERSON, LAKE & PALMER (2016 Mastered BMG 2CD Set Reissue - With 2012 Steve Wilson/Andy Pearce & Matt Wortham Remixes/Remasters) - A Review by Mark Barry...

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"...A Time And A Place..."

Some fans have noticed that this reissue malarkey has gone a bit Donald Trump on ELP - spend, spend, spend – then blame someone else.

'Deluxe Edition' 2CD sets of Emerson, Lake & Palmer's Island Records catalogue appeared in 2012 with Steve Wilson and Andy Pearce Remasters and Remixes galore. Those supposed 'definitive' issues were going to put out to pasture numerous reissues on Sanctuary that went before in the 80s through to the 00's.

Yet here we are again in July 2016 (itself reissued March 2017 too). But there's a subtle difference that I feel should be pointed out - the 2016 mastering fro both discs is new and just that bit sweeter in my less than humble opinion. These reissues sound utterly amazing – but let's get to the gun-totting armadillo details first...

UK released 27 July 2016 (reissued 1 March 2017) - "Tarkus: Deluxe Edition" by EMERSON, LAKE & PALMER on BMG/Leadclass BMGCAT2CD2 (Barcode 4050538179996) is a 2CD Reissue containing both 2012 Versions by Steve Wilson and Andy Pearce with new 2016 Andy Pearce mastering and plays out as follows:

Disc 1 - "The Original 1971 Album (2012 Remaster)" - 38:42 minutes:

1. Tarkus [Side 1]

(i) Eruption

(ii) Stones Of Years

(iii) Iconoclast

(iv) Mass

(v) Manticore

(vi) Battlefield

(vii) Aquatarkus

2. Jeremy Bender [Side 2]

3. Bitches Crystal

4. The Only Way (Hymn)

5. Infinite Space (Conclusion)

6. A Time And A Place

7. Are You Ready Eddy?

Tracks 1 to 7 are their second studio album "Tarkus" - released June 1971 in the UK on Island Records ILPS 9155 and June 1971 in the USA on Cotillion SD 9900. Produced by Greg Lake and Engineered by Eddy Offord - it peaked at No. 1 in the UK and No. 9 in the USA. 

Disc 2 - "The Alternate Album (2012 Steven Wilson Stereo Mixes)" - 50:47 minutes:

1. Tarkus [Side 1]

(i) Eruption

(ii) Stones Of Years

(iii) Iconoclast

(iv) Mass

(v) Manticore

(vi) Battlefield

(vii) Aquatarkus

2. Jeremy Bender [Side 2]

3. Bitches Crystal

4. The Only Way (Hymn)

5. Infinite Space (Conclusion)

6. A Time And A Place

7. Are You Ready Eddy?

8. Oh, My Father

9. Unknown Ballad

10. Mass (Alternate Take)

The 16-page booklet includes new 2016 interviews with all three musical prodigies – and just before Keith Emerson passed in March 2016 and then tragically – Greg Lake in December 2016. Well-known writer and musicologist CHRIS WELCH fills in the rest of the details – William Neal's amazing drawings of flying pterodactyls with guns, missile-bearing lizards and a scorpion-tailed Manticore (they'd adopt their record-label name from this track) - all of which are complimented by the Armadillo Tank with Propulsion Tracks out front. With the album's title 'Tarkus' spelt out in parched animal bones – the three musician names didn't even appear on original album covers. There's witty anecdotes about the no English Greek sandwich lady who kept interrupting sessions no matter what – so much so that her cries of 'am or cheese' to the band was left on the record ("Are You Ready Eddy?"). There's discussion on the organ at St. Mark's Church in Finchley that's featured on "The Only Way (Hymn)", the influence of Jazz Musicians Lenny Tristano and Dave Brubeck on Keith's playing and style - Greg coming up with the name (a possibly more vengeful Tarka The Otter). The inner gatefold artwork of the 1971 album is reproduced in the centre pages - but it's sloppily a Manticore reissue version and not the 1971 Island Records original.

The audio was done by Andy Pearce fro Disc 1 and Porcupine Tree's Steve Wilson for the Alternate Album on Disc 2 - but hey key here is that both have been mastered in 2016 by ANDY PEARCE for this reissue and I'd swear that his tweaking has made the transfers more substantial, clearer and given them less of a clinical sheen. I've never heard this Progressive Rock LP sound so good. Let's get to the music...

Side 1's 21-minute 7-part "Tarkus" Suite opens with a real dawn-of-man lead in - before exploding into wild keyboard stabs in 5/4 time. It soon settles into a prolonged solo - and when those staccato Moog and Drum jabs kick in at about eleven minutes - the remaster is huge. Lake gets his guitar parts towards the end and his 'let there be no sorrow...be no pain' lyrics. "Jeremy Bender" is a fictional London Spiv brought to life my Keith's barrelhouse piano and Greg's witty lyrics. Inspired by Dave Brubeck's "Count Down" - "Bitches Crystal" races along in 6/4 time - Lake singing of tortured spirits and ghostly images while Keith lashes into more alehouse piano. Bach's "Toccata In F Major" provides the inspiration for the churchy "The Only Way (Hymn)" which in itself segues into the funky Prog swing of "Infinite Space" - a piece of Piano Jazz inspired by Lennie Tristano. ELP get King Crimson heavy with the buttermilk cream of "A Time And A Place" before they bring it all to a finish with the rather silly and out-of-place cod Rock 'n' Roll of "Are You Ready Eddie?" (turn those faders down).

I wasn't expecting the "Oh, My Father" Bonus Track to be so good - four minutes of Greg Lake examining his relationship with his Dad - the words never spoken - no more time left to speak them. It's an Acoustic/Electric Guitar ballad - sad and beautiful and moving. Both it and the equally melodic "Maybe It's Just A Dream" simply don't fit in with the Pure Prog of the LP - but that doesn't step from being alarmingly pretty given the harsh iconoclast music that's preceded them. The harmony vocals and pretty piano playing will thrill ELP fans. There's a count-in to the Alternate of "Mass"  - section four of the seven-part "Tarkus" suite. It's really good - especially Keith's virtuoso playing and Palmer's skin-tight drumming - but you can also hear why the more lively finished version was chosen. 

"Tarkus" will not be everyone's favourite ELP album for damn sure (I prefer the first and "Trilogy") - and there are those who will dismiss it as very much of its 1971 Progressive Rock time. But it was a Number 1 for a reason. And fans are going to need this superb sounding version of it on CD. Another reissue I know – but this is the one worth buying...

"X In Search Of Space" [aka "In Search Of Space'] by HAWKWIND (August 2001 Parlophone 'Expanded Edition' CD with a 1996 Peter Mew Remaster) - A Review by Mark Barry...

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"...The Immaculate Void..." 

Mind-expanding riffage - altered states of consciousness – temptress dancing ample bosom overload (you go Stacia)... 

Oh yes folks - it can only be Hawkwind's second album "X In Search Of Space" - or as Pete Townshend and I know it nowadays - "In Search Of My Eardrums".

It's March 2017 - and as the sun beats down on the beardy environs of my aspirational address (I live in Walthamstow - cue smug grin and unwarranted touching of private parts) - I can still remember the visual and aural impact of this LP in the autumn of 1971 – closing on an astonishing 46 years back (where has the time gone Bob).

Hawkwind's most famous platter featuring the classic Dave Brock, Nik Turner and Bob Calvert line up arrived early October 1971 and sat rather uncomfortably beside John Lennon's "Imagine" - released that same week in the UK. Talk about musical differences. The only thing that connected them was perhaps all that clever packaging...it worked...I bought both. But before I did - an earful first...

I remember folding out the beautiful interlocking cover of "X In Search Of Space" in Pat Egan's Sound Cellar (in Dublin) with its United Artists LP inside and a strange looking mini comic book sat on top. I remember wondering at all the squared colour photos of six very hairy men (one or two with painted faces) and the intergalactic lyrics and the dancing blurred woman on the back with quite possible not a lot on (so hard now to find a vinyl original with the doors sleeve still intact nowadays). I also remember looking at 'The Hawkwind Log' Book - trying to make sense of its cosmic gobbledygook and strange black and white images of cartoon rockets to Andromeda, a Summer Solstice Stonehenge in silhouette, elliptical galaxies in Leo, third-eye hippies dancing around fields and sitting on tree trunks with a flute in their hands and a suspicious smile on their faces.

And what was all this karmic-knob about 'stellar worlds and microcosms of the absolute'. But then I remember something else - the needle hitting the groove for the sixteen-minute "You Shouldn't Do That" – the build up followed by that wall of guitars – that sound – that fantastic drone – almost a new variant of Kraut Rock. It was undeniably hooky and mesmerising. Space Rock (British style) had arrived in everyone’s lives.

Which brings us via Nebula Minor, Zodiac Major and Druggy Loads to this rather brill little CD reissue. Here are the Masters of the Universe...

UK released August 2001 - "X In Search Of Space" [aka "In Search Of Space"] by HAWKWIND on Parlophone 530 0302 (Barcode 724353003029) is an 'Expanded Edition' CD with Three Bonus Tracks (using a 1996 Remaster) that breaks down as follows (57:42 minutes):

1. You Shouldn't Do That [Side 1]

2. You Know You're Only Dreaming

3. Master Of The Universe [Side 2]

4. We Took The Wrong Step Years Ago

5. Adjust Me

6. Children Of The Sun

Tracks 1 to 6 are their second studio album "X In Search Of Space" - released October 1971 in the UK on United Artists UAG 29202 and April 1972 in the USA on United Artists UAS 5567. Produced by Hawkwind and George Chkiantz - it peaked at No 18 in the UK (didn't chart USA).

BONUS TRACKS:

7. Seven By Seven (Original Single Version)

8. Silver Machine (Original Single Version)

9. Born To Go (Live Single version Edit)

Tracks 8 and 7 are the A&B-sides of a non-album UK 7" single released June 1972 on United Artists UP 35381. The A-side "Silver Machine" was recorded live 13 February 1972 at The Roundhouse in London - the studio track B-side "Seven By Seven" was recorded at Rockfield Studios in Monmouth, Wales. Track 9 "Born To Go" (Live) is from the Various Artists 2LP set "The Greasy Truckers Party" on United Artists that featured Hawkwind. This 7" single B-side was issued 1973 in Germany on United Artists UA 35 492 - the A-side being "Lord Of Light" from the "Doremi Fasol Latido" LP in 1972.

HAWKWIND was:

NIK TURNER – Alto Saxophone, Flute, Audio Generator and Lead Vocals

DAVE BROCK – Vocals, Electric, Acoustic 6 and 12-string Guitars and Audio Generator

DAVE ANDERSON Bass, Electric and Acoustic 6-String Guitars

DEL DETTMAR – Synthesiser

TERRY OLLIS – Drums and Percussion

DIK MIK – Audio Generator

The substantial 24-page booklet is actually both fab and a frustrating thing. Good stuff - it offers brill period photos of the five-piece, Fanzine addresses for this most cultish of bands, the rare picture sleeve to the June 1972 breakthrough 7" single "Silver Machine", flyers from 60p benefit gigs in Margate, posters of Hawkwind supporting Polydor's Arthur Brown and Kingdom Come, Blue Horizon's Duster Bennett, Harvest's Tea & Symphony, RCA's Brewer's Droop, Neon's Indian Summer and a band as yet unsigned to EMI - Queen. There are beautiful and incredibly rare gig posters from Dunstable Civic Hall, Aldermaston Peace Festival in colour and the whole of the rare logbook that came with British original copies in all its mad glory (black and white) even if the print is tiny and just about readable in places (mostly not). If it looks so great - why moan? Apart from reissue credits - there are no new liner notes and the lyrics aren't here. If ever an album deserved an essay and its words - it's this one. When you think of the huge influence "X In Search Of Space" has had on Stoner rock and even the Kraut sound of say Neu! – bit of a damn shame someone didn't throw a few lines of appreciation and context together. Discussion on the album title – is it "X In Search Of Space" as it says on the cover art - or "In Search Of Space" as it says on the label and is more commonly known? I go by the cover art...

The picture CD uses the black and silver Hawkwind image on the 1978 and 1982 reissues of "Silver Machine" - a nice touch – and there’s a suitably beautiful Universe photo beneath the see-through CD tray. But the big news is a PETER MEW and PAUL COBBOLD Remaster with Tape assistance from Nigel Reeves done at Abbey Road. This sucker rocks and of course if ever an album cried out for a bit of Audio muscle - then it's this one - a nice job done.

Side 1 is dominated by the sixteen-minute drone of "You Shouldn't Do That" which spends about one and half minutes launching - building and building until it hammers you with that Bass and Guitar wall of sound - Space Rock - all Alto Sax and 'Ssssh' chanting about hair and getting nowhere. Even now it gives me a kick in the unmentionables and I'm transported back to my bedroom with Rory Gallagher, Led Zeppelin and Deep Purple on the wall and my trusty Garrard SP25 worrying my poor parents and their fragile post 60ts nerves. Side 1's other interplanetary occupant is the near seven-minute "You Know You're Only Dreaming" – no real tune – just more of the same endless guitar solos as spacey flute noises float in and out over random Bass plucking - wonderful.

A huge fan fave – the grungy riffage of "Masters Of The Universe" that opens Side 2 with an aural wallop may indeed define the band more so than "Silver Machine" – Brock singing about being the centre of the Universe and the world is just a figment of his mind (know what you mean man). But then - just as you think you have the Hawk Lords nailed – know their sound and they can’t surprise you – Dave & Co. clobber you with the beautiful and even moving ballad "We Took The Wrong Step Years Ago". Like an acoustic moment on a Zeppelin LP - the song sails it amidst gull cries, acoustic guitars and an aching lyric about warnings and scriptures in the sand that need heeding, Nature is trying to warn us of impending ecological doom (isn't it always) - but will we listen?

"Adjust Me" returns us to travels outside our solar system - electric guitars and treated saxophone notes fronted by a singer's voice that increases in speed and madness. "X In Search Of Space" ends on the suitably doom-laden "Children Of The Sun" which talks about our inheritance amidst cymbal crashes and building guitars - acoustic first then electric. Like "We Took The Wrong Step Years Ago" - I think it's one of the album's strongest tracks and one that's forgotten these days.

"Silver Machine" was recorded live in February 1972 at The Roundhouse in London and launched on the world in June with the non-album studio cut "Seven By Seven" on the flipside. Amazingly its droning wall of sound caught the public's imagination and was rewarded with a No. 3 placing on the British singles charts. In fact "Silver Machine" has had extraordinary legs ever since - reissued no less than three more times (1976, 1978 and 1982) where it charted again in both 1978 (No. 34) and in 1982 (no. 67). Actually I prefer the more musical "Seven By Seven" song - maybe not such an obvious hit - but a riff that would have fitted nicely onto the end of Side 1.

"X in Search Of Space" is very much of its 1971 time and some in 2017 will raise an eyebrow and check your pulse should you declare it a masterpiece. But despite all the Space Mystic mumbo-jumbo - I look at Hawkwind's seminal monster with huge affection. 

An album from a time when all things seemed possible and we were just that bit genuinely out there without being lost or damaged. All this and drifting two-dimensional spaceships on a CD for under a sky-diver (nice one boys)...

"Born To Run: 30th Anniversary Edition" by BRUCE SPRINGSTEEN - August 1975 US LP on Columbia Records featuring Clarence Clemons, Danny Federici, Roy Bittan, Max Weinberg, Miami Steve Van Zandt, David Sancious and Nils Lofgren (November 2005 Columbia CD+DVD Reissue - Bob Ludwig Remaster)

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"…An Opera Out On The Turnpike…"

Fancy hearing "Born To Run" with strings and a girly backing accompaniment - or Take 16 the album finisher "Jungleland" with a Springsteen guitar solo instead of Clarence Clemons' famous saxophone break? Well on this wonderful yet frustrating release - you can and you can't. Why is this?

It doesn't take a particular genius to work out from the track list on Disc 3 below (the actual album) that 'zero' amounts of outtakes or alternate versions have been made available to listen to as a 'separate audio track'. This is because the decision has been made to 'integrate' them into the footage of the 90-minute "Wings For Wheels" documentary - and I'd argue that in some ways this 30th Anniversary Edition is a better fan experience for it (others may disagree). But before we get into fisticuffs - let's get to the big-rimmed hats, sneakers hanging out of guitars and a 24-year old New Jersey boy's stab at romance...

Released November 2005 - "Born To Run 30th Anniversary Edition" by BRUCE SPRINGSTEEN & THE E-STREET BAND on Columbia 82876 75589 2 (Euro Version) breaks down as follows:

Disc 1, DVD, "Bruce Springsteen & The E-Street Band - Hammersmith Odeon, London 1975":

Never before seen - over two-hours of live footage from the legendary concert in the UK recorded at the height of the Times and Newsweek covers hype ("London is finally ready for Bruce Springsteen" the posters boomed). Digitally restored from the original negatives and remixed in both Stereo and 5.1 Surround Sound...

1. Thunder Road

2. Tenth Avenue Freeze Out

3. Spirit In The Night

4. Lost In The Flood

5. She's The One

6. Born To Run

7. The E-Street Shuffle

8. It's Hard To Be A Saint In The City

9. Backstreets

10. Jungleland

11. Rosalita  (Come Out Tonight)

12. 4th Of July, Asbury Park (Sandy)

13. Detroit Medley: For You / Quarter To Three

Disc 2, DVD, "Wings For Wheels: The Making Of Born To Run":

A 90-minute documentary film by THOM ZINNY on Thrill Hill Productions - includes indepth interviews with Bruce Springsteen, Clarence Clemons (Saxophone), David Sancious (original keyboard player - on the "Born To Run" track), Ernest "Boom" Carter (original Drummer with the band - on the "Born To Run" track), Miami Steve Van Zandt (Guitarist), Roy Bittan (Piano, Fender Rhodes, Glockenspiel), Garry Tallent (Bass), Danny Federici (Organ), Max Weinberg (Drummer) Nils Lofgren (present Guitarist with The E-Street Band), Mike Appel and Jon Landau (Managers) and Jimmy Iovine (Producer of the album).

Bonus Features include:

Live at the Ahmanson Theatre, Los Angeles 1973 - Spirit In The Night, Wild Billy's Circus Story and Thundercrack

Disc 3, CD, 39:29 minutes:

1. Thunder Road

2. Tenth Avenue Freeze Out

3. Night

4. Backstreets

5. Born To Run [Side 2]

6. She's the One

7. Meeting Across The River

8. Jungleland

Tracks 1 to 8 are the album "Born To Run" - released August 1975 in the USA on Columbia PC 33795 and CBS Records S 69170 in the UK

The long box set has 3 gatefold card sleeves inside (hollows) and a 48-page booklet with previously unreleased photos and a short set of lead notes from Bruce about the recording and how it changed his life and career and the lives of those around him. It's all very tastefully done - but there are real fireworks in the audio transfer and remaster of the material...

Digitally Remastered to stunning effect by BOB LUDWIG - the moment the beautiful opening piano of "Thunder Road" hits your speakers accompanied shortly after by his lead vocals - the warmth and clarity is fabulous. This disc leaves all those Eighties crap issues in the dust. Even better is "Tenth Avenue Freeze Out" with the brilliant and street-funky Brecker Brothers Saxophones simply flooring you. To this day Bruce admits he doesn't know what the titles means and the documentary also reveals that after months of in-studio deliberation the key parts were arranged by cheeky Miami Steve on a whim. 

When it continues with "Night" and "Backstreets" you also begin to notice more ROY BITTAN whose musical flourishes on the keyboards contributed so much to every song. Bruce now says that "Born To Run" the album was 'all' written on the piano and not the guitar - and that's why most songs have big intros - setting the scene - sort of mini operas. There is hiss on "She's The One" and "Backstreets" but its not too much to distract. The density of "Born To Run" now seems opened up somehow, the sparseness of "Meeting Across The River" is eerie and the "Jungleland" finisher is massively improved. A superb job done by everyone involved.

The documentary is a masterclass in editing - old photographs, concert footage from the time, actual in the studio black and white film with Bruce and Iovine going at it over sound and mixes and not getting what he wants. It's interspersed with Bruce in 2005 on the piano (great versions of the songs), driving around in his car, in discussion with Jon Landau at mixing desks, shots of the actual master tapes, Columbia promo material, outtakes from the album cover....it’s really deep and brilliantly laid out. The concert is incredible too - tearing into lesser-heard stuff like "Lost In The Flood" and the Gary US Bonds covers that bring the set to a storming Rock 'n' Roll close.

Will we one day get those audio outtakes on a CD - another Anniversary issue probably. But for the moment - in 2014 - this 3-disc set is surprising cheap and a fitting tribute to the past and future of Rock 'n' Roll...

"Boz Scaggs [1969 Version + 1977 Remix Version]" by BOZ SCAGGS feat Duane Allman, Eddie Hinton and Barry Beckett (2015 Edsel/Rhino 2CD Remasters) - A Review by Mark Barry...

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"...Loan Me A Dime..."

After two albums with The Steve Miller Band in the late Sixties – it was time for the smooth Texan William Royce Scaggs to go solo. He signed to the prestigious Atlantic Records - gathering around him the cream of Muscle Shoals sessionmen (including the Memphis Horns) and set about recording his Bluesy/slightly Country debut album in 1969. Not that the world sat up and noticed. They didn’t.

His debut “Boz Scaggs” was released in the USA in August of 1969 but despite some favourable responses in the press - few in the public eye bought it. After four more albums with a patient Columbia Records between 1971 and 1974 that slowly built interest and chart presence – the Bozter finally found his inner Rock-Funk self and hit global paydirt with his March 1976 LP “Silk Degrees” which spanned massive worldwide radio-friendly hits like “Lido Shuffle”, “What Can I Say”, “Harbour Lights” and “Lowdown”. The album had legs past 1976 too into 1977.

So what with his debut containing rising luminaries like Eddie Hinton, Barry Beckett and especially the established cult guitar-hero Duane Allman in blistering form - Atlantic Records decided to call in Tom Perry to remix and re-launch the debut yet again for a modern day market (it didn’t take 2^nd time round either). And that’s where this UK 2CD reissue on Edsel/Rhino comes in – it brings together to the two versions of that debut album for the first time – and in remastered form with superb presentation and new 2015 interviews. Here are the slow starter details...

UK released May 2015 – "Boz Scaggs [1969 Version + 1977 Remix Version]" by BOZ SCAGGS on Edsel/Rhino EDSK 7093 (Barcode 740155709334) is a 2CD set in an outer card wrap and breaks down as follows:

Disc 1 (Original 1969 Version – see NOTES) (43:35 minutes)

1. I’m Easy [3:04 minutes]

2. I’ll Be Long Gone [4:11 minutes]

3. Another Day (Another Letter) [2:53 minutes]

4. Now You’re Gone [3:46 minutes]

5. Finding her [3:54 minutes]

6. Look What I Got [4:08 minutes]

7. Waiting For A Train [2:38 minutes]

8. Loan Me A Dime [12:29 minutes]

9. Sweet Release [6:13 minutes]

Disc 2 (1977 Remixed Version – see NOTES) (44:48 minutes):

1. I’m Easy [3:01 minutes]

2. I’ll Be Long Gone [4:02 minutes]

3. Another Day (Another Letter) [3:12 minutes]

4. Now You’re Gone [3:50 minutes]

5. Finding her [4:10 minutes]

6. Look What I Got [4:13 minutes]

7. Waiting For A Train [2:40 minutes]

8. Loan Me A Dime [13:02 minutes]

9. Sweet Release [6:20 minutes]

NOTES: Despite what the CDs say – someone has mistakenly placed the versions on the wrong discs – Disc 1 is in fact the 1977 REMIX and Disc 2 the 1969 ORIGINAL. What’s noticeable too from the timings provided above is that Perry slightly edited some of the tracks on the 1977 remix but elongated others by a tiny amount. The most pronounced is the indulgent thirteen-minutes of “Loan Me A Dime” lopped by a half-a-minute (and rightly so in my book). Most of the others have smaller changes – but it’s worth pointing out.

BOZ SCAGGS – Guitar and Lead Vocals

DUANE "Skydog" ALLMAN – Guitars and Dobro

EDDIE HINTON and JIMMY JOHNSON – Guitars

BARRY BECKETT – Keyboards

AL LESTER – Fiddle

DAVID HOOD – Bass

ROGER HAWKINS – Drums

Muscle Shoals Horn Section:

Joe Arnold – Tenor Saxophone

Charles Chalmers – Tenor Saxophone

Floyd Newman – Baritone Saxophone

James Mitchell – Baritone Saxophone on “I’m Easy”

Ben Cauley – Trumpet

Gene “Bowlegs” Miller – Trumpet & Trombone

Backing Singers:

Jeannie Greene, Donna Thatcher and Mary Holiday (on all selections)

Tracy Nelson, Irma Routen and Joyce Dunn on “Now You’re Gone” exclusively and additionally to Green, Thatcher and Holiday on “I’ll Be Long Gone”

There’s a tasty card wrap that lends the whole reissue a classy feel while the 20-page booklet features December 2014 liner notes by noted writer PAUL DYERS and a new interview with original LP producer JANN WENNER which throws light on how rushed the recordings were (Wenner, Scaggs and Marlin Greene produced the LP). There are label repros of the original LP on SD 8239 and lyrics (for the first time I believe) and tremendous photos of the fabulous band – David Hood, Jimmy Johnson, the backing lady singers, the Producer, Eddie Hinton and a naked Duane Allman standing in the woods with a hat on and his hands over his modesties. It’s beautifully done.

The howler mistake of wrong-mix/wrong-CD notwithstanding – all that anyone-can-make-mistake stuff pales against what you actually get here - a superb remaster for both albums (Peter Rynston at Tall Order Mastering). You can so hear how the record feels slightly empty and rushed first time around – and you can understand why Perry paired back the indulgent time length on the bluesy but brilliant “Loan Me A Dime” when he remixed the record in 1977. I actually prefer the 1977 version because it’s tighter and more importantly you can hear the musicianship more clearly – especially Duane Allman. The Dobro on “Look What I Got” (written by Muscle Shoals Sax player Charles Chambers and singer Donna Rhodes) is clearer as are the drums and backing singers. The same applies (times two) with his cover of the Jimmie Rogers yodelling song “Waiting For A Train” – Allman is very clear as is Beckett’s honky-tony piano runs.

I don’t know (even after another listen) if the album is actually any good – there’s a dreadful failure to ignite in too many of his songs – but then you’re hit with the fabulous Blues of “Loan Me A Dime”. Written by guitarist Fenton Robinson – it leads in with stunning organ work from Beckett – so Gospel, Blues and Soul all wrapped up in one. And then we get Duane in his “Skydog” looseness - letting rip on the frets half way in. On the remix his guitar is slightly more to the fore giving it more prominence and I agree completely with shortening the track on the remix (apparently this song is the reason why Wexler told them to close down recording faster and stop goofing around). It ends on “Sweet Release” – a slow six-minute Gospel lurch co-written by Scaggs and Barry Beckett.

With the best will in the world you could hardly call the “Boz Scaggs” album brilliant (it has its moments for sure) and in hindsight it’s easy to hear why it barely registered with the public. Having said that – there’s something about the quality of the remasters on offer here – and the different mixes too – that make you want to look at this record anew.

A superb reissue from Edsel – more of the same please...

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