"Fireball: 25th Anniversary Edition" by DEEP PURPLE from 1971 (October 1996 EMI 'Expanded Edition' CD Reissue – Peter Mew/Roger Glover Remaster/Remix) - A Review by Mark Barry...

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"…Everything's Good…Everything's Fine…"

There can’t be many men of a certain age who look at the cover of this album with our five hairy reprobates fireballing it upwards into some kind of galactic Hard Rock nirvana beyond – and feel a warm glow of riffage coming over their pacemakers. Deep Purple’s “Fireball” – even the name makes me tingle. And this rather cool and cheap little CD reissue featuring the classic Mark II line-up of the band will only make that itch to annoy the neighbours even more tempting. Let’s detail the stubborn mule, the judge’s daughter and the demon’s eye…

UK released October 1996 - "Fireball: 25th Anniversary Edition" by DEEP PURPLE on EMI CDDEEPP 2 (Barcode 724385371127) is an 'Expanded Edition' CD Reissue and Remaster that plays out as follows (78:46 minutes): 

1. Fireball [Side 1]

2. No No No

3. Demon's Eye

4. Anyone's Daughter

5. The Mule [Side 2]

6. Fools

7. No One Came

Tracks 1 to 7 make up the studio album "Fireball" - originally released September 1971 in the UK on Harvest SHVL 793 and August 1971 in the USA on Warner Brothers BS 2564 with a different track list on Side 1. Replacing "Demon's Eye" as track 3 is "Strange Kind Of Woman" – a song that was issued only as a 7" single in the UK on Harvest HAR 5033 in February 1971 (see also 9 for its non-album B-side).

BONUS TRACKS: 

8. Strange Kind Of Woman - A-Side Remix 96

9. I'm Alone – the non-album B-side of "Strange Kind Of Woman" released as a 7" single in the UK 12 February 1971 on Harvest HAR 5033

10. Freedom – an Album outtake

11. Slow Train – an Album outtake

12. Demon's Eye (Remix 96)

13. "The Noise Abatement Society Tapes – Midnight In Moscow, Robin Hood, William Tell"

14. Fireball Take 1 (Instrumental)

15. Backwards Piano

16. No One Came (Remix 96)

With a total playing time of 78:46 minutes – you certainly get value for money and the outer stippled-effect card slipcase mimics the feel of the original gatefold album cover (a nice touch). The 28-page booklet is jam-packed with insider info and track-by-track reminiscences from vocalist Ian Gillan, Jon Lord, Roger Glover and guitarist Ritchie Blackmore. There are superb foreign picture sleeves, in the studio photos and even Glover’s hand-drawn original artwork ideas. All of it is held together with enthusiastic liners notes from SIMON ROBINSON with involvement from the DPAS (Deep Purple Appreciation Society). Rather oddly though for such a thorough release – UK and American copies of the original vinyl LP came with a gatefold lyric insert which isn’t reproduced here…

But that niggle aside - the big news here is a fantastic new remaster done by tape supremo PETER MEW (with care) at Abbey Road that thrashes the horrible Eighties CD fans have had to live with for years now. This disc rocks with real muscle and clarity. And the extras are actually worthy of the moniker ‘bonus’.

With only seven tracks and some of them soft in the centre (“Fools”) – the press reaction wasn’t all favourable despite the album’s rapid assent to Number 1 on the UK charts in September 1971 and a healthy Number 30 placing in the USA. No matter what the critics thought – fans of Mark II Deep Purple have always loved it – sandwiched between the barnstorming “In Rock” from 1970 and the accomplished “Machine Head” in 1972.

It opens with a total barnstormer – the title track “Fireball” – hitting you with the rampant Hard Rock impact of “Immigrant Song” on Side 1 of 1970’s “Led Zeppelin III”. Not surprising then that their seventh UK single saw ”Fireball” released 25 October 1971 on Harvest HAR 5045 with the album’s “Demon’s Eye” on its B-side. I love “Demon’s Eye” – a great Purple song with that funky Rock swagger they had. “No No No” has that same sexy feel while the naughty lyrics to “Anyone’s Daughter” has always brought a smile to my face (“hairy bums”).

Side 2 opens with the trademark slashing of Blackmore on “The Mule” before it settles down into a keyboard/guitar duo groove. And although it divided people on release – I like the way “Fools” slows down into an almost operatic centrepiece before returning to the opening riff. The album ends with “No One Came” – a thudding Purple tune with Gillian letting it rip vocally. The two album outtakes “Freedom” and “Slow Train” are shockingly good and why they weren’t used as a B-side to say “Fireball” is anyone’s guess. The “Noise Abatement Tapes” is an instrumental amble with witty inclusions of Robin Hood and William Tell. The ’96 remixes of “Strange Kind Of Woman” and “No One Came” don’t do too much altering damage – just giving extra muscle to the overall sonic impact. Nice…

The Purps – don’t you just love 'em. 

"...Man you're music is really hot!" - Ian Gillan jokes on "No One Came". 

Yet it was – and now it's even better… 

"Deep Purple In Rock: Anniversary Edition" by DEEP PURPLE (June 1995 EMI 'Anniversary Edition' CD Reissue with Bonus Tracks – Peter Mew/Roger Glover Remaster/Remix) - A Review by Mark Barry...

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"…Speed King…"

Even now in 2017 – with a distance of 47 head-banging years between me and my grey receding hairline – the opening sonic assault of guitar mayhem that greets an aging body as you play "Speed King" on Side 1 of the British original of "Deep Purple In Rock" - is an absolute sonic kick in the proverbials.

Released all the way back in the hairy-assed reprobate days of June 1970 - relistening to "In Rock" again on this amazing Peter Mew Expanded CD Remaster and you're walloped with the sheer hard-rocking, balls-to-the-wall, take-no-prisoners passion of this bloodsucker – Ritchie Blackmore flaying that guitar neck until both it and his fingers go crimson red – destroying all poncey piddly Popsters in their path by beginning the new decade with Hard Rock harder than The Rock’s hard biceps (and that’s a lot of 'hard' for a Tuesday morning frankly).

It had taken England's DEEP PURPLE three decent but admittedly patchy LPs to arrive at this sound – their trademark Mark II line-up. And they'd kind of ignored the public-catching attention singles gave a band too. But all of that changed with "In Rock" and the stand-alone 7” single "Black Night" when they were launched globally in June 1970. The Purps started a wildfire run of albums - following in 1971 with "Fireball" and slamming 1972 with "Machine Head" and the stunning double "Made In Japan" - a live set that practically defined Classic Hard Rock in the Seventies. Hell – what used to trade for four or five quid in a second hand record bin for nearly two decades after its release – now passes hands for hundreds of pounds in vinyl collector’s pursuit of that elusive genuine first British pressing (laminated gatefold outer sleeve, matt black and white photos on the inner gatefold, no EMI logo on the label). Here are the details carved in stone...

UK and US released June 1995 – "Deep Purple In Rock: Anniversary Edition" by DEEP PURPLE on EMI 7243 8 34019 2 5 (Barcode 724383401925) is a 25th Anniversary Expanded CD Remaster with Bonus Tracks and plays out as follows (78:27 minutes):

1. Speed King

2. Bloodsucker

3. Child In Time

4. Flight Of The Rat [Side 2]

5. Into The Fire

6. Living Wreck

7. Hard Lovin' Man

Tracks 1 to 7 make up the UK mix of the vinyl album "Deep Purple In Rock" – released June 1970 on Harvest SHVL 777. It peaked on the UK album charts at No. 4. Also released June 1970 - the US variant on Warner Brothers WS 1877 is the same except that the opening intro to "Speed King" is edited off and begins with the song riff and Ian Gillan's vocals (peaked at 147).

BONUS TRACKS:

8. Black Night (Original Single Version)

Non-album track issued 5 June 1970 as a stand-alone UK 7" single on Harvest HAR 5020 with the album's opener "Speed King" as its B-side. It rose to No. 2 in the UK charts in August 1970.

9. Studio Chat

10. Speed King (Piano Version)

11. Studio Chat

12. Cry Free (Roger Glover Remix)

13. Studio Chat

14. Jam Stew (Unreleased Instrumental)

15. Studio Chat

16. Flight Of The Rat (Roger Glover Remix)

17. Studio Chat

18. Speed King (Roger Glover Remix)

19. Studio Chat

20. Black Night (Unedited Roger Glover Remix)

With a total playing time of 78:27 minutes – you certainly get value for money and the outer jewel case with its embossed SIGNATURES by the band and ANNIVERSARY EDITION Block print is certainly striking if not impossible to keep clean and minty. And baring in mind just how horrible the 80's "In Rock" CD was - the 24-page booklet makes a real effort this time and is therefore jam-packed with insider info and track-by-track reminiscences from Lead Vocalist Ian Gillan, Drummer Ian Paice, Keyboardist Jon Lord, Bassist Roger Glover and Lead Guitarist Ritchie Blackmore. There are black and white photos of the band, pictures of a January 1970 reel-to-reel box and repros of contemporary press reviews from the time. All of it is held together with enthusiastic liners notes from SIMON ROBINSON with involvement from the DPAS (Deep Purple Appreciation Society). Rather oddly though for such a thorough release – UK and American copies of the original vinyl LP artwork aren’t reproduced and there’s no colour photos which gives the booklet a rather dullard feel…

But those niggles get trampled on pretty quickly by the big news for fans - a fantastic new remaster done by tape supremo PETER MEW (with care) at Abbey Road that thrashes the horrible Eighties CD fans have had to live with for years now. This disc rocks with real muscle and clarity. And the plentiful Roger Glover-approved extras are actually worthy of the moniker 'bonus'.

"Concerto For Group And Orchestra" on Harvest SHVL 767 rose to the dizzy heights of No. 26 on the UK LP charts in late January 1970 and stayed for only 4 weeks. Hardly the greatest start to the new decade. But from October 1969 right up until April 1970 – Deep Purple found what they were looking for and embraced the riffage. As I’ve already pointed out – "In Rock" opens with a true statement of intent - the wild "Speed King". Pow - and you're hit with guitar strings being thoroughly abused by Ritchie Blackmore – ripping up and down the frets like Eddie Van Halen without the structure - screeches and howls of notes - until it eventually settles down into a lone organ solo from Jon Lord who sounds like he’s been practising on one-too-many Church Sessions about Hell and if you're lucky Purgatory (all doomy and menacing). And then suddenly a huge and fast riff and Gillan’s archetypical screech Rock vocals. The effect is mind-blowing. Hard Rock has arrived. It kind of did with Zeppelin’s first albums anyway – but these guys made the decade wake up. "Bloodsucker" has always been a fave of mine – a properly great Rock track that has that Deep Purple funky swagger in it. I've never liked "Child In Time" in truth – it’s stagy stop-start slow drawl – but it became a live staple and came to full manic extended fruition on the live double "Made In Japan".

Side 2 opens with the truly fantastic "Flight of The Rat" – a guaranteed crowd-pleasing rocker where everything sounds fabulous – that churning riff – the thrashing drums – the huge organ sound complimenting the guitar pyrotechnics - even Gillan’s deliberately backgrounded vocals don’t sound too far back in the mix. Major grunge riffage comes at you with the impossibly good "Into The Fire" – a very Deep Purple Rock song with Gillan straining that larynx for the whole duration (the pushed into the left speaker guitar solo sounds so much clearer now). There's huge presence to the drum opening of "Living Wreck" – Ritchmore's treated guitar chugging along while Lord's organ playing finally gets given pride of place. It ends of another seven minutes of wild guitar carnage – the fast and racy "Hard Lovin' Man" – a small wonder when played live – ripping along at a pace that’s so DP at its best (that Organ solo is awesome – followed quickly by doubled-Ritchie on guitar - brilliant).

Even now the stand-alone 7" single "Black Night" thrills – a genius 45 with a B-side ("Speed King") that undoubtedly made the curious and excited run out and buy the album throughout the later half of 1970.

The six Studio Chats serve as a clever way into the BONUS TRACKS – 30-second goofs in the studio – breakdowns of takes – giggling – snippets of organ cover versions – it makes the whole Extras thing a little less formal and a whole lot more fun. The 'Piano Version' of "Speed King" loses the slashing guitars intro and goes straight into the riff (like the American LP version) but is anchored by a piano background instead of that huge organ (slightly different vocals too). It’s easy to hear why the weedy piano was ditched for the power of the organ but at 4:16 minutes - it’s a fantastic addition anyway. The real meat for fans begins with "Cry Free" – a fab outtake rocker that could easily have fitted on Side 1 of the LP. Although it’s only 2:32 minutes long – the Previously Unreleased Instrumental "Jam Stew" is just great – fast-paced guitar-chugging like "Hard Lovin' Man" complete with a wicked Jon Lord solo. The last three are essentially Roger Glover remixes – audio reconstructions of "Flight Of The Rat", "Speed King" and an Unedited "Black Night" that overruns the single mix from 3:25 minutes to a more chunky and better stereo-imaged 4:48 minutes. All three especially the longer and chunkier "Black Night" are brilliant and in some ways feel like what the album takes could have been with more bottom end and audio muscle. Bit of a barnstormer frankly.

They would follow in 1971 with "Fireball" – a UK No. 1 – and then with the accomplished "Machine Head" in 1972 – end that year with the magnificent specially-priced double live album "Made In Japan" – a virtual milestone in Rock and up there with Humble Pie's "In Performance" and Thin Lizzy's "Live And Dangerous". But "Deep Purple In Rock" is where that journey properly began.

It’s trite I suppose to refer to Deep Purple's "In Rock" as iconic, legendary, seminal and all that – but actually it was and still is. Much like Led Zeppelin and Black Sabbath changed the face of music so much in those halcyon years – Deep Purple were right up there with them – breaking down barriers, trashing hotel rooms (as any good Rock band worth their salt must) and creating a sound we know and love to this day.

"...Sweet Child In Time..." indeed. And what a time it was...

"Pat Garrett & Billy The Kid: Original Soundtrack Recording" by BOB DYLAN (February 1991 UK Columbia CD Reissue) - A Review by Mark Barry...

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"...Workin' For The Law..." 

Strong silent types who let the pistolas do the jabbering as they gob beef jerky at lame horses and a trembling sheriff while Claudine (the tired town prostitute) stands in the doorway of the saloon scratching her less than immaculate garter wondering if business is going to be slow tonight after the boys let off some Prairie steam.

Dylan's first soundtrack for a Western came as something of a happy accident – something to do between gigs in 1973. Director Sam Peckinpah was holed up in Mexico with his talented and gruffly photogenic MGM cast - Kris Kristofferson as Billy The Kid, James Coburn as Pat Garrett, Jason Robards as Governor Wallace, Richard Jaeckel as Sheriff Kip McKinney and Katy Jurado as Mrs. Baker. Established hands, future film stars and cool musical types peppered the smaller roles – Slim Pickens as Sheriff Baker, Harry Dean Stanton as Luke, singer Rita Coolidge and her Keyboardist Donnie Fritts as Maria and Beaver. And of course perhaps coolest of them all – Bob Dylan himself as the appropriately obscure character 'Alias' – looking like he fits right in with all the sputum, blood and sex.

Sent to him by writer Rudolph Wurlitzer - Dylan had read the script and liked it and was even inspired. Sessions take place on location in Mexico's CBS Studios and then back in Los Angeles with Warner Brothers – producing a string of quietly majestic instrumentals that countered the bloody mayhem on screen. Even the front cover artwork seemed lean and uncluttered in keeping with the mean and moody themes - a bare black and white title complimented on the rear by sparse musician credits and a startling picture of Kris Kristofferson kneeling in the dirt – hand-cuffed - a show-me-some-mercy grimace on his face as Sheriff Richard Jaeckel points his shotgun down into his chest and cocks the trigger.

But way more than all of that - this largely forgotten 1973 album would of course produce one of BD's most moving and touching songs – the truly gorgeous "Knockin' On Heaven's Door” - a song that has gained almost mythical properties in the hands of others - least not of all Eric Clapton. But for me the magic of this movie-music LP has always been the Ry Cooder type instrumentals in-between - loose acoustic guitar ambles that suddenly seemed to exude emotion without the need for words (although Dylan sings on some cuts) – a heart in the music that had seemed missing from his work for a while. Let's get to the soundtrack and this very barebones CD reissue...

UK released February 1991 – "Pat Garrett & Billy The Kid – Original Soundtrack Recording" by BOB DYLAN on Columbia CD 32098 (Barcode 5099703209822) is a straightforward CD reissue of his 1973 10-Track LP. There are no mastering credits and it plays out as follows (35:23 minutes):

1. Main Title Theme (Billy) [Side 1]

2. Cantina Theme (Workin’ For The Law)

3. Billy 1

4. Bunkhouse Theme

5. River Theme

6. Turkey Chase [Side 2]

7. Knockin’ On Heaven’s Door

8. Final Theme

9. Billy 4

10. Billy 7

Tracks 1 to 10 are the Soundtrack album "Pat Garrett & Billy The Kid" - released July 1973 in the USA on Columbia KC 32460 and September 1973 in the UK on CBS Records S 69042. Produced by GORDON CARROLL - it peaked at No. 29 in the USA and No.16 in the UK.

Musicians:

BOB DYLAN - Guitars on all Tracks, Lead Vocals on Track 7

BRUCE LANGHORN - Guitars on Tracks 1, 2, 3, 5 and 6

ROGER McGUINN (of The Byrds) - Guitars on Tracks 2, 7, 8, and 10

CAROL HUNTER - Guitars on Tracks 4 and 8

BYRON BERLINE - Fiddle on Track 6, Vocals on Track 5

BOOKER T. JONES (of Booker T & The MG's) - Bass on Tracks 1, 3, 5 and 6

JOLLY ROGER - Banjo on Track 6

CARL FORTINA - Harmonium on Tracks 7 and 8

TERRY PAUL (Kris Kristofferson and Rita Coolidge's bands) - Vocals and Bass on Tracks 7 8, 9 and 10

JIM KELTNER - Drums on Tracks 7, 8 and 10

RUSS KUNKEL - Tambourine on Track 1, Bongos on Track 2

GARY FOSTER - Recorder/Flute on Track 7

FRED KATZ and TED MICHEL - Cellos on Track 7

CAROL HUNTER, PRISCILLA JONES, BRENDA PATTERSON and DONNA WEISS - Backing Vocals (Carol, Brenda and Donna on Track 7)

The gatefold slip of paper that acts as an inlay gives song-by-song credits, a Cast List and Credits for the film and naught else. There are known outtakes from the January 1973 sessions in Mexico and the further February 1973 sessions back in California – including variants of that most famous hymnal song – but alas. 2005 and 2006 saw reconstructions of the movie into a Director’s cut and again more music. You can't help but think that surely this would be a great candidate for an /unusual unexpected Legacy 'Deluxe Edition' twofer – Dylan fans would dig it so much. In the meantime we have to content ourselves with this early 1991 Columbia CD, which actually sounds beautiful to my ears; it doesn’t advise who mastered what or which source was used – but as I say – the audio is gorgeous.

The album opens on a sublime moment - six minutes of Acoustic magic. I've lost count of the number of times I put "Main Title Theme (Billy)" on a CD-R compilation for the Seventies – unknown songs you should know about – or the number of times I've posted the music up on Face Book reminding the world one more time of its glories. I've even heard of it being used at weddings – in vow ceremonies – something heroic and beautiful in that song as the soaring acoustic guitars 'feel' the moment – take this leap with me and let's see what happens... Hero of the hour is Bruce Langhorn who takes Lead Acoustic while Dylan strums - both soon joined by Booker T. on a sweet and very clear Bass while Russ Kunkel gently shakes a tambourine (god how I love this track). Roger McGuinn of the Byrds takes lead on "Cantina Theme (Workin' For The Law)" - another ballad instrumental with Kunkel this time tapping out hand-rolls on Bongos as the guitars swoon and sway.

The unimaginatively titled "Billy 1" is a variant of "Main Theme" with Dylan's Harmonica adding another layer to those lovely acoustic moments. Half way through the song Dylan starts singing about 'bounty hunters' that don't want Billy to be free – the lad ignoring their holsters and the danger - risking it all for some sweet seniorina far away from home. Both "River Theme" and "Turkey Chase" may have worked in the movie but are less interesting as stand alone bits of music – even though Bryon Berline and Jolly Roger (is this Roger McGuinn) play a blinder on Fiddle and Banjo. And then we’re hit with the "...it's getting dark...too dark to see..." of "Knockin' On Heaven's Door" - the three ladies (Carol, Donna and Brenda) giving it that church feel as they repeat the chorus. Even now it's an amazing song. A huge array of talent gives the 5:21 minutes of "Final Theme" a massive boost - Gary Foster on Recorder/Flute while Carl Fortina keeps that Harmonium note floating throughout. It's the kind of instrumental where you can see the movie screen in your head. "Billy 4" has Dylan singing about 'guns on the river', 'bounty hunters dancing all around you' - Hacienda streets with men wanting Billy to join the other plots up on Boot Hill - another notch on their ivory handles. McGuinn joins Bob for the final "Billy 7" - a song that feels like Dylan is drunk as he sings of Pat Garrett with Billy's number on his mind while the Kid drinks in some bar...

"Pat Garrett & Billy The Kid: Original Soundtrack Recording" is an unusual album in the patchy/voluminous Dylan canon - a record that's forgotten now and I'd argue shouldn't be. And we can all thank God it's not the terrible "Dylan" LP that followed in November 1973 - a record of warm-up tunes he didn't sanction that unleashed vicious reviews and not unfounded fan dismay.

"Pat Garrett & Billy The Kid..." is beautiful, odd, haunting and very rewarding Bob Dylan. Holster your Colt 45s on this one - buy at a whiskey at the bar from Claudine's close friend Memphis Margo - pull up a chair at the Last Chance Saloon and enjoy...

"Desire" by BOB DYLAN (September 2003 and March 2004 Sony CD Reissues - Greg Calbi Remasters) - A Review by Mark Barry...

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"...One More Cup Of Coffee..."

Following the artistic triumph and musically magisterial "Blood On The Tracks" LP from early February 1975 was always going to be a tough one (never had love and pain been so articulate). Yet January's "Desire" began the new Bob Dylan year in more comeback-kid style – even rounding out 1976 with the obligatory live set "Hard Rain" - an album that admittedly few remember or care about now.

To the reissue - running to over 56 minutes on original vinyl - the much-loved "Desire" has always been a pretty Columbia/CBS Records LP to look at but a crushed compromise on the Audio front. Until the advent of CD... The first 1980s variant was good (better than the LP for sure) but this re-constructed Stereo CD Remaster from 2003 carried out by the mighty GREG CALBI – a name synonymous with transfer greatness for me – is an altogether different beast. The transformation here is amazing. Let's get details out of the way first before we delve into the songs...

UK re-released March 2004 – "Desire" by BOB DYLAN on Sony/Columbia 512345 2 (Barcode 5099751234524) is a straightforward CD Remaster of his 1976 9-Track LP. 

It was initially reissued September 2003 as a CD/SACD Hybrid Dual Format release in a gatefold card digipak/repro artwork (Columbia 512345 6 – Barcode 5099751234562) - but that was quickly deleted and replaced in 2004 with a standard jewel case issue using the same 2003 Remaster (itself repressed in 2009 and 2016). "Desire" plays out as follows (56:15 minutes):

1. Hurricane [Side 1]

2. Isis

3. Mozambique

4. One More Cup Of Coffee

5. Oh, Sister

6. Joey [Side 2]

7. Romance In Durango

8. Black Diamond Bay

9. Sara

Tracks 1 to 9 are the album "Desire" - released January 1976 in the USA on Columbia PC 33893 and January 1976 in the UK on CBS Records S 86003. Produced by DON DeVITO - it peaked at No. 1 in the USA and No. 3 in the UK.

The 8-page inlay reproduces the "Songs Of Redemption" notes from Allen Ginsberg – a stream of consciousness writing that has always been unreadable piffle to me. The disc uses the red Columbia label and there's an inlay with a profile photo of Bob live on some distant stage underneath the see-through CD tray. Overall it's merely good rather than being great or properly celebratory as it should be. But all of that goes out the window once you clap ears on the stunning GREG CALBI Remaster - a man whose had his mitts on McCartney's "Band On The Run", Paul Simon's "Graceland", Supertramp's "Crime Of The Century" and "Breakfast In America" and even John Mayer's Remastered catalogue. Calbi has lifted the 'mysterious and dark' musical cups of coffee out of the murkiness – those huge drums on "Joey" - a job well done it has to be said.

For "Desire" – Dylan once again reconstructed his musical sound. Every track features the even-present electric violin of Scarlett Rivera giving most tunes a weary dusty castanets-at-dawn almost Mexican vibe. Add to that are the endless words – brilliant rhymes done in conjunction with Broadway Theatre director Jacques Levy – Dylan unusually relinquishing control over the writing (Levy is co-credited as songwriter on all except "One More Cup Of Coffee" and "Sara" which are credited to Dylan alone). Country giant Emmylou Harris also lends her vocals to brilliant cuts like "One More Cup Of Coffee",  "Oh, Sister" and "Black Diamond Bay" - while Ronee Blakley adds to the wall of lady voices that became something of a signature style for BD (Steven Soles is the duet vocalist on "Hurricane"). The rhythm section is Rambling Jack Elliott's Bass player Ron Stoner (gorgeous work on "Isis" and "Sara") - while England's Howard Werth from Folk-Prog rock band Audience provides the huge drums heard to such effect on "Joey" and the soft-shoe shuffle on "Black Diamond Bay".

Setting aside the overly cryptic and frankly pretentious Allen Ginsberg liner notes - long and wordy tunes prevailed for "Desire" – like BD could not stop penning rhyming couplets. The full album cut for "Hurricane" ran to eight and half minutes – "Isis" clocks in a few seconds under seven minutes - while the prison/civilian mobster life story "Joey" over on Side 2 is king of the streets at eleven minutes. "Black Diamond Bay" punches past seven and half and even the confessional love song "Sara" at five and half minutes feels twice as long emotionally. There's an epic feel to many of the songs reflected in the huge story themes...

Culled from the Autobiography "The Sixteenth Round" about Rubin 'Hurricane' Carter who was famously jailed for murder in 1967 and locked up in a tiny steel cage in New Jersey – "Hurricane" was the Bob Dylan of protest songs – Dylan angry at social injustice and not just bemoaning his own love life. I can remember hearing lyrics like "...the man the authorities came to blame for something he never done..." or "...if you're black...you might as well not show up on the streets unless you want to die in the heat..." and thinking – never mind calling the cops – call the lawyers. "Isis" is a weary marital song in all but name. A backbone piano jab plinks away throughout like a tired soldier walking home from battle – complimented occasionally with passionate Harmonica interludes as he sings about the world's biggest necklace and bodies in Pyramids and Isis in the meadow – the woman he loves that will somehow – inexplicably – do him in.

That Acoustic and Bass opening for "Mozambique" is gorgeous – Emmylou's voice ad-libbing in the background as Rivera strokes the electric violin. One of the best and almost unknown Dylan cover versions is by A&M artists NUTZ who did a take of the funereal "One More Cup Of Coffee" on their 3rd album "Hard Nutz" in 1977. I've always thought it one of his undiscovered jewels – and again Emmylou adding so much with her duet vocals. Side 1 ends on the sad "Oh, Sister" – Dylan hoping that she won't treat him like a stranger – that trademark Harmonica of his wailing in pain.

Side 2's "Joey" is a monster and one would think that at over eleven minutes it's a song that overstays its welcome. But Dylan pours on the factoids in the story of Joey Gallo – the American Government's one-time Public Enemy Number 1. Gunned down like a rabid dog at a Clam House in Little Italy in 1972 – typically rebel Bob sides with the street punk even as he relays the Mobster's less-than-angelic gambling habits and retribution tactics for his rivals. Lyrically it's a tour-de-force – bullets fly – war breaks out – the streets fill with blood and empty out – and through it all are the men in blue unfairly gunning for the 'king of the street' according to Dylan. The shadow of Ry Cooder and Tijuana lingers over "Romance In Durango" - mariachi trumpets and violin notes getting drunk in the throat-parched cantina of life. Panama hats in gambling rooms watch the last ship sail away in "Romance In Durango" – while the truly touching "Sara" is about as relationship personal as Bob Dylan gets (his wife).

Re-listening to the album on this wicked CD only reconfirms his legend. OK I still don’t think "Desire" is Part 2 of "Blood On The Tracks" (what could be) nor is "Street Legal" the poor third son of its two predecessors. I always see the three albums as some kind of golden Dylan period. And for sure with a little presentation and sequencing imagination - this CD reissue could have been better if it included the Quadrophonic mixes done in 1975 (altered versions and instruments) or even the "Catfish" outtake with Eric Clapton on Slide Dobro that turned up on 1991's stunning first volume of "The Bootleg Series – Rare And Unreleased 1961-1991". "Abandoned Love" and "Rita Mae" are other songs done as the sessions too – in fact a Legacy Deluxe Edition 2CD set anyone? But there is genius in them dar grooves/digital bits.

"...Nobody can throw the ball like Catfish can...a million dollar man... " – Bob Dylan sang on the "Desire" outtake "Catfish".

And when it comes to the enigma that is Mister Zimmerman – ain’t that the musical truth...