"Original Release Series Discs 8.5-12" by NEIL YOUNG (August 2017 Reprise/Neil Young Archives 5CD Box Set of Remasters) - A Review by Mark Barry...

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"...Four Strong Winds..."

You have to look at this 2017 5-Disc Reissue in two ways - (a) it contains great material that is now remastered properly and about time too - but there's also (b) - it's packaging is only OK at best and it's ludicrously high price is an out-and-out insult to lifetime fans and newbees alike. But let’s focus on the positive for the moment...

The 'Neil Young Archives Original Release Series' (NYA ORS) finally gives us his much-revered late-Seventies material – five albums worth (one a double live set) - and along with the 3LP/2CD "Decade" retrospective (see separate review) allows fans to savour all of our favourite Canadian whinge-bag's output is truly superb audio (mostly for the first time too). Quite apart from the lack of sleep and Americana rust, there's a lot to wade through, so here goes with the minutiae...

US/UK/Europe released 18 August 2017 - "Original Release Series Discs 8.5-12" by NEIL YOUNG (and CRAZY HORSE) on Reprise/Neil Young Archives 554706-2 (Barcode 093624915416) is a 5CD Card Slipcase Box Set of New Remasters containing the following:

NYA ORS 8.5/Reprise 558557-2 is "Long May You Run" by THE STILLS-YOUNG BAND (39:14 minutes):

1. Long May You Run [Side 1]

2. Make Love To You

3. Midnight On The Bay

4. Black Coral

5. Ocean Girl

6. Let It Shine [Side 2]

7. 12/8 Blues (All The Same)

8. Fontainebleau

9. Guardian Angel

Tracks 1 to 9 are the album "Long May You Run" - released October 1976 in the USA on Reprise MS 2276 and October 1976 in the UK on Reprise K 54081. Produced by YOUNG, STILLS and DON GEEHAM - Tracks 1, 3, 5, 6 and 8 written by Neil Young - Tracks 2, 4, 7 and 9 by Stephen Stills. It peaked at No. 12 on the UK LP charts - No. 26 in the USA.

NYA ORS 9/Reprise 558558-2 is "American Stars 'N Bars" by NEIL YOUNG (38:03 minutes):

1. The Old Country Waltz [Side 1]

2. Saddle Up The Palomino

3. Hey Babe

4. Hold Back The Tears

5. Bite The Bullet

6. Star Of Bethlehem [Side 2]

7. Will To Love

8. Like A Hurricane

9. Homegrown

Tracks 1 to 9 are the album "American Stars 'N Bars" - released June 1977 in the USA on Reprise MSK 2261 and June 1977 in the UK on Reprise K 54088. The recordings stretch from four different time frames - November 1974 for "Star Of Bethlehem" - "Like A Hurricane" and "Homegrown" from November 1975 - "Will To Love" from May 1976 and the whole five tracks on Side 1 from April 1977. Also although the album outer album artwork credits only Neil Young - the inner sleeve credits all of Side 1 to Neil Young, Crazy Horse And The Bullets with the last two tracks on Side 2 as Neil Young and Crazy Horse (Tracks 1 and 2 on Side 2 as Neil Young only). Produced by NEIL YOUNG, DAVID BRIGGS and TIM MULLIGAN - it peaked at No. 17 in the UK on the LP charts and No. 21 in the USA.

NYA ORS 10/Reprise 558560-2 is "Comes A Time" by NEIL YOUNG (37:08 minutes):

1. Goin' Back [Side 1]

2. Comes A Time

3. Look Out For My Love

4. Lotta Love

5. Peace Of Mind

6. Human Highway [Side 2]

7. Already One

8. Field Of Opportunity

9. Motorcycle Mama

10. Four Strong Winds

Tracks 1 to 10 are the album "Comes A Time" - released October 1978 in the USA on Reprise MSK 2266 and October 1978 in the UK on Reprise K 54099 - it peaked at No. 42 in the UK LP charts and No. 7 in the USA.

NYA ORS 11/Reprise 558561-2 is "Rust Never Sleeps" by NEIL YOUNG & CRAZY HORSE (38:23 minutes):

1. My My, Hey Hey (Out Of The Blue) [Side 1]

2. Thrasher

3. Ride My Llama

4. Pocahontas

5. Sail Away

6. Powederfinger [Side 2]

7. Welfare Mothers

8. Sedan Delivery

9. Hey Hey, My My (Into The Black)

Tracks 1 to 9 are the album "Rust Never Sleeps" - released June 1979 in the USA on Reprise HS 2295 and June 1979 in the UK on Reprise K 54105 - it peaked at No. 8 on the US LP charts and No. 13 in the UK.

NYA ORS 12/Reprise 558562-2 is "Live Rust" by NEIL YOUNG & CRAZY HORSE (75:53 minutes, 2LP set onto 1CD):

1. Sugar Mountain [Side 1]

2. I Am A Child

3. Comes A Time

4. After The Gold Rush

5. My My, Hey Hey (Out Of The Blue)

6. When You Dance I Can Really Love [Side 2]

7. The Loner

8. The Needle And The Damage Done

9. Lotta Love

10. Sedan Delivery

11. Powderfinger [Side 3]

12. Cortez The Killer

13. Cinnamon Girl

14. Like A Hurricane [Side 4]

15. Hey Hey, My My (Into The Black)

16. Tonight's The Night

Tracks 1 to 16 are the entire 2LP Live Set "Live Rust" - released November 1979 in the USA on Reprise 2RX 2296 and November 1979 in the UK on Reprise K 64041 - it peaked at No. 15 on the US LP charts and No. 55 in the UK.

The Outer Card Slipcase pictures the five album sleeves on the rear and frankly little else. Inside there are 5 Mini LP Repro Card Sleeves that duplicate the US original vinyl albums between October 1976 and November 1979. The Mini LP Sleeves are slightly larger than your average 5" Japanese equivalent so both the unprotected CD (no white bags) and their inlays fall out easily because there's more room (perhaps too easily). Each Reprise Records Riverboat design CD label also sports the new NYA ORS logo that appears on the spine and rear of the outer box (Neil Young Archive - Original Release Series). Original-LP-packaging-wise - fans will be glad to see that all is present and accounted for - "Long May You Run" has its brown inner bag now turned into a fold-out separate page with the printed lyrics perfectly legible - "American Stars 'N Bars" has its white inner bag turned into a fold-out separate page also - "Comes A Time" had no inner bag originally so is simply given a plain white inner (this should have been provided with all the other discs frankly) and both "Rust Never Sleeps" and the live double "Live Rust" have their bits too - inners, gatefold sleeve for the 2LP set etc. On Young's insistence - the artwork remains exactly as it was - but because there's no other booklet or insert – there’s no history – song comments – no unreleased and mastering isn't even mentioned anywhere.

Audio-wise - undoubtedly this is the same team who so expertly transferred and remastered the first box and more in the NYA series - JOHN NOWLAND and TIM MULLIGAN. The original vinyl albums had good-to-great mastering but for me often felt muted in places. These 2017 CD Remasters are amazing - especially on the first three records - which make me feel like I'm hearing them anew – instruments and space around them opened up and that's just the best. Let's get to the music...

"Long May You Run" keeps it simple - both heavyweights providing good songs and the band featuring cool dudes like Joe Vitale of Joe Walsh's Barnstorm alongside Jerry Aiello and Joe Lala of Stephen Stills' Manassas. The sheer catchy-chorus commerciality of Neil Young's title track saw Reprise give it a 45 release in September 1976 (a month before the album arrived). But despite the excellence of Stills' Eagles-chugging boogie "12/8 Blues (All The Same)" on the B-side - it stalled outside the Top 50 on both sides of the pond. Yet the album was reasonably well received and on hearing stuff like the lights on the boats of the acoustically melodious "Midnight On The Bay" (gorgeous audio) and the very CSNY feel to "Black Coral" – it’s easy to hear why. Young gives it some country grunge guitar and harmonica on "Let It Shine" while Stills provides perfect harmonies – and again a revelatory audio. Screaming ZZ Top guitar pings and huge duet chorus vocals on Young’s "Fontainebleau" make it feel epic - but as much as I love him I’d say that the Stills finisher "Guardian Angel" hasn’t worn well.

Both 1977's snub-nosed "American Stars 'N Bars" and 1978's plain-looking "Comes A Time" have never had too much of a good rep amongst reviewers and even some diehard fans – but I’m thinking they’re due major reappraisal. The remastered five tracks on Side 1 of "Stars..." sound huge - especially the disarmingly lovely "Hey Babe" (the only US 45 off the album - paired with "Homegrown" in July 1977 on Reprise 1390). And there’s also those impressive guests accompanying Young - Linda Ronstadt and Nicolette Larson on Backing Vocals with Carole Mayedo on Violin. Speaking of which - stalwart members of Young's various backing bands The Stray Gators and Crazy Horse – both Billy Talbot (Bass) and Ralph Molina (Drums) prop up "Homegrown" and the LP's other big cut "Like A Hurricane" – here in its full 8:15 minute album glory. It's a shame the British UK 7" single edit of "Like A Hurricane" issued September 1977 (Reprise K 14482) isn't on here as a bonus (alas). Country legend Emmylou Harris lends her distinctive wail to the strumming "Star Of Bethlehem" – and again – another gorgeous transfer. The Bars album rocks out with the short but oh so sweet grunge-rock of "Homegrown" (what are you growing in there Neil?).

"Comes A Time" is a strumming Neil Young album – almost every song an acoustic ballad dominated by Backing Vocals from Nicolette Larson and what Young calls the "Gone With The Wind" Orchestra. Amidst the strings you also get Spooner Oldham on Piano and J.J. Cale guesting on Electric Guitar (not that the liner notes on the rear album sleeve deign to actually tell where they are). Other niceties include the leave-her-first "Peace Of Mind" and the pretty advice-number "Lotta Love" which Nicolette Larson would make a hit on her November 1978 self-titled debut LP over on Warner Brothers (a Neil Young song has now bizarrely become a ‘Yacht Rock’ staple).

"Rust Never Sleeps" was both a beast and a new beginning in ways. The idea was apparently to record the all-new material live (which they did) – but then Young tinkered with it in the studio. Excepting the opener "My My, Hey Hey (Out Of The Blue)" - you can’t really hear an audience present - but you can hear that distance in his vocal that only the live setting gives – thereby adding an urgency to angry immigrant, indigenous population and struggling family songs like "Thrasher",  "Pocahontas" and "Welfare Mothers". Roughly speaking Side 1 is the Acoustic set with Side 2 letting rip with the electric guitars – grunge rocking as he begs on behalf of a put-upon pilgrim to ‘shelter me from the powder finger’. Although it doesn’t say so in the credits, sounds like Nicolette Larson is doing the backing vocals on the lovely Side 1 acoustic finisher "Sail Away". There’s a Punk rage in the hard-hitting "Welfare Mothers" and a fantastic frantic power to "Sedan Delivery" that’s part MC5 meets The Sex Pistols. Whilst on that subject – many of the early Seventies rockers at that time either appeared like pomp dinosaurs or rich poodle softies wildly out of touch with the real world in which the kids who adored them lived. Most just seemed musically lost – unable to deal with or answer the sheer spit and venom of Punk and New Wave. Neil Young with his grungy electric guitar roaring and fuming (just like it had in 1969) seemed to embrace Punk with relish. He’d been angry before for sure – but with "Rust Never Sleeps" he had at the time suddenly seemed relevant again. I remember for many – Young hadn’t sounded this good in years – and this huge remaster only hammers that home. The album finisher – the distorted rocker "Hey Hey, My My (Into The Black)" became an unlikely 45-hit and appears on his "Greatest Hits" – all stabbing and trashy. The album "Rust Never Sleeps" was a milestone really in his extraordinary canon of work – and it sounds incredibly fresh – even now.

Following quickly after in November 1979 came the double-album follow up "Live Rust" – a fantastic live splurge that by including such early rockers as "The Loner" and even "Cinnamon Girl" reminded people that Neil had been there with his screaming guitar long before Johnny Rotten and his cohorts had been in soiled nappies throwing their headless toys out of a pram. Piano and Acoustic moments like "After The Gold Rush", "Sugar Mountain" and "Comes A Time" reminded ecstatic audiences of his power with melody and words. Amidst huge roars his band lay into "Cortez The Killer" with eight-minutes of guitar relish – that almost ZZ Top lonesome feel to his playing – it’s amazing stuff even now almost 40 years after the event.

This box set has its problems for sure (the ludicrous price, the lack of info, input and anything new musically) – but it also serves as a powerful reminder of what has held him in such affection. And it sounds monster. I picked up my copy on a well-known auction site for about forty-quid – the most I want to pay for it.

Neil Young talks of perfect strangers and outsiders in "The Loner" – a man treading his own path and screw-you if you don’t like it – step aside or open wide my son. Fair dues...because warts and all – he’s worth the fork out...

"An American Treasure: Deluxe Edition" by TOM PETTY (September 2018 Reprise 4CD Retrospective - Chris Bellman Remasters) - A Review by Mark Barry...

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"...From The Fire..."

Like so many guys of my age (I was 60 yesterday, 28 September 2018, the day of this release) - I was taken aback my Tom Petty's untimely passing in October 2017 – it hurt me way more than I knew how to deal with. After Prince and Bowie – he was another hero of my musical life gone too soon. So I pre-ordered the 4CD 'Deluxe Edition' of "An American Treasure" months back - and man - what a slam-dunk brill release it is – a truly fitting tribute.

Compiled with the full co-operation of his Heartbreaker band mates Guitarist Mike Campbell and Keyboard whizz Benmont Tench, Producer and Mixer Ryan Ulyate and especially his family (wife Dana and daughter Adria) – the Deluxe Edition of "An American Treasure" on Reprise 9362-49055-6 (Barcode 093624905561) gives you four Discs covering the 1970s on Disc 1 (15 Tracks, 52:53 minutes), the 1980s on Disc 2 (18 Tracks, 63:42 minutes), the 1990s on Disc 3 (14 Tracks, 56:45 minutes) and the 2000s onwards on Disc 4 (16 Tracks, 72:11 minutes).

There are 63 cuts in total (60 songs with 1 Radio Spot and 2 Spoken Intros) – and of the 60 they are broken down into 41 Previously Unreleased versions (outtakes, alternates and live renditions), 16 Album Cuts, 1 Non-Album UK 7" single B-side and 1 vinyl-only LP song from the "Kiss My Amps 2" compilation making its CD debut here. Ace Engineer CHRIS BELLMAN (at Bernie Grundman Mastering) has beautifully mastered this release. I can't emphasise enough the gorgeous audio quality on this release - it's astonishingly good. Sure there's the occasional audio lapse when recordings come from Stadiums and Arenas (usually included for performance and personal reasons) - but those are few and far between. Even familiar and previously well-mastered songs like the Seventies material is given an aural makeover here - lifted up into something stunning (check out the 'extended' version of "When The Time Comes" without the fade out or "You're Gonna Get It" with the Strings brought forward in the mix so you can hear their clever "Purple Rain" type additions to the end of the song).

In fact Campbell states over and over again that he wants fans to 'come into the songs' through these versions and even though you could argue that 16 album cuts you already own (most of whom don't need remastering) is excessive when we could have had more unreleased from what we're being told is a huge unheard archive – the 16 are included for deeply personal reasons as each liner note explains. Speaking of what album cuts are up for grabs – the team have gone deep into his catalogue to highlight what they clearly feel are overlooked nuggets - "The Wild One, Forever" from the self-titled debut, "No Second Thoughts" from the 2nd album "You're Gonna Get It", "Alright For Now" from 1989’s "Full Moon Fever" which often ended live shows on a shared band/audience high note and "You And Me" from 2002's "The Last DJ" - the final musical moment he and his wife shared before he passed (all of which are beautifully rendered by Bellman's masterful transfers).

And as for the unreleased stuff - how gems like "Surrender" (kept off the first album), "Keeping Me Alive" (a Southern Accents outtake) or even the Rockabilly fun of "Lonesome Dave" (from the "Greatest Hits" sessions) were left off albums or the flipsides of singles is a mystery. You also notice how the band so complimented his tunes like the Tench's keyboard part to "Deliver Me" and Campbell's guitar solos and acoustic playing on unplugged live sets - often transforming Rock songs that are ingrained in your memories into a new Americana version that touches and even equals the more flashy original.

There is also the added bonus of Stevie Nicks on the Demo Version of “The Apartment Song”, the album cut "You Can Change Your Mind" and a live version of "Insider" - whilst Byrds founder and frontman Roger McGuinn adds his dulcet tones to an early take of "King Of The Hill". Hell even Lakers player Kareem Abdul-Jabbar gets his June 1981 moment of fame as he introduces the band at The Forum, Inglewood in California and promptly sparks off an ovation that apparently took 10 minutes to quell. If I had a complaint it would be that the quality somehow strangely dips on the 90s Disc and its disappointing that there isn't more insider-recordings from his 80ts masterpiece "Full Moon Fever" – but these are minor quibbles.

Reading the BUD SCOPPA liner notes and hearing Campbell and friends literally get choked up as their reminiscences of the songs and their circumstances come to mind is both moving and just a little heart-breaking. In short - this one is personal - and the love felt for TP and his songwriting craft is very real.

I miss him, his band and their music. "An American Treasure" is beautiful and then some - and surely the Deluxe Edition 4CD variant will be up for a 2018 'Reissue of the Year' gong. Way to go friends and family...job done and more than a nod to his life and musical legacy...

PS: the Deluxe Edition book packaging is superbly laid out too and classy with a capitol C. Released Friday, 28 September 2018, there is also a 26-Track cheaper 2CD truncated version on Reprise 572284-2 (Barcode 093624905547) and a 6LP vinyl set available in late November 2018...

"Who Came First: 45th Anniversary Expanded Edition" by PETE TOWNSHEND (April 2018 Universal UMC/Eel Pie Recording Productions 2CD Set - 2017 Jon Astley Remasters) - A Review by Mark Barry...

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"...I Am Content..." 

After the Who unleashed the barnstorming snot-nosed wee-wee on the wall that was "Who's Next" in August 1971 (the British Rock band on fire in every way) - I can remember both the excitement and confusion that accompanied "Who Came First" when it finally arrived in October 1972. With Pete standing on the front cover glaring out at us like a drill-sergeant with violent intent to his recruits in what appeared to be a car mechanic's freshly-cleaned overalls sporting a badge on his lapel of some grinning moustached Indian Guru geezer whilst standing on a platform of un-hatched chicken eggs in Doc Martens – I was intrigued and frankly a tad suspicious. 

Housed in its glossy gatefold sleeve and sporting a natty foldout 'Wave' poster within that I never truly understood (the artist Mike McInnerney gets Page 18 in the new booklet to unravel what he painted and why) - I can also remember feeling disappointed – musically that is. Essentially a bunch of outtakes from the Lifehouse Project (tracks that had formed the guts of "Who's Next") with some new stuff and cover versions thrown in – Pete's first solo album seemed weirdly low-key almost. But on repeated listens - I realised a readjustment had to take place. This was not a WHO album – but a PT solo record. And its music stood alone – his ideas too. This was also a more leisurely sounding project – Folksy - Country and Americana – more melodic in its approach - and after the riffage of 1971 – actually took some getting used to. 

And then there was the religious content – a Who-related Rock album celebrating the 76th Birthday of Meher Baba. I can remember the press of the day being polite at best about The Who's guitarist and principal songwriter 'standing on his own two feet' re his beliefs as he babbled on about some transcendental Avatar – an Indian man he’d met and adored in the late Sixties. A spiritual Guru and Guide – Meher Baba is referred to in songs like "Parvardigar" as a master and infinite and all wise – unfortunately the kind of subservient surrender mumbo-jumbo cack that Rock Stars spouted and championed in those days to counter their self-inflicted, drugged-up, screwed-up privileged lives. But at least Townshend and his spiritual quest seemed sincere to me and even if many of the Bentley-driving Gurus name-checked by Cream in 1967 were still putting up their prices and ultimately turned out to be the worst charlatans of all – the message of positivity and love from Pete’s first solo album had a powerful resonance with yours truly in 1972. 

Now here we are in April 2018 with another re-issue. This time Universal UMC in conjunction with PT’s Eel Pie Recordings are giving us a belated (should have arrived in 2017) two-disc '45th Anniversary Expanded Edition' in a equally natty looking squished-up book pack. It comes with all artwork restored - new Jon Astley remasters from original tapes - newly updated liner notes from PT himself that include the extras typed in the same script font as the original LP (a nice touch) and even some good previously unreleased on Disc 2 (eight are new). Let’s get to the angels in our midst...

UK released 20 April 2018 - "Who Came First: 45th Anniversary Expanded Edition" by PETE TOWNSHEND on Universal UMC/Eel Pie Recording Productions PTWCF45 (Barcode 602567302902) is a 2CD Digipak Reissue with 2017 Jon Astley Remasters Housed in an Oversized Card Slipcase that plays out as follows:

Disc 1 "Who Came First" (37:42 minutes):

1. Pure & Easy [Side 1]

2. Evolution

3. Forever's No Time At All

4. Let's See Action 

5. Time Is Passing [Side 2]

6. There's A Heartache Following Me

7. Sheraton Gibson 

8. Content 

9. Parvardigar

Tracks 1 to 9 are the solo LP "Who Came First" - released October 1972 in the UK on Track 2408 201 and in the USA on Decca/Track DL 79189. Recorded, Engineered, Mixed and Produced by PT – it peaked at No. 30 in the UK and No. 69 in the USA

Disc 2 BONUS TRACKS (73:02 minutes):

1. His Hands 

2. The Seeker (2017 Edit, 4:36 minutes)

3. Day Of Silence 

4. Sleeping Dog

5. Mary Jane (Stage A)

6. I Always Say (2017 Edit, 4:58 minutes)

7. Begin The Beguine (2017 Mix, 4:41 minutes)

8. Baba O'Riley (Instrumental, 9:49 minutes)

9. The Love Man (Stage C) 

10. Content (Stage A) 

11. Day Of Silence (Alternate Version, 4:38 minutes)

12. Parvardigar (Alternate Version), 7:12 minutes)

13. (Nothing is Everything) Let's See Action (Incomplete Take, 3:57 minutes)

14. There's A Fortune In Those Hills 

15. Meher Baba In Italy 

16. Drowned (Live In India, 1976)

17. Evolution (Stone) (Live At The Ronnie Lane Memorial Concert, Royal Albert Hall, London, 8 April 2004) 

Like most I've had the 1992 Rykodisc single CD for years with its six Bonus Tracks - two of which are missing from this new package - "The Seeker (1972 Version)" and "Lantern Cabin". I also bought a 2016 single CD reissue of "Who Came First" on Universal UMC 4780134 (Barcode 602547801340) that just offers the nine-track album in a card digipak and a new Miles Showell/Myles Clarke Remaster done at Abbey Road. It sounds gorgeous and at 38:00 minutes total playing time is oddly 18-seconds longer that the version offered here in 2018. Although the 8-page booklet is woefully ordinary and it’s devoid of extras – I’m keeping it because I like the Audio. This 2018 version is also the first in a new series of 'Expanded Edition' Townshend solo releases from Universal offering forthcoming upgraded versions of "Empty Glass", "All The Best Cowboys Have Chinese Eyes". "White City" and the "Scoop" series of outtake sets.  

Although it tries to look the part of being something substantial - I find these oversized digipak-within-a-card-slipcase issues flimsy to say the least. On the upside the booklet has PT's most extensive explanation of the album's origins - a sort of composite of two limited edition music sets (about 100 copies of each) given out to Baba followers via a magazine - and also enlightens on each track including the newbies. There are photos of both Townshend and Baba from the period and the new JON ASTLEY Remasters are his usual loud-renditions but this time without being overly bombastic super-fantastic. Take "Evolution" or the simple strumming in "Sheraton Gibson" and the clarity is undeniable - nicely done. To the record first...

It has to be said in all honesty that some of the tracks on "Who Came First" missed the dynamic of the band and especially Roger Daltrey's distinctive vocals that somehow elevated everything PT wrote. But like most fans – I’ve never wanted to part with my original. The opening side 1 piece "Pure And Easy" was written and recorded by The Who for the Lifehouse Project in 1971 and has been a CD Bonus Track for "Who’s Next" reissues in 1995 and the 2003 Deluxe Edition 2CD set. But that version is the New York Record Plant Sessions mix of 4:30 minutes – here PT uses his own Home Demo version at 5:32 minutes. I've always liked it as a song - uplifting and good on the brain. Up next is the thematically fitting, truly lovely and evocative Folk melody of "Evolution" with the mighty Ronnie Lane on Lead Vocals. Here he covers one of his own songs called "Stone" (re-named "Evolution" for the WCF album) that first turned up on Side 1 of the Faces March 1970 debut album "First Step". Its lyrics wittily talk of consciousness evolving over millennia - a spiritual theme central to Baba teachings. Lane and Townshend were not just pals but a singer-songwriter match made in British musical heaven They would do a celebrated duet album together released October 1977 called "Rough Mix" on Polydor Records – fabulous stuff – and an LP that once again returning to both Country and Americana tunes and styles – something that clearly both men loved and were steeped in. Lane was also a BM follower at the same time as PT and the Live Version of "Evolution (Stone)" on Disc 2 at his Memorial Concert in 2004 is seriously charged stuff (sung by PT). You can feel it in the band, the audience and Pete’s awkward but emotional spoken intro about consciousness. Like Marriott, Bowie and Prince - here is a musician that actually hurts people to think is no longer with us – all of them gone too bloody soon.

Even better is vocalist No. 3 - "Forever is No Time At All" written by Billy Nicholls and Katie McInnerary (with Nicholls at the microphone). Both followers of Meher Baba – Ronnie Lane and Billie Nicholls also shared a musical connection between them. Nicholls had done an ultra-rare withdrawn LP for Immediate Records in 1968 called "Would You Believe" (on Immediate IMCP 009). This hallowed and revered beast is presently listed at a whopping £5000 for an original copy in the 2018 Record Collector Price Guide because the players on it are liable to send most collectors into hysteria – John Paul Jones pre Led Zeppelin, Steve Marriott, Ian McLagan, Kenney Jones and of course Ronnie Lane of the Immediate period Small Faces, Caleb Quaye of Elton John’s band and Hookfoot alongside ace piano sessionman Nicky Hopkins (so often associated with The Stones in the late Sixties and Early Seventies). Townshend rated Billie’s opinions and Nicholls also had an extraordinarily expressive voice – something wonderfully British about it – a little like Ronnie Lane. "Forever is No Time At All" is actually one of my faves on the album. 

The LP’s most famous song has a history all to itself as well. The full 6:15 minute album-version of "Let’s See Action" ending Side 1 now reflects the US spelling of the track by including the words "(Nothing Is Everything)..." plopped in before its title (sung by PT and not Roger Daltrey). I’d agree with most fans by saying that the edited and more punchy single mix of "Let’s See Action" issued a full year prior as a stand alone band 7” single (Track 2094-012, October 1971) with Roger Daltrey on lead vocals - is way better. But any number of variants on this track is all right by me. The Ray Baker cover version is a Country Strum that predates the whole sound achieved on "Rough Mix" six years later and the Audio is gorgeous. Maud Kennedy's poem make up the lyrics to "Content" - clearly one of Pete's faves on the album - a song that is both pretty and somehow sad too - alone with the truth - trying to be brave. With all of its fawning and swooning towards Baba - "Parvardigar" makes me kind of cringe - but if you're a fan - the Audio is fantastic. 

Opening the Bonus Tracks CD is "His Hands" - an instrumental that was recorded for the third and last Meher Baba magazine disc in the Goring-On-Thames converted studio Pete purchased in 1971. Lovely and so apt to this project - that leads into a huge fan-rave "The Seeker". Although its credited as a '2017 Edit' - I can't really hear any difference between it and the 1972 Version that appeared as a Bonus Track on the 1992 Ryko CD (even the playing times at 4:36 minutes are exactly the same). Not as good in any way as the officially released WHO single – it’s still a thrill to have any variant of it over and above. Both "Day Of Silence" and "Sleeping Dog" again were on the Ryko CD - the first track referring to 10 July - a day where Baba followers observe 'silence' all day as he had done every year since 1925.

 

"Sleeping Dog" reflects the domestic bliss he was feeling at the time (wife and kids in bed while he recorded). Can't say any of the Edits impressed but the near 10-minute "Baba O'Riley" is an absolute blast – here the "Who's Next" opener given free reign. Just when you expect "...out here in the fields..." to come roaring in – you get more of the opening and then that riffage. It then layers more and more keyboards until it becomes a Terry Riley soundscape with a WHO twist – fab. And despite the sudden break at the end of "Nothing Is Everything" – the shorter guitar and vocals demo already displays brilliance and I can see why he included it. 

For sure not everything on here is going to thrill (even die-hard fans) but what a fascinating look into the process and how it relates to his on-going journey. "Who Came First" (then and now) is one you can file under chicken and egg. And if you're asking me which came first – I've still no bleeding idea... 

"Things To Come" by SEVENTH WAVE [feat Members of Second Hand] (June 2018 Esoteric Recordings 'Expanded Edition' CD - Ben Wiseman Remaster) - A Review by Mark Barry...

This Review Along With Almost 300 Others Is Available In My

SOUNDS GOOD E-Book on all Amazon sites

1960s and 1970s MUSIC ON CD - Volume 3 of 3

- Exceptional CD Remasters

As well as 1960s and 1970s Rock and Pop - It Also Focuses On

Blues Rock, Prog Rock, Psych, Avant Garde, Underground

Folk-Rock, Singer-Songwriter, Country Rock and more

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs

(No Cut and Paste Crap)

"...Old Dog Song..."

Gull Records (distributed by Decca) went after the Camel, VDGG and Caravan marketplace with their label's first release - "Things To Come" by SEVENTH WAVE.

Issued April 1974 on Gull Records GULP 1001 alongside Isotope's self-titled debut album (GULP 1002, also released April 1974) and Steve Ashley's "Stroll On" in May 1974 (Gull Records GULP 1003) – they all looked and sounded the melodic thoughtful Prog Rock part - but for me always lacked actual tunes.

Seventh Wave comprised of two individuals - singer and multi-instrument keyboardist KEN ELLIOTT and his equally dexterous percussion pal KIERAN O'CONNOR. They weren't new to Prog or Instrumentals - both being ex Second Hand who had two huge cult albums back in the vanguard of the genre - "Reality" on Polydor Records in 1968 and "Death May Be Your Santa Claus" in 1971 on Mushroom Records - both mega-bucks vinyl rarities should you ever feel the need to acquire them (I've reviewed the famous 1971 beast).

Unfortunately as a Rarities LP Buyer and Mail Order Manager in Reckless Records in Islington and Soho's Berwick Street for nearly two decades (busy, busy places and the Berwick Street store still is) - I remember Seventh Wave well - in that you couldn't give either of their LPs away for anything above two or three quid. Their second and last platter was "Psi-Fi" in August 1975 on Gull Records GULP 1010 (both titles reissued in July 1977 on the same catalogue numbers when stuff like Gordon Giltrap was breaking on The Electric Company label). Despite the obvious technical know-how and the dense almost Utopia-like production values - "Things To Come" hasn't really aged that well. All too many of the synth instrumentals like "Sky Scraper" and the one-minute "Escalator" feel like noodles rather than songs and when Elliott did sing on stuff like "Metropolis" or the Spector-esque "Old Dog Song" - he sounded like Geddy Lee from Rush with a tourniquet around his nether regions. Better is "Smog, Fog And Sunset" with its huge notes and the ever so-slightly funky jaunt of "Dance Of The Eloi" sounding not unlike a Genesis middle-eight from 1976's "A Trick Of The Tail".

What I can say is that BEN WISEMAN – a Remaster Engineer of re-known used by Esoteric on many's a reissue and a name (like Andy Pearce) I look out for – has revisited the Gull Master Tapes for this 2018 'Expanded Edition' CD reissue and delivered a spectacular soundscape. 

This 29 June 2018 UK CD of "Things To Come" by SEVENTH WAVE on Esoteric Recordings ECLEC 2630 (Barcode 5013929473041) sounds huge and in a good way  and contains the shorter single-mix of "Metropolis" as a Bonus Track (issued May 1974 as a UK 7" single on Gull Records GULS 3 with "Festival" on the flipside).

The 16-page booklet has new MALCOLM DOME liner notes with contributions from Elliott (taking the title from the famous H.G. Wells story – keyboardist Hugh Banton of Van Der Graaf Generator joining them for the second LP sessions) – there are lyrics to the four vocal tracks and Sound Engineer/Producer Neil Richmond who had aided loads of Trojan LPs at Chalk Farm Road with Vic Keary lends his thoughts on the recordings too. Fans will also be pleased to see Michael Priddle’s intricately cool artwork is also reproduced throughout the booklet.

Good but never great for me – fans will need this however for the upgraded audio and quality booklet presentation...