"Ashes Are Burning" by RENAISSANCE – October 1973 UK Fourth Studio Album on Sovereign Records (September 1973 in the USA) – featuring Annie Haslam (Lead Vocals), Michael Dunford (Guitars), John Tout (Keyboards and Vocals), Jon Camp (Bass and Vocals) and Terry Sullivan (Drummer) with Andy Powell of Wishbone Ash as Guest Guitarist on the Title Track, Strings by Richard Hewson on Two Tracks and Lyrics by Betty Thatcher on All Songs (22 February 2019 UK Esoteric Recordings Expanded Edition CD Reissue with Three Bonus Tracks – Ben Wiseman Remaster) - A Review by Mark Barry...

"...Seeds Of Yesterday..."

There can't be too many Renaissance fans that don't worship at the Hipgnosis-artwork feet of their fourth and most accomplished platter "Ashes Are Burning" – originally issued in Blighty October 1973 on Sovereign Records. It was also the first album that really got them noticed in the USA where Sovereign via Capitol Records managed to chart the LP in late September 1973 for four weeks peaking at No. 171 (Renaissance would enjoy a further eight albums charting in America). But which issue to buy on CD?

Some history as to why you should choose the door marked 2019. Germany's Repertoire was for ages the only go-to place for a digital-version with their June 1995 CD Reissue on Repertoire REP 4575-WY (Barcode 4009910457528) – itself re-launched several times including right up to May 2011. Repertoire also did a separate 2006 variant on REP 5078 (Barcode 4009910507827). All of these versions simply transferred the 6-track LP and threw in a 12-page booklet. Next came Earthwest Recordings EW0093CD (Barcode 803341355194) in 2012 – again another straightforward transfer with bugger all mastering credits. None of these issues offered a new remaster or anything else either...

That all ends with this spectacular February 2019 Esoteric Recordings UK CD Remaster (Esoteric are part of Cherry Red) which not only ups the Audio game immeasurably for the album (Ben Wiseman transfer from original master tapes) but has unearthed three BBC "In Concert" recordings done in January 1974 (back from a US tour and tight as a gnat's chuff) once thought to have been lost forever – now found and sounding utterly superb – shockingly good Previously Unreleased material from their primo period.

Renaissance fans and lovers of Yes and Genesis music (circa 1973) will be lapping it the whole beautifully arranged and melodious Symphonic Rock of it all. There is even a guitar solo from Andy Powell of Wishbone Ash. Seeds of yesterday are indeed breaking through - let’s get to the details…

UK released 22 February 2019 - "Ashes Are Burning" by RENAISSANCE on Esoteric Recordings ECLEC 2646 (Barcode 5013929474642) is an Expanded Edition CD Reissue with Three Bonus Tracks that plays out as follows (69:51 minutes):

1. Can You Understand [Side 1]

2. Let It Grow

3. On The Frontier

4. Carpet Of The Sun [Side 2]

5. At The Harbour

6. Ashes Are Burning

Tracks 1 to 6 are their fourth studio album "Ashes Are Burning" - released September 1973 in the USA on Sovereign/Capitol Records ST-11216 and October 1973 in the UK on Sovereign Records SVNA 7261. Produced and Arranged by RENAISSANCE - it peaked at No. 171 in the USA (didn't chart UK).

BONUS TRACKS (Previously Unreleased):

7. Can You Understand

8. Let it Grow

9. Ashes Are Burning

Tracks 7 to 9 are BBC Radio 1 "In Concert" Recordings from 3 January 1974, Compared by Alan Black 

RENAISSANCE was:

Annie Haslam (Lead Vocals)

Michael Dunford (Guitars)

John Tout (Keyboards and Vocals)

Jon Camp (Bass and Vocals)

Terry Sullivan (Drummer)

All Lyrics by Betty Thatcher, Music by Michael Dunford - except "On The Frontier" by Jim McCarty and Betty Thatcher

Guests:

Andy Powell of Wishbone Ash - Guitar on "Ashes Are Burning"

Strings by Richard Hewson on "Can You Understand" and "Carpet Of The Sun"

The gatefold card digipak repro's the UK artwork (the US variant used different photos) and a 16-page booklet with new Annie Haslam and Terry Sullivan interviews. The inner sleeve with the lyrics is here too and superb new MALCOLM DOME liner notes. Clearly both Haslam and Sullivan are aware that LP4 struck the right chord at last - the Richard Hewson string arrangements framing their sound - pretty melodies - good lyrics - and now gorgeous Audio care of a BEN WISEMAN Remaster from original tapes. When the Acoustic Guitar/Haslam Vocal break comes in at about 1:55 in "At The Harbour" - the Audio is just beautiful. It's like that throughout and shockingly the three BBC sessions are amongst the best I've ever heard come out of the Beeb.

Fans will love the Prog Rock and Symphonic Rock of Side 1's "Can You Understand" - very similar to the best parts of "Selling England By The Pound" - also issued late 1973. "Let It Grow" feels like a lovelorn love song that has stayed so sweet.

The Acoustic/Vocals opening of "On The Frontier" feels like the 5th Dimension meets Mellow Candle - that piano underpinning the combo voices. It's the same for "Carpet Of The Sun" but I'm blown away by the BBC renditions - near perfect and you can clearly hear the audience sharp intake of breath as Renaissance sounds like a super-slick Greenslade or Supertramp - up to the point that there are several shouts for 'more' after the epic "Ashes Are Burning".

Mark and Vicky Powell's Esoteric Recordings have done some humdingers in the last five years, but this little sweetie is a very real Audio jewel in their heavily laden reissue crown. Well done to all involved...

"Ummagumma" by PINK FLOYD – 7 November 1969 USA Half-Live, Half-Studio 2LP set on Harvest Records (8 November 1969 in the UK also on Harvest Records) featuring David Gilmour, Roger Waters, Richard Wright and Nick Mason (26 September 2011 and 15 January 2016 UK 2CD Reissues – 2011 on EMI Records and 2016 on Warner Music Group/Pink Floyd Records – Both Using The 2011 James Guthrie and Joel Plante Remasters) - A Review by Mark Barry...

"...Grooving With A Pict..."

CD-wise - what we have here is a reissue of a reissue.

26 September 2011 saw the JAMES GUTHRIE and JOEL PLANTE CD Remasters of the Pink Floyd catalogue hit the shops to pretty much universal praise (they were transferred at Das Boot Studios and all single issues were known as 'Discovery Editions'). These have been superseded by the 15 January 2016 'Pink Floyd Records' Reissues – in most cases featuring upgraded artwork but still using the 2011 Remaster.

The August 1967 debut album "The Piper At The Gates Of Dawn" is PFR1, June 1968's second album "A Saucerful Of Secrets" is PFR2 while June 1969's Soundtrack From The Film "More" is PFR3 (all Stereo) and so on. Their fourth release, the half-live, half-studio October 1969 double-album "Ummagumma" is PFR4.

So what's new (if anything)? The 2011 2CD set had specially commissioned artwork for the CDs (most of which I personally thought were meaningless rubbish images) - these 2016 replacements have swapped out those with a picture CD for each – usually always album artwork. PRF4 also has a tri-gatefold card sleeve, title sticker (on the shrink-warp) and although the colour booklet is still 16-pages long, it is newly laid out. You get the striking and iconic original Hipgnosis gatefold artwork (the equipment shot on the back cover is the past page of the booklet in near perfect quality), lyrics to all the songs (including live) and new band images from the period. A very cool inclusion is a proof set of photographs of each band member - going some way towards showing how they were spliced to make that 'window within a window' effect. I'd call it more coherent even if it does lack an essay enlightening the listener as to the history of the band and these new 1969 studio tracks.

But the real deal here is the AUDIO - and for those of us who remember our crackly SHDW 1/2 vinyls all too well - the sonic upgrade in the 2011 Remasters is massive. The Live Set is fantastically clear - the trippy drums and keyboard sound stage so much more centered - and that scream during "Careful With That Axe, Eugene" launches out of your speakers with frightening reality (as it was no doubt originally intended to do). Same too on the studio side - big improvements. Let's get to the Grantchester Meadows...

UK re-released 15 January 2016 - "Ummagumma" by PINK FLOYD on Warner Music Group/Pink Floyd Records PFR4 (Barcode 5099902893723) is a 2CD Remaster of the October 1969 double-album. This 2016 reissue has the same Barcode and International Catalogue Number as the 26 September 2011 'Discovery Edition' on EMI 50999 028937 2 3 but has the addition of 'Pink Floyd Records' catalogue numbers (PRF1, PRF2 etc) and upgraded artwork. As both releases have the same barcode, if you want 2011 rather than 2016, then you may have to specify this when purchasing. It plays out as follows:

CD1 "Live Album" (39:40 minutes):

1. Astronomy Domine [Side 1]

2. Careful With That Axe, Eugene

3. Set The Controls For The Heart Of The Sun [Side 2]

4. A Saucerful Of Secrets

Recorded at Mothers Club, Birmingham, 27 April 1969 and Manchester College Of Commerce, 2 May 1969

CD2 "Studio Album" (47:02 minutes):

1. Sysyphus - Part One [Side 3]

2. Sysyphus - Part Two

3. Sysyphus - Part Three

4. Sysyphus - Part Four

5. Grantchester Meadows

6. Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict

7. The Narrow Way - Part One [Side 4]

8. The Narrow Way - Part Two

9. The Narrow Way - Part Three

10. The Grand Vizier's Garden Party - Part One - Entrance

11. The Grand Vizier's Garden Party - Part Two - Entertainment

12. The Grand Vizier's Garden Party - Part Three – Exit

The double-album "Ummagumma" was released 7 November 1969 in the UK on Harvest SHDW 1 / 2 and in the USA on Harvest SKBB 388 (8 November 1969). Produced by PINK FLOYD (Live) and NORMAN SMITH (Studio) – it peaked at No. 5 in the UK LP charts and No. 74 in the USA. On CD2 - Richard Wright wrote all of "Sysyphus", Roger Waters wrote "Grantchester Meadows" and "Several Species..." - David Gilmour wrote all of "The Narrow Way" and Nick Mason wrote all of "The Grand Vizier's Garden Party".

The Live Set was a clever way (in some respects) for the four piece Pink Floyd to close the Syd Barrett chapter while the studio set showed they were moving on. And I'm amazed at how good the transfer is - "A Saucerful Of Secrets" giving it some Sixties Psych. The crescendo Part One of "Sysyphus" sounds good but not as clean as the piano solo Part Two. And those organ notes that lead in Part Four give way to vibes and bird noises that used to sound so far away they were irritating. Can't say I'm a fan of the doomy organ later on - hasn't aged well.

But if I was to pick out one track that astonishes - it's the Waters written "Grantchester Meadows" where bird tweeting slips the song in - the acoustic guitar and kingfisher lyrics clear as a bell - such an amazing clarity to the solo too. The five-minute "Several Species..." once again features percussion noises mixed up with animal tweets and chirps and by the time the indecipherable echoed lyrics come in - it may sound good but it's insufferable.

Guitarist David Gilmour's "The Narrow Way" comes as a Roy Harper-type blessed relief - gorgeous acoustic guitars swirling around your speakers as they mix with way-up-the-fretboard slide guitar notes - all of it filling up an ethereal vibe. It's one of my fave tracks on the album and to hear it sound this good is an absolute blast (I can also sequence fade-out that crude segue into Part Two at the end). The heavy-heavy grunge guitars of Part Two just sounds like period noodle to me now - but its rescued by the seven minutes of lyrics and very-Floyd Part Three.

Mason chooses a flute to open his three-parter "The Grand Vizier's Garden Party" but it’s soon abandoned for experimental drum sounds and percussion noises – again great audio – but noodle that may have been interesting then but only feels ludicrously self-indulgent now. And it ends on fifty seconds or so of flute.

My problem with "Ummagumma" is that even when I struggled with it back in the day, I liked Pink Floyd. But five decades haven't been kind to the worst early excesses of the band - this sort of Experimental knob constantly pawned off on us as some kind of genius because it bears the PF moniker.

Fans will adore it for sure and Hell, probably bought it back in September 2011 (especially given the fantastic Das Boot Studios audio upgrade). But the uninitiated need to hear first, because 1970's "Atom Heart Mother", 1971's "Meddle" and 1972's "Obscured By Clouds" were so much musically better...

"Any Day Now" by JOAN BAEZ – December 1968 US 2LP set of Bob Dylan Covers on Vanguard Records (April 1969 UK) – featuring Grady Martin, Fred Carter, Pete Drake, Jerry Reed, Vinnie Bell, Hargus 'Pig' Robbins, Stephen Stills of Buffalo Springfield with Ken Buttrey, David Briggs, Buddy Spicher and Norbert Putnam of Area Code 615 and Barefoot Jerry (March 2005 UK Ace Records 'Vanguard Masters' Expanded Edition Reissue – 2LPs onto 1CD with Two Previously Unreleased Bonus Tracks Recorded Live In Japan – Jeff Zaraya Restoration and Remasters) - A Review by Mark Barry...

"...Crumble Into Each Other..."

Against a backdrop of huge escalation in the Vietnam War, the assignations of Dr. Martin Luther King in April and Robert Kennedy in June and racial unrest in major American cities and University campuses – Joan Baez steps into Columbia's studios in Nashville in October 1968 with Producer Maynard Solomon, four members of Area Code 615 and other top session types to make a double-album of Bob Dylan cover versions - some featuring Indian Sitar in their Americana Folk Rock renditions.

Taking its title from lyrics in "I Shall Be Released" – the ambitious "Any Day Now" double-album would quickly see light of day only two months later at the tail end of December 1968 on Vanguard Records and hit Blighty in April 1969. This very cool and gorgeous sounding CD Remaster of 2005 is part of Ace Records 'Vanguard Masters Series' and has had major audio restoration work done – JEFF ZARAYA lifting this completely forgotten early twofer up by the boot straps. And at fewer than seven quid, VMD 79741 even throws in as Bonus Tracks two further BD covers from a Japanese-only tour album that wasn't issued anywhere else (unavailable too on digital until now). Let's get down with the Baz and Bob show…

UK released 26 March 2005 (8 February 2005 in the USA) - "Any Day Now" by JOAN BAEZ on Ace Records/Vanguard Masters VMD 79741 (Barcode 029667008426) offers the entire 1968 2LP set of Bob Dylan Cover versions Remastered onto 1CD with Two Bonus Tracks (Previously Unreleased outside of Japan) and plays out as follows (75:32 minutes):

1. Love Minus Zero/No Limit [Side 1]

2. North Country Blues

3. You Ain't Going Nowhere

4. Drifter's Escape

5. I Pity The Poor Immigrant

6. Tears Of Rage [Side 2]

7. Sad-Eyed Lady Of The Lowlands

8. Love Is Just A Four-Letter Word [Side 3]

9. I Dreamed I Saw St. Augustine

10. The Walls Of Redwing

11. Dear Landlord

12. One Too Many Mornings

13. I Shall Be Released [Side 4]

14. Boots Of Spanish Leather

15. Restless Farewell

Tracks 1 to 15 are her tenth album - the double studio-set "Any Day Now" - released December 1968 in the USA on Vanguard VSD 79306/7 and April 1969 in the UK on Vanguard SVRL 19037/8 (reissued 1970 on Vanguard VSD 79306/7).

BONUS TRACKS:

16. Blowin' In The Wind (Live)

17. It Ain't Me Babe (Live)

Tracks 16 and 17 recorded Live in Japan in 1967 and only released there – PREVIOUSLY UNRELEASED anywhere else

The 12-page booklet is a pleasingly in-depth affair – ARTHUR LEVY going deep into social, commercial and personal reasons behind her recordings of the era. There are those pencil drawings that featured on the original artwork but mostly its just text – and a bloody good read it makes too. Engineered for release from original tapes by JEFF ZARAYA – sonic solutions and 20-bit digital audio was used and bass restored. This is a rather lovely sounding CD – giving it that analogue Folk shimmer that I love. Great transfer…

Dylan fans of the day would have scrutinized the track list and noticed that a few of the entries were not the usual fodder. Several tracks had been circulating on Basement Tapes bootlegs (“Too Much Of Nothing” and "You Ain't Going Nowhere" for instance) and two were only just heard on The Band "Music From Big Pink" July 1968 debut album - "Tears Of Rage" (a co-write with Richard Manuel) and Dylan's anthemic "I Shall Be Released".

In December 1968 - when the double was issued Stateside – impact-wise the lyrical powerhouse "I Shall Be Released" had a meaning that encompassed worlds. But it wasn’t only about his amazing lyrics - she stretched interpretations too. Baez gives "Tears Of Rage" a stunning Acapella rendition perfectly setting up her version of the Side 4 monster on 1966's "Blonde On Blonde" double - the eleven-minute "Sad-Eyed Lady Of The Lowlands" - her soft voice giving it a much more lovelorn Folky feel. There are four from the then recently issued "John Wesley Harding" album - "Drifter's Escape", a hurting "I Pity The Poor Immigrant", a softly sinister "I Dreamed I Saw St. Augustine" and a pure man-on-the-street hatred in "Dear Landlord".

The new song to everyone was the lilting "Love Is Just A Four-Letter Word" that opened Side 3. For me it's one of the prettiest on the whole project. In fact when the double-album troubled the US Billboard LP charts in late January 1969, Vanguard figured its unique presence here might even make a collector's hit and issued the song as a US 45 in March 1969 (Vanguard VRS-35088) with the opening song on its flipside - "Love Minus Zero/No Limit". That combo made No. 86 on the singles chart but no more. The long-player fared way better - with a 20-week chart run, the 2LP set peaked at an impressive No. 30 and was nominated for a Folk Grammy.

Her band featuring several instruments prominently – Fred Carter and Grady Martin on guitars, blind session-man Hargus 'Pig' Robbins on piano - Vinnie Bell on Indian Sitar and somewhere in there is Stephen Stills - with Buffalo Springfield at the time. 

"We’re both just one too many mornings and a thousand miles behind…" – Baez sang back in the day, knowing all too well what her relationship with Dylan was and how far both had travelled since 1962.

I suppose you could accuse "Any Day Now" of being an inevitable vanity project (given their famous pairing on so many tumultuous Sixties occasions). But it doesn't feel like that. Instead I'm moved again. Like it's time we went back 52 years and revisited the hugely influential Zim and his equally feisty activist New York Lady. Because both were, and are still - a class act. Check it out…