"The Story Of The Clash Volume 1" by THE CLASH – Includes Album Tracks and Singles from 1977 to 1982 on CBS and Epic Records (October 1999 UK Columbia Records 2CD Compilation - Originally Issued late February 1988 – 1999 Reissued Here In The Same Packaging and With The Same Tracks, But Newly Remastered by Bob Whitney, Ray Staff & Bob Price) - A Review by Mark Barry...

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This Review and 317 Others Like It 

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GOODY TWO SHOES

2CD Deluxe Editions (Occasional Threesome), Expanded Reissues and Compilations 

All Info From The Discs Themselves 

No Cut and Paste Crap

Amazon Hall of Fame Reviewer 6 Times

 

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"...Bullet Holes In The Cemetery Walls..."

 

When "The Story Of The Clash Volume 1" was originally released 29 February 1988 – even though it was a Best Of Compilation in all but name – it still felt like something of an acknowledgement of their greatness – an event even. I loved it. I had all their stuff, but I bought the bugger anyway.

 

Cut to the October 1999 Remastered 2CD Reissue in the same artwork and with the same tracks (just better audio) and you look at the total playing times on both CDs (49:40 minutes and 50:41 minutes) – and could argue that a bolstering-skywards was in order. They could easily have rejiggered both discs and popped on "Remote Control", "Hitsville UK", "Know Your Rights", "The Call Up" or even deep LP cuts like "Overpowered By Funk" or "Julie's Been Working For The Drug Squad" or "Something About England" (plus many more). And the stingy you-will-own-nothing-and-be-glad swinehunts didn't.

 

But I would argue, that there is a listening precision here that I like. I hate to use the phrase 'less is more' on anything by The Clash – but mwah, mwah – I like it like that my son. I'm afraid I am working for the Clampdown. To the Spanish Bombs in Andalucía...

 

UK re-released October 1999 in Restored Remastered form (original was 29 February 1988, reissue uses same artwork) - "The Story Of The Clash Volume 1" by THE CLASH on Columbia 495351 2 (Barcode 5099749535121) is a 2CD 28-Track compilation that plays out as follows:

 

CD1 (49:40 minutes):

1. The Magnificent Seven

2. Rock The Casbah

3. This Is Radio Clash

4. Should I Stay Or Should I Go

5. Straight To Hell

6. Armagideon Time

7. Clampdown

8. Train In Vain

9. Guns Of Brixton

10. I Fought The Law

11. Somebody Got Murdered

12. Lost In The Supermarket

13. Bank Robber

NOTES on CD1:

Track 1 from the album "Sandinista!", a 3LP set released December 1980 in the UK on CBS Records FSLN 1 and Epic E3X 37037 in the USA

Tracks 2, 4 and 5 from the album "Combat Rock" - released May 1982 in the UK on CBS Records FMLN 2 and Epic FE 37689 in the USA

Track 3 is a Non-LP UK 45-single released 20 November1981 on CBS Records CBS A1797, A-side

Track 6 is a Non-LP UK 45-single released 7 December 1979 on CBS Records S CBS 8087, B-side to "London Calling" (see Track 12 on CD2 for A-side)

Tracks 7, 8, 9, 11 and 12 are from the album "London Calling", a 2LP set released December 1979 in the UK on CBS Records CLASH 3. The track "Train In Vain" on the end of Side 2 was not listed on the sleeve of original copies even though it was on the album (the run-out groove gave you the name of the track). Released January 1980 in the USA on Epic E2 36328 (initial copies were the same regarding "Train In Vain")

Track 10 was on the "The Cost Of Living E.P.", a 4-Track Extended Play 45-single released 11 May 1979 on CBS Records S CBS 7324, Track 1, Side 1

 

CD2 (50:41 minutes):

1. (White Man) in Hammersmith Palais

2. London's Burning

3. Janie Jones

4. Tommy Gun

5. Complete Control

6. Capitol Radio

7. White Riot

8. Career Opportunities

9. Clash City Rockers

10. Safe European Home

11. Stay Free

12. London Calling

13. Spanish Bombs

14. English Civil War

15. Police & Thieves

NOTES on CD2:

Track 1 is a Non-LP UK 45-single released 16 June 1978 on CBS Records S CBS 5293, A-side

Tracks 2, 3, 7, 8, 9 and 15 are on their debut album "The Clash" released April 1977 on CBS Records S CBS 82000 and July 1979 on Epic Records JE 36060 in the USA (with different tracks and artwork). A live version of Track 2 was also a UK 45-single released 13 May 1977 on CBS Records S CBS 6383, B-side of "Remote Control". Track 7 was also their debut UK 45-single released 18 March 1977 on CBS Records S CBS 5058, A-side. Track 9 was also a UK 45-single released 17 February 1978 on CBS Records S CBS 5834, A-side. Track 15 is a Junior Murvin cover version originally released April 1980 as a UK 45-single on Island Records WIP 6539, A-side

Tracks 4, 10, 11 and 14 are on their second album "Give 'Em Enough Rope" - released October 1978 in the UK on CBS Records S CBS 82431 and February 1979 in the USA on Epic JE 35543

Track 5 is a Non-LP UK 45-single released 23 September 1977 on CBS Records S CBS 5664, A-side (see Track 2 on CD2 for the B-side)

Track 6 was on the "The Cost Of Living E.P.", a 4-Track Extended Play 45-single released 11 May 1979 on CBS Records S CBS 7324, Track 2, Side 2

Tracks 12 and 13 are from the album "London Calling", a 2LP set released December 1979 in the UK on CBS Records CLASH 3. The track "Train In Vain" on the end of Side 2 was not listed on the sleeve of original copies even though it was on the album (the run-out groove gave you the name of the track). Released January 1980 in the USA on Epic E2 36328 (initial copies were the same regarding "Train In Vain"). Track 12 was also a UK 45-single released 7 December 1979 on CBS Records S CBS 8087, A-side (see Track 6 on CD1 for B-side "Armagideon Time")

 

THE CLASH was:

JOE STRUMMER – Guitar, Lead Vocals

MICK JONES – Guitar, Lead Vocals

PAUL SIMONON – Bass

TOPPER HEADON - Drums

 

Valet, Roadie and all-round save-them-from-themselves-and-the-British-press good guy ALBERT TRANSOME supplies the witty and brutally honest liner-notes/memories of life at the beginning with the band. There are car-shops in Camden Town whilst rehearsing three-minute wonders every day (the paint dribbles stayed on their clothes as a fashion choice) to fights with German TV Crews in Hamburg beside radiators and Hotel Carpet Replacement bills of £1,400 that chased them around for years, 350 smashed seats at the Rainbow in Finsbury Park in May 1977. There are also unsung heroes – like Alex Michon – a quiet girl who handmade all the Stage Togs. The text is peppered with suitably rebel-yell photos of our four reprobates in various I’m going-to-kill-the-chip-shop-owner for his underwhelming Saveloy supply poses. It's all very Rock 'n' Roll as you can imagine, but I can't help think that an upgraded booklet would have been better.

 

But that's a by-the-by because the real meat and veg comes in new RAY STAFF, BOB WHITNEY and RAY PRICE Remasters done at Whitfield Street Studios that rawk with a panache these recordings needed. For sure the earlier more-crudely recorded years have always felt like sonic compromises in some way and the later material subject to better Production Values, but here they have tackled both with strength and space.

 

It's genius really to start this CD1 listen with "The Magnificent Seven" - it's not Punk Rock, as straightjacket descriptions would have us define it - and yet it is. Coming off the splurge that was "Sandinista!" in 1980 – the count-in, the Bass Notes, the angry 'you lot – wot!' chant in the chorus – the workingman drinking his wages – vacuum cleaner sucking up Budgie – brilliant! And the Remaster is punching it out with real power when you give it some welly. Degenerate but faithful with that crazy Casbah Sound – the opener is cleverly followed with the hugely popular "Rock The Casbah" where you can bet that Sharif don't think its Kosher (he don't like it either). The echoed Reggae tinge continues with "This Is Radio Clash" – deadly exhibitions of murder in Vietnam by Napalm – the snarl of Joe Strummer lifting the tune out of parody.

 

Is it possible to resist "Should I Stay Or I Should I Go" – I doubt it! Armed with a fantastic Rock-Punk riff and lyrics that make you laugh and uncomfortable at the same time (don't know which clothes even fit me). If I am honest, I've always been on the shelf about "Straight To Hell" – though I will say that all that drum patting crossing your speakers with treated guitars is clearer in the Remaster. One million times better and in my Top Five Greatest B-sides evah out of hundreds of thousands with an irration in the nation  - "Armagideon Time" comes storming across your speakers. Lot of people getting no supper tonight – its equally brilliant A-side "London Calling" is on CD2 (I cannot imagine how many movies about the Capitol this song has featured in).

 

At last we get genuine Punk brilliance - "Clampdown" riffing into your living room as the boss men at the factory tell you how lucky you are to have a job. It makes you want to race back one more time to the wonder that is the 2LP-set "London Calling". Clever sequencing now Funks it up with that double’s hidden song "Train In Vain" that ended Side 4 without announcing itself. What a fantastic song – The Clash in brilliant form. Smart sequencing too with the Big Bass almost Dub Rock of "Guns Of Brixton" – politics seeping through their every breath – those wavy guitar fills clearer too.

 

CD1 ends with a run of four that is surely a claim to their greatness in itself. First up is the incendiary cover of The Bobby Fuller Hit from the Sixties - "I Fought The Law" suiting their gang-of-four ethos (you and me against the world). The following two are what made me love the "London Calling" album – angry, smart, topical, mainlining the zeitgeist – barber getting coshed – but elsewhere - "Somebody Got Murdered" – someone dead forever. Perfectly winding the CD down comes two different Clash Sounds - "Lost In The Supermarket" (Joe looking for a guaranteed personality) while I can now no longer hear "Bank Robber" without thinking about Johnny Quid (played by a brilliantly deranged Toby Kebbell) in the underrated Guy Ritchie movie "RockNRolla". Daddy was a Bank Robber, but he hurt nobody, he just loved to take your money. Love it!

 

CD2 is the genuinely PUNK disc. It opens with "(White Man) In Hammersmith Palais" giving it some angry British Working Class via a Jamaican Sound System - those piano and harmonica and jagged rhythms combo already showing their song-construction chops. Another smart choice comes with the bored-youth of "London's Burning" – yellow lights in the dim night offering a way forward. Love those layered vocals on "Janie Jones" and the Joe Jackson hard Bass line. Riffage and feedback come a stomping into your den with "Tommy Gun" – nutters shooting up the place just for fun. "Complete Control" is so British Punk it hurts, while the discussion about seeing The Pistols for the first time foretells what was to come for The Clash - "Capitol Radio" explaining their beginnings and history in a rough-as-it-comes interview style. It sets up the simple rip-em-up of "White Riot" – the sort of Punk Missile many felt they should have stuck with (but the band was smarter than that).

 

The rage against the establishment machine continues with "Career Opportunities" and "Clash City Rockers" – crude but so powerful the pair of them. The production values go through the roof for "Safe European Home" – the power of the band suddenly captured for real. But then I go into rapture when I play "Stay Free" – that fantastic riff woven into lyrics about school and smoking menthols and ignoring teachers and making plans down at The Crown & Anchor – burn it fucking down (to the annoyance of everyone).  The final four revert to well-known hits – the underworld and phoney Beatlemania biting the dust in the epoch-making "London Calling" – bullet holes in the cemetery walls with "Spanish Bombs" – everyone including Johnny comes marching home in "English Civil War". It all comes to an end with a Junior Murvin cover version – the oh-yeah guns and ammunition of "Police & Thieves" – Joe Strummer worrying about the next generation.

 

THE CLASH were a great band – not a good one – and every fan knows why this compilation avoids even a single song from the sorry swan-song that was the "Cut The Crap" album in 1985 after they broke up. But what you do get here is a gluttony-fest – and it sounds banging...

"Nothing Has Changed" by DAVID BOWIE – July 1969 to November 2014 'Very Best Of' Career Retrospective With An Emphasis On Single Mixes (November 2014 UK Parlophone 39-Track 2CD Compilation of Remasters with One Previously Unreleased 1972 Demo and One New 2014 Song) - A Review by Mark Barry...

 

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This Review and 317 Others Like It 

Are Available in My Amazon e-Book

GOODY TWO SHOES

2CD Deluxe Editions (Occasional Threesome), Expanded Reissues and Compilations 

All Info From The Discs Themselves 

No Cut and Paste Crap

Amazon Hall of Fame Reviewer 6 Times

 

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"...Moonage Daydream..."

 

Here in late 2023, there are probably too many David Bowie compilations on the market (and we are talking four decades now). But one or two stand above the melee. There is an Expanded 3CD variant of "Nothing Has Changed" – but I dig this twofer because it does the business where I want it.

 

As you check out the track lists on CD1 and CD2 below, you will notice that a lot are either 'Single' Edits or Versions and therefore avoid the excess of some longer Album cuts. Throw in an unreleased version of 'All The Young Dudes', those tasty duets with Queen, Mick Jagger, The Pat Metheny Group and Pet Shop Boys - alongside one new epic orchestrated tune worthy of the great man – and it all feels so damn good the whole way through. To the Moonage Daydreams...

 

UK released 14 November 2014 (17 November 2014 in the USA) - "Nothing Has Changed" by DAVID BOWIE on Parlophone 825646205745 (Barcode 825646205745) is a Very Best Of 2CD 39-Track Compilation of Newly Remastered Material Released between July 1969 and November 2014 (with One Previously Unreleased and One New Song) that plays out as follows:

 

CD1 (78:56 minutes):

1. Space Oddity (5:14 minutes)

(11 July 1969, UK 45-single, Philips BF 1801, A-side – also on the "David Bowie" album – released 14 November 1969 in the UK on Phillips SBL 7902 and in the USA as "Man Of Words/Man Of Music" on Mercury SR-61246 with different artwork)

 

2. The Man Who Sold The World (3:57 minutes)

(From the "The Man Who Sold The World" album – released 4 November 1970 in the USA on Mercury SR 61325 and 10 April 1971 in the UK on Mercury 6338 041)

 

3. Changes (3:35 minutes)

(On the "Hunky Dory" album – released 17 December 1971 in the UK on RCA Victor SF 8244 and in the USA on RCA Victor LSP 4623 – also 14 January 1972, UK 45-single, RCA Victor RCA 2160, A-side)

 

4. Oh! You Pretty Things (3:12 minutes)

(On the "Hunky Dory" album – released 17 December 1971 in the UK on RCA Victor SF 8244 and in the USA on RCA Victor LSP 4623)

 

5. Life On Mars? (3:49 minutes)

(On the "Hunky Dory" album – released 17 December 1971 in the UK on RCA Victor SF 8244 and in the USA on RCA Victor LSP 4623 – also 22 June 1973, UK 45-single, RCA Victor RCA 2316, A-side)

 

6. Starman (Original Single Mix) (4:12 minutes)

(April 1972, UK 45-single, RCA Victor RCA 2199, A-side – also on the "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars" album – released 16 June 1972 in the UK on RCA Victor SF 8287 and in the USA on RCA Victor LSP 4702)

 

7. Ziggy Stardust (4:39 minutes)

(On the "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars" album – released 16 June 1972 in the UK on RCA Victor SF 8287 and in the USA on RCA Victor LSP 4702 - also 24 November 1972, UK 45-single, RCA Victor RCA 2302, B-side of "The Jean Genie")

 

8. Moonage Daydream (4:39 minutes)

(On the "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars" album – released 16 June 1972 in the UK on RCA Victor SF 8287 and in the USA on RCA Victor LSP 4702)

 

9. The Jean Genie (Original Single Mix) (4:05 minutes)

(24 November 1972, UK 45-single, RCA Victor RCA 2302, A-side – Full Version on the album "Aladdin Sane" – released 13 April 1973 in the UK on RCA Victor RS 1001 and in the USA on RCA Victor LSP 4852)

 

10. All The Young Dudes (3:08 minutes)

(Previously Unreleased Stereo Mix of the song Bowie gave to the British rock Band Mott The Hoople who released their version on UK 45-single and had a hit with it, thereby reviving their careers)

 

11. Drive-In Saturday (4:30 minutes)

(6 April 1973, UK 45-single, RCA Victor RCA 2352, A-side – and on the album "Aladdin Sane" – released 13 April 1973 in the UK on RCA Victor RS 1001 and in the USA on RCA Victor LSP 4852)

 

12. Sorrow (2:53 minutes)

(28 September 1973, UK 45-single, RCA Victor RCA 2424, A-side (a Merseybeats song) – also on the album "Pinups" - an entire LP of cover versions released 19 October 1973 in the UK on RCA RS 1003 and in the USA on RCA Victor APL1-0291)

 

13. Rebel Rebel (4:30 minutes)

(On the album "Diamond Dogs" - released 31 May 1974 in the UK on RCA Victor APL1 0576 and in the USA on RCA Victor CPL1 0576 – an earlier mix was issued 14 February 1973 as a UK 45-single on RCA Victor LPBO 5009, A-side – the album version is used here)

 

14. Young Americans (Original Single Mix) (3:13 minutes)

(21 February 1975, UK 45-single, RCA Victor RCA 2523, A-side – Full Version is on the album "Young Americans" - released 7 March 1975 in the UK on RCA Victor RS 1006 and in the US on RCA Victor AQL1-0998)

 

15. Fame (4:16 minutes)

(On the album "Young Americans" - released 7 March 1975 in the UK on RCA Victor RS 1006 and in the US on RCA Victor AQL1-0998 – also issued as an edited 3:30 minutes UK 45-single, 18 July 1975 on RCA Victor RCA 2579, A-side)

 

16. Golden Years (Single Version) (3:27 minutes)

(21 November 1975, UK 45-single, RCA Victor RCA 2640, A-side – Full Version on the album "Station To Station" - released 23 January 1976 in the UK and USA on RCA Victor APL1 1327 and in the USA)

 

17. Sound And Vision (3:03 minutes)

(On the album "Low" - released January 1977 in the UK on RCA PL 12030 and in the USA on RCA CPL1-2030 – also released 11 February 1977 as a UK 45-single, RCA Victor PB 0905, A-side)

 

18. Heroes (Single Version) (3:33 minutes)

(23 September 1977, UK 45-single, RCA Victor PB 1121, A-side – Full Version on the album "Heroes" - released October 1977 in the UK on RCA PL 12522 and in the USA on RCA AFL1-2522)

 

19. Boys Keep Swinging (3:17 minutes)

(27 April 1979, UK 45-single, RCA Victor BOW 2, A-side – also on the album "Lodger" - released May 1979 in the UK on RCA PL 13254 and in the USA on RCA APL1-3254)

 

20. Fashion (Single Version) (3:26 minutes)

(31 October 1980, UK 45-single, RCA Victor BOW 7, A-side – Full Version on the album "Scary Monsters (And Super Creeps)" - released September 1980 in the UK on RCA BOWLP 2 (PL 13647) and in the USA on RCA AQL1-3647)

 

21. Ashes To Ashes (Single Version) (3:35 minutes)

(8 August 1980, UK 45-single, RCA Victor BOW 6, A-side – Full Version on the album "Scary Monsters (And Super Creeps)" - released September 1980 in the UK on RCA BOWLP 2 (PL 13647) and in the USA on RCA AQL1-3647)

 

CD2 (75:19 mnutes):

1. Under Pressure – Queen and David Bowie (2011 Remaster) (4:08 minutes)

(30 October 1981, UK 45-single, EMI Records EMI 5260, A-side)

 

2. Let's Dance (Single Version) (4:08 minutes)

(14 March 1983, UK 45-Single, EMI America EA 135, A-side – Full Version on the album "Let's Dance" – released 14 April 1983 in the UK on EMI America Records AML 3029 and in the USA on EMI America SO-17093)

 

3. China Girl (Single Version) (4:15 minutes)

(11 June 1983, UK 45-single, EMI America EA 157, A-side - Full Version on the album "Let's Dance" – released 14 April 1983 in the UK on EMI America Records AML 3029 and in the USA on EMI America SO-17093)

 

4. Modern Love (Single Version) (3:56 minutes)

(12 September 1983, UK 45-single, EMI America EA 158, A-side - Full Version on the album "Let's Dance" – released 14 April 1983 in the UK on EMI America Records AML 3029 and in the USA on EMI America SO-17093)

 

5. Blue Jean (3:11 minutes)

(14 September 1984, UK 45-single, EMI America EA 181, A-side – also on the album "Tonight" – released 24 September 1984 in the UK on EMI America Records DB 1 and in the USA on EMI America SJ-17138)

 

6. This Is Not America – With The Pat Metheny Group (3:51 minutes)

(January 1985, UK 45-single, EMI America EA 190, A-side – also on the Soundtrack Album "The Falcon And The Snowman" released April 1985 in the UK on EMI America FAL 1)

 

7. Dancing In The Street (Clearmountain Mix) – David Bowie and Mick Jagger (3:07 minutes)

(27 August 1985, UK 45-single, EMI America EA 204, A-side)

 

8. Absolute Beginners (Edit) (4:46 minutes)

(3 March 1986, UK 45-single, Virgin VS 838, A-side – also Full Version on the Motion Picture Soundtrack Album "Absolute Beginners – The Musical" released 7 April 1986 in the UK on Virgin V 2386)

 

9. Jump They Say (Radio Edit aka 7" Version) (3:54 minutes)

(15 March 1993, UK Promo-Only 45-Single, Arista 74321 13942 7 JB, A-side – also March 1993, UK CD-Single on Arista 74321 139422– the Full Version (4:22 minutes) is on the "Black Tie White Noise" album from April 1993)

 

10. Hello Spaceboy (PSB Remix) – with The Pet Shop Boys (4:25 minutes)

(February 1996 UK CD-Single on RCA 74321353842 – Full Version (5:14 minutes) on the CD album "1. Outside (The Nathan Adler Diaries: A Hyper Circle" released 25 September 1995 on Arista 74321303392)

 

11. Little Wonder (Edit) (3:42 minutes)

(January 1997 UK CD-single 1 on RCA 74321452072 – Full Version (6:02 minutes) on the CD album "Earthling" released 3 February 1997 on RCA 7432144944 2)

 

12. I'm Afraid Of Americans (VI) (Radio Edit) (4:25 minutes)

(October 1997 US CD-single on Virgin USA 7243 8 38618 2 8 – Full Version (5:00 minutes) on the CD album "Earthling" released 3 February 1997 on RCA 7432144944 2)

 

13. Thursday's Child (Radio Edit) (4:26 minutes)

(20 September 1999 UK CD-single 2 on Virgin VSCDF 1753 – Full Version (5:24 minutes) on the CD album "Hours..." released 4 October 1999 on Virgin CDVX 2900)

 

14. Everyone Says 'Hi' (Edit) (3:29 minutes)

(September 2002 UK CD-single on Columbia 673134 3 – Full Version (3:58 minutes) on the CD album "Heathen" released 10 June 2002 on Columbia/ISO Records 508222 2)

 

15. New Killer Star (Radio Edit) (3:43 minutes)

(September 2003 UK CD Single, from the CD album "Reality")

 

16. Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA Edit) (4:07 minutes)

(October 2013 CD Single – also on the CD album "The Next Day")

 

17. Where Are We Now? (4:09 minutes)

(January 2013 CD Single - also on the CD album "The Next Day" 

 

18. Sue (Or In A Season Of Crime) (7:23 minutes)

(New song released as a November 2014 CD Single, exclusive to the compilation "Nothing Has Changed")

 

Although it doesn't say so on the actual CDs or inlays – the sticker advises this is 'The Very Best Of' David Bowie - and as it contains material to 2014 – that was true at the time. The 16-page booklet has basic track entries and release dates but unfortunately none of them go into personnel or guests – Rick Wakeman of Yes playing Mellotron on "Space Oddity" – Mick Ronson giving it some wild English axe on "The Jean Genie" while co-writer Carlos Alomar does his guitar magic on "Fame" too – and so on. Most of the 2014 Remasters are by RAY STAFF who has been synonymous with Bowie's catalogue (some are 2009) and Mastering is by another venerable engineer VIC ANESINI – a huge name over at BMG with Elvis Presley, Simon & Garfunkel, Aerosmith, Mountain, Santana, Stevie Ray Vaughan, Carole King and loads more under his Audio belt. So it sounds the part through and through. To the chunes...

 

Even after all these years – the dip and dive thrills. I get so used to his White Boy Soul period being on album tracks from "Young Americans" and "Station To Station" that the brevity and punch-power of Single Versions for "Golden Years" and "Fame" come as a welcome diversion. "Ziggy Stardust", "Sound And Vision", "Heroes" and "Ashes To Ashes" all still amaze – but spare a dime for his brilliant cover of The Merseybeats tune "Sorrow" or the tart-with-a-heart "Boys Keep Swinging".

 

You might even think that "Under Pressure" (his duet with Queen) followed by a lethal one-two of "Let's Dance" and "China Girl" are too over-played by Hits Radio – but the single edits of the last two keep it fresh and zippy and all three still contain such extraordinary pizzazz – a young energy that does not seem to dissipate with the years but rather grow with them. For sure the musically lean period of "Tonight" in the Eighties where many lost faith in him ("Blue Jean" is too slight by far) is offset by those one-off nuggets - "This Is Not America" (with ace Fusion Guitarist Pat Metheny) and the Live Aid benefit single "Dancing In The Streets" with good old rubber lips (Mick Jagger) still lift the heart and the feet.

 

His 1993 to 2104 phase had its challenging slots too – so "Jump They Say", "Hello Spaceboy" with The Pet Shop Boys and "Little Wonder" may not roll off the tongue as easily as his hits-packed Seventies titles did – but they are still crackers and worthy of rediscovery frankly. And on it goes to the Martin Schneider Orchestra joining Bowie on the new song "Sue (Or in A Season Of Crime)" which has its lyrics on the second last page of the booklet. At seven-minutes plus, its lush orchestration has a humungous roll call of guest Trumpeters, Saxophonists, Flutists and Flugelhorn players as to make the eyes water. The lady Sue is informed by the singer that our boy got a loan so they can buy a house and the doctors have said that his results are good but she left him a note – she exited with a clown and his thoughts are now of crime and gravestones and what kissing her face felt like.

 

Kiss this bride if you get the chance and wonder will we ever see such variety and wit and genius and sheer funk in the one place again. God, I hope so...

"Let The Heartaches Begin: The Pye Anthology" by LONG JOHN BALDRY – All Tracks from 1967 to 1970 Including Two Albums in Stereo - "Let The Heartaches Begin" (January 1968) and "Wait For Me" (November 1969), Foreign Language 45-Versions, UK Single-Only Sides, Export Issues and Seven Previously Unreleased Songs First Issued in 1998 as "The Pye Anthology: Let The Heartaches Begin" on Sequel Records (February 2006 UK Sanctuary/Castle Music 2CD 42-Track Compilation Reissue with 1998 Remasters) - A Review by Mark Barry...

 

 

2006 Sanctuary 2CD Compilation Reissue

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***

 

"...Setting Fire To The Tail Of A Fox..."

 

What you have here is a reissue of a reissue of a reissue of a... 

Well, let me explain, because it's gonna need some...

 

26 October 1998 saw master-compiler and all-round good guy John Reed of Sanctuary Records release "The Pye Anthology: Let The Heartaches Begin" on Sanctuary's label imprint Sequel Records. Sequel NEECD 298 (Barcode 5023224229823) was a 42-Track 2CD Set of Remasters for Long John Baldry and contained seven new songs that were previously unreleased at the time. The period covered is 1967 to 1970 and is widely known as his Pop phase.

 

"The Pye Anthology: Let The Heartaches Begin" sported a white-backdrop artwork with a Paisley-esque pomp and circumstance Baldry leaning into camera in three images where he's giving it some crooner with a possible side order of constipation. To confuse matters ever more, here in August 2023, I can trace at least three reissues of that "The Pye Anthology: Let The Heartaches Begin" variant with its posed artwork to September 2002, February 2007 and July 2011 (see photo below).

 

To confuse matters even more, what we here from February 2006 (pictured above) is the same set - but with different artwork, a rejiggered track configuration and now with its title reversed to read "Let The Heartaches Begin: The Pye Anthology" - in short - yet another reissue. This time it's on Castle Music – a budget line subsidiary label for Sanctuary (full details below). 

 

So - now called "Let The Heartaches Begin: The Pye Anthology" - you get the same 42-tracks, the same 1998 remastered songs from original tapes and the same cool and thorough John Reed liner notes – something this brilliant compiler and archivist of music is known for. The foldout inlay even updates its 1998 words to include Baldry's sad loss in July 2005 to cancer. 

 

His Pop Period is not revered like his more Bluesy efforts and in some cases poo–pooed from a height. In fairness to this fantastic British singer (an interpretive singer and showman many have loved to bits) – it was Long John Baldry's six-foot-two reach for mainstream stardom having been about for more years than he cared to remember banging his pretty head against a very high wall. So - JB had sort of ditched his natural playground of White Boy purveyor of Bluesy Soul and American R&B beloved of the Mods and hip types everywhere - for the oh-baby marketplace of 60ts Pop and indeed did score a Number 1 hit with "Let The Heartaches Begin" (hence the title of the compilation).

 

But as I said earlier - there are many who do not rate this slice of his dappled career. And they have a point. There is crud on here for damn sure. But inbetween the cracks, there is also that fantastic voice and Alexis Korner type cool persona that carries through even the most obvious of cover versions. The second LP in particular sees him leaning back into Blues Rock and heading towards the two beloved Warner Brothers albums of 1971 and 1972 (where Elton John and Rod Stewart both lend a hand and their bands). Let's get to the 60ts heart-breaking details...

 

UK released February 2006 - "Let The Heartaches Begin: The Pye Anthology" by LONG JOHN BALDRY on Castle Music CMDDD1277 (Barcode 5050749412775) is a 42-Track 2CD Compilation covering 1967 to 1970 and plays out as follows:

 

CD1 (64:28 minutes):

1. Let The Heartaches Begin

2. Annabelle (Who Flies To Me When She's Lonely)

3. Long And Lonely Nights (No Friend Of Mine)

4. Stay With Me Baby

5. Every Time We Save Goodbye

6. For All we Know

7. Better By Far

8. Wise To The Ways Of The World

9. Since I Lost You Baby

10. Smile

11. We're Together

12. I Can't Stop Loving You

13. Hold Back The Daybreak

14. When The Sun Comes Shining Thru'

15. Mexico (Underneath The Sun In)

16. It's Too Late Now

17. Wait For Me

18. Don't Pity Me

19. Lord You Made The Night Too Long

20. Mexico (Spanish Version)

NOTES on CD1:

Tracks 1 and 2 are the A&B-sides of an October 1967 UK 45-single, Pye 7N 17385 (see also follow two notes below)

Tracks 3, 4, 5, 6, 7 and 1 make up Side 1 of his January 1968 UK LP "Let The Heartaches Begin" on Pye NPL 18208 (Mono) and NSPL 18208 (Stereo) – the Stereo Mix is Used on All Tracks

Tracks 8, 9, 10, 2, 11 and 12 are Side 2 of his January 1968 UK LP "Let The Heartaches Begin" on Pye NPL 18208 (Mono) and NSPL 18208 (Stereo) – the Stereo Mix is Used on All Tracks

Track 13 is the A-side of a February 1968 UK 45-single, Pye 7N 17455 – its B-side was Track 9

Track 14 is the A-side of an August 1968 UK 45-single, Pye 7N 17593 – its B-side was Track 8

Track 15 is the A-side of an October 1968 UK 45-single, Pye 7N 17563 credited as "Mexico" – its B-side was Track 11

Track 16 is the A-side of a January 1969 UK 45-single, Pye 7N 17664 – its B-side was Track 3

Tracks 17 and 18 are the A&B-sides of a September 1968 UK 45-single, Pye 7N 17815; Track 17 also on the November 1969 LP "Wait For Me" on Pye NSPL 18306 in Stereo (last Track on Side 2) – see also Tracks 1 to 11 on CD2

Track 19 is a 1969 Export Single A-side on Pye 7N 17408

Track 20 is a Spanish language sung 45-single A-side on Pye H-400

 

CD2 (71:20 minutes):

1. Sunshine Of Your Love

2. Spanish Harlem

3. Henry Hannah's 42^nd Street Parking Lot

4. Man Without A Dream

5. Cry Like A Baby

6. River Deep, Mountain High

7. How Sweet It Is (To Be Loved By You)

8. MacArthur Park

9. When Brigadier McKenzie Comes To Town

10. Lights Of Cincinnati

11. Spinning Wheel

12. Well I Did

13. Setting Fire To The Tail Of A Fox

14. When The War Is Over

15. Where Are My Eyes?

16. Son Of Hickory Hollers Tramp *

17. Goin' Out Of My Head *

18. I Never Shall Marry *

19. I Wish You Love *

20. What Now My Love *

21. Bad Times *

22. Ciao Baby *

NOTES on CD2:

Tracks 1 to 11 on CD2 and Track 17 on CD1 are the November 1969 UK LP "Wait For Me" on Pye NSPL 18306 in Stereo (Tracks 1 to 6 are Side 1 inclusive, Side 2 can be sequenced as Tracks 7 to 11 and Track 17 on CD1

Tracks 12 and 13 are the A&B-sides to a 27 March 1970 UK 45-single, Pye 7N 17921

Tracks 14 and 15 are the A&B-sides of a withdrawn 20 November 1970 UK 45-single, Pye 7N 45007

Tracks 16 to 22 (*) first issued as seven Previously Unreleased songs on the October 1998 UK 2CD compilation "The Pye Anthology: Let The Heartaches Begin" on Sequel NEECD 298 (Barcode 5023224229823) – see also Track 14 on CD1 for the eighth title

 

Compiled by ROGER DOPSON and JOHN REED - the foldout double-sided inlay with its 6-panels to each side was a feature of these Sanctuary reissues in the Nineties – JOHN REED doing the liner notes honours. Period memorabilia like sheet music, 45-single labels, music-press trade adverts, foreign picture sleeves, in-studio shots and the two album-covers surround Reed's informative and deeply affectionate words. The effect is very tastefully done and packs an info-punch when you look closer (accurate catalogue numbers beneath each song title – 45 and LP). The remasters and restoration has been done by PETER J. REYNOLDS and given the hurried feel to the Stereo tracks – does a great job. If I were to nitpick, I would say CD1 sounds worse for wear, but CD2 makes up for it. Much like the music...

 

This is a tale of two CDs – the first is pretty bad with 3-stars pushing it as far as the material is concerned. But you flip over to CD2 and you clap ears on the lushly orchestrated "Wait For Me" LP from late 1969 and things immediately improve (even if his chart placing didn't). His song choices are snappier – the gorgeous "Man Without A Dream" had turned up on The City album "Now That Everything's Been Said" on Ode Records in January 1969 – The City being a vehicle for Carole King and the band she was in before she went on to solo superstar status in 1970 and 1971. That band also featured players like Danny 'Kootch' Kortchmar later with James Taylor and Vocalist David Palmer in pre Steely Dan's debut album "Can't Buy A Thrill" looming in the 1972 distance. "Man Without A Dream" is a plaintive ballad, but a damn good one. His cover of Cream's "Sunshine Of My Love" too stands up more than well – hell – even his deep toned "Spanish Harlem" that borders on copyist parody is pulled off by gorgeous Vocals, Strings and a Herb Albert type Brass that lifts the whole thing right up.

 

Lyrically witty "Henry Hannah's 42^nd Street Parking Lot" tells of Baldry being tricked by a New York scamster (the cops took him home in his shorts, a nervous and a confused man). The Dan Penn and Spooner Oldham penned Cher hit "Cry Like A Baby" gets the thumping Bass and Brass treatment that is perhaps just a little too busy for Northern Soul dancer fans. His huge voice suits the wild melodrama of "River Deep, Mountain High" – do I love you – my oh my. But the Motown Marvin Gaye gem "How Sweet It Is (To Be Loved By You)" is butchered with overdone arrangements as is "MacArthur Park" – a piece of Jimmy Webb dross I could do without ever hearing again.

 

Writer Tony Macaulay provides two in a row – the best of which is the very Glen Campbell "Lights Of Cincinnati" given it a sort of follow up to Galveston. Better though is a Blood, Sweat & Tears cover – the fabulous ride-a-painted-pony shug-a-thon "Spinning Wheel" – the kind of hip swinger that suits Baldry – and you wish the album contained more of this – his voice almost identical to David Clayton-Thomas as he takes it home towards its brassy exiting moments. Another stab at chart fame in "Well I Did" again could have done without over-cluttering girly vocals after every verse. Faring better is his own "Setting The Tail Of A Fox On Fire" – a dancer that this benefits from the lady backing singers and clever lyrics (the album would have been better with this on it). The final pairing of "When The War Is Over" and "Where Are My Eyes?" seems to be a bit of a mystery. Supposed issued 17 November 1970, Pye 7N 45007 has yet to surface as an actual 45 in the UK (or anywhere for that matter). Probably an export pairing that never got out of the stocks because Baldry was done with Pye and they with him (just as well as both are saccharin that don't do him any favours).

 

We are then hit with Seven Previously Unreleased songs – a couple of which are shockingly good given some of the schmaltz that preceded them. The first is a hip-shaking get-with-it-people bopper called "Son Of Hickory Hollers Tramp" that sounds like Baldry has become Bobbie Gentry and wants to put y'all right. JB then takes on the Little Anthony & The Imperials 60ts Doo Wop Smooth Pop classic "Goin' Out Of My Head" and makes a good job of it too. Things unfortunately then dip into serious yuck territory again with drips like "I Never Shall Marry" and "I Wish You Love" where our hero goes all Nat 'King' Cole with mostly deeply unsuited to this results. Even Tom Jones would probably disown the remaining two.

 

You could argue that this twofer compilation covering his Pye Records period is superfluous to anyone’s requirements and a body should go to directly to the 2CD delights of "The UA Years 1964-1966" on EMI Records from 2006 and even better the "Boogie Woogie: The Warner Bros. Recordings" 2CD set put out by Rhino Handmade in 2005 that covers his June 1971 and May 1972 albums "It Ain't Easy" and "Everything Stops For Tea" – both of which are far better (I have reviewed "Boogie Woogie: The Warner Bros. Recordings" and its UK equivalents).

 

But I am a sucker for all things JOHN BALDRY and even if it is 3-stars for material, I want them in my house. Take a tumble with the "Son Of Hickory Hollers Tramp" – you will get the itch that needs more scratching... 

 

 

October 1998 UK Sequel Records 2CD Original Issue

With Original Title and Artwork