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Showing posts with label Andrew Thompson Remasters. Show all posts
Showing posts with label Andrew Thompson Remasters. Show all posts

Tuesday 23 April 2024

"Born To Be/Melanie/Candles In The Rain/Leftover Wine" by MELANIE – November 1968 USA Debut Album [February 1969 UK], October 1969 US Second Studio LP as "Melanie" in the USA but Issued December 1969 in the UK as "Affectionately Melanie", May 1970 US Third Studio Album [August 1970 in the UK] and September 1970 Live Album "Leftover Wine" [December 1970 in the UK] (June 2022 UK Beat Goes On Records (BGO) Compilation – 4LP Plus One Bonus Track onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...





https://www.amazon.co.uk/Born-Affectionately-Melanie-Candles-Leftover/dp/B09QJ4C4TK?crid=3H6WY3HXJCVV7&dib=eyJ2IjoiMSJ9.ptpIEqiyzrHG6N22PLJOJw.i3I_x4R2n9MwaA1qZPHwXIXS4Pr0cI2sbEpEC9eq0UA&dib_tag=se&keywords=5017261214799&qid=1713885486&sprefix=5017261214799%2Caps%2C83&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=22137d94e016cd8baeba8f3778000b5b&language=en_GB&ref_=as_li_ss_tl

RATINGS: 
*** to **** Material
**** Audio
***** Presentation

"…If The People Are Buying Tears...I'll Be Rich Someday…"

Hippy warbler and all-round cutie-pie and decent human being Melanie was not for everyone at the time - and some five and half decades later here in the spring of 2024 – even more so. Her voice is fab to some – Marmite to others. But New Yorker songwriter Ms. Safka's popularity and chart successes were not without reason.

This superbly annotated and brilliant-sounding twofer from England's Beat Goes On Records (aka BGO Records) shows why fans like this reissue label so much. As you can see from Total Playing Times of 83:05 for CD1 and 81:32 for CD2 – you are not short of serious value for money. In a nutshell you get her first four albums in full – three studio starters and then a Live Show recorded at Carnegie Hall as platter number Four (all releases originally on Buddah Records and stretching from November 1968 in the USA to December 1970 in the UK) plus a Bonus 45-Single Mix on CD2. As I say, plenty on offer. 

The "Candles In The Rain" set (probably her most popular album) even gets a Single Version of that title song as a lone Bonus. One of only three ladies on the day (Janis Joplin and Joan Baez were the others) Melanie debuted her epic tune "Lay Down (Candles In The Rain)" at the legendary July 1969 Woodstock Festival in the USA where she won over the crowd after filling in for a cancelled Incredible String Band slot (it broke her to a worldwide audience). The LP "Candles In The Rain" followed May 1970 in the USA (August 1970 in the UK) to capitalise on her popularity and the festival's growing influence and legend.

And as much of the female singer-songwriter material across these four long-players (not all but most) is a young woman with a warble and powerhouse set of lungs (once she lets rip) accompanied by only an Acoustic Guitar – the clarity of the Remasters is starkly powerful and moving and very much in the listeners favour (if you can take that voice – Marmite - love it, loathe it). Lot to talk about – to the facts…

UK released Friday, 3 June 2022 - "Born To Be/Melanie/Candles In The Rain/Leftover Wine" by MELANIE on Beat Goes On Records BGOCD1479 (Barcode 5017261214799) offers 4LPs Plus 1 Bonus Track Remastered onto 2CDs that plays out as follows:

CD1 (83:05 minutes):
1. In The Hour [Side 1]
2. I'm Back In Town
3. Bo Bo's Party
4. Mr. Tambourine Man
5. Momma Momma
6. I Really Loved Harold [Side 2]
7. Animal Crackers
8. Christopher Robin
9. Close To it All
10. Merry Christmas
Tracks 1 to 10 are his debut studio album "Born To Be" – released November 1968 in the USA on Buddah Records BDS 5024 and February 1969 in the UK on Buddah Records 203 019. Produced by PETER SCHEKERYK (her husband) - it didn't chart in either country, but the 45-single for "Bo Bo's Party" on Buddah 610 022 was a No.1 hit in France. All songs on the debut written by Melanie Safka except "Mr. Tambourine Man" by Bob Dylan and "Christopher Robin" has lyrical references to A.A. Milne

11. I'm Back In Town [Side 1]
12. Tuning My Guitar
13. Soul Sister Annie
14. Any Guy 
15. Uptown Down
16. Again 
17. Beautiful People [Side 2]
18. Johnny Boy
19. Baby Guitar
20. Deep Down Love
21. For My Father
22. Take Me Home
Tracks 11 to 22 is her second studio album "Melanie" (USA) – released October 1969 in the USA on Buddah Records BDS 5041 and December 1969 in the UK credited as "Affectionately Melanie" on Buddah Records 203 028. Produced by PETER SCHEKERYK (her husband) - it didn't chart in the UK but peaked at No.196 on the US Billboard charts in November 1969. All songs written by Melanie Safka except "Soul Sister Annie" by Thomas Jefferson Kaye

23. Candles In The Rain (1:42 minutes) [Side 1]
24. Lay Down (Candles In The Rain) (Long Version, 7:37 minutes)
25. Carolina In My Mind
26. Citiest People
Tracks 23 to 26 are the first four of five songs on Side 1 of her third studio album "Candles In The Rain" (US Version) – released May 1970 in the USA on Buddah Records BDS 5060 and August 1970 in the UK on Buddah Records 2318 009. Produced by PETER SCHEKERYK (her husband) – it peaked at No.17 on the US Billboard charts and No.5 in the UK. All songs written by Melanie Safka except "Carolina In My Mind" and "Ruby Tuesday" which are James Taylor and Rolling Stones cover versions. "Lay Down (Candles In The Rain)" features Edwin Hawkins on Piano accompanied by The Edwin Hawkins Singers. For the last song on Side 1 and the rest of Side 2 of "Candles In The Rain" – see CD2.

CD2 (81:32 minutes):
1. What Have They Done To My Song, Ma [Last Song on Side 1]
2. Alexander Beetle [Side 2 of the US LP - see below]
3. The Good Guys
4. Lovin' Baby Girl
5. Ruby Tuesday
6. Leftover Wine
Tracks 1 to 6 are the last song on Side 1 of her third studio album "Candles In The Rain" and the whole of Side 2. However, the UK LP used the song "Close To It All" from the debut album as the opener for Side 2 instead of "Alexander Beetle" which was only ever on the US album version of "Candles In The Rain". To avoid duplication of the song "Close To It All" – BGO has used the US configuration of the LP. Release details etc – see Tracks 23 to 26 on CD1

BONUS TRACK:
7. Lay Down (Candles In The Rain) – Single Version
Track 7 is the Edited to 3:49 minutes UK 45-single version issued 17 April 1970 on Buddah 2011 013, A-side – credited to Melanie with The Edwin Hawkins Singers. It used Track 23 on CD1 as its B-side. It was issued March 1970 in the USA on Buddah BDA 167 with the same flipside

8. Close To It All [Side 1]
9. Uptown and Down
10. Momma Momma
11. The Saddest Thing
12. Beautiful People
13. Animal Crackers
14. I Don't Eat Animals [Side 2]
15. Happy Birthday
16. Tuning My Guitar
17. Psychotherapy
18. Leftover Wine
19. Peace Will Come (According To Plan)
Tracks 8 to 19 are her fourth album (first live) "Leftover Wine" – released September 1970 in the USA on Buddah Records BDS 5066 and December 1970 in the UK on Buddah Records 2318 011. Produced by PETER SCHEKERYK (her husband) – it was recorded in one night at Carnegie Hall, New York with Melanie on Acoustic Guitar only. It peaked at No.33 on the US Billboard charts and No.22 in the UK.

The outer card slipcase and substantial 24-page booklet with new liner notes from JOHN O'REGAN (dated January 2022) give an extraordinarily detailed overview not just of the four albums presented here – but her entire career past the No.1 single "Brand New Key" on her own Neighborhood Records (and those who later covered it) right up to inductions in Halls Of Fame in 2015 and 2019. It's impartial and yet affectionate and quite rightly gives a congratulatory nod to her successes and popularity. The front and rear artwork for all the LPs is here too along with any original liner notes like say Margie Joseph for the Carnegie Hall live set "Leftover Wine" (Page 1 to10) - while fans will recognise other photos from the inner sleeves punctuating the remainder of the text.

The New Remasters from licenced tapes are by BGO's resident Audio Engineer and a veteran of such vintage material – ANDREW THOMPSON. These albums were well recorded – there is shockingly little hiss yet enough air and warmth around the songs as they play to keep a personal touch coming out of your speakers. She was young too, full of passion and vim and when Melanie let rip on say "Bo Bo's Party" – the impact is amazing. Coming across like a more manic Bobbie Gentry or even Julie Felix – for her second UK 45 off the debut album in February 1969 – Buddah paired it with another album cut "I'm Back In Town" on the flipside of Buddah 201 028 and the audio on both is warm and everything you would hope for. That great clear sound continues throughout. To the music…

A very Paris-by-the-Seine accordion plays in "In The Hour" soon to be accompanied by an acoustic guitar and her highly affected warble. As other reviewers of the time noted – song-wise Buddah seemed to pitch the music at anything goes – vaudeville at times – hippy upbeat ditties the next – all styles - Nilsson meets Randy Newman in tights. Unfortunately, this means that stuff like "I'm Back In Town" and the ha-ha yuck "Animal Crackers" sound terribly dated – but simple songs like "Bo Bo's Party" and "I Really Loved Harold" feel powerhouse by contrast (like a female Fred Neil at times).  "Bo Bo's Party" even made inroads on European 45-singles charts. Buddah UK made her British debut 45-single "Christopher Robin" b/w her brilliant stripped-back almost-spoken cover of the Dylan Sixties classic "Mr. Tambourine Man" – the A-side all about A.A. Milne and the Hundred Acre Wood (Buddah 201 027, December 1968). Melanie talks to her mother in "Momma Momma" – fears she reared her daughter wrong – longing for something – a place to belong – a huge performance and announcement of a major Folk-Rock talent. 

Opening platter number two is a snippet Acapella re-record of "I'm Back In Town" from the debut that is a dismissible – far better is "Tuning My Guitar" – her true aching personality coming through even if it is a tad hissy in places before the strings kick in. Thomas Jefferson Kaye would release his own solo albums in 1973 and 1974 on Dunhill USA (Probe Records in the UK) and even secure the talents of Steely Dan as musicians on the self-titled debut (Donald Fagan, Walter Becker, David Palmer and Jeff Baxter are all on there – along with Engineer and Producer Roger Nicholls and Gary Katz). But before all that Thomas Kaye was a songwriter for hire – and Melanie uses his lone contribution "Soul Sister Annie" as a cool rocker that works as it breaks up the Folkie overload. 

Coming on very much like a female Labi Siffre – her "Uptown Down" is brilliant. Buddah used it as the flipside to "Beautiful People" (a more commercial pitter-pattering A-side) for Buddah 201 066 in December 1969 – a British 45-single - but it did no business (maybe they should have flipped it). Accomplished is how the quiet loveliness of "Again" comes over – a lyrical pain too as she searches for meaning and even friends in a business that offers few. The acoustic guitar and voice theme continues with "Johnny Boy" while her pal is gonna be a big star according to those in the know in "Baby Guitar" – a great 60ts groove and lyrically up there too. "Deep Down Low" and "For My Father" show how far her songwriting had gone while the peaceful and simple "Take Me Home" ends platter number two on a lovely note. "Melanie" or "Affectionately Melanie" as it was known in the UK was a big step forward after the style-tentative debut and it sounds gorgeous here. 

Door No.3 "Candles In The Rain" was her "Mud Slide Slim" LP – the album that broke her out into the mainstream. In fact, Melanie covers James Taylor's "Caroline In My Mind" on Side 1 perhaps aligning herself with US singer-songwriters who were smashing down doors everywhere in 1970 and 1971 and 1972. Her choir-version and almost hymnal take for "Lay Down (Candle In The Rain)" may make 2024 ears bleed a little - but back in the day it had that Hair and Jesus Christ Superstar vibe that captured audiences and listeners in their droves. The in-yer-face album cut of "Lay Down (Candle In The Rain)" hammers on with handclaps and walls of choir voices (Edwin Hawkins singers) and tambourines for a full 7:39 minutes (the single is an edit at 3:49 minutes – a Bonus Track on CD2). Her soft and sweet feel-the-sunshine cover of James Taylor's "Caroline In My Mind" fits – while she ends Side 1 with a gem - "Citiest People" – her gentle ballad telling of a harsh tale of a man who was unkind to an un-city girl – turned a maid ugly when there was no need. Lovely audio too.

"…If the people are buying tears...I'll be rich someday…" - Melanie sang on her other famously self deprecating song "What Have They Done To My Song, Ma" - the 45-single B-side of "Ruby Tuesday" in the UK (August 1970, Buddah 2011 038). Her stunning cover version of The Stones' classic "Ruby Tuesday" deconstructs the song and reveals its inherent menace. Can't say that the childish "Alexander Beetle" is something I ever want to hear again (USA-LP exclusive or no) - but both "The Good Guys" and "Lovin' Baby Girl" save the day with their whacking acoustic passion. Melanie brings her "Candles In The Rain" LP to a close with a song she would use to name her next LP by - the live "Leftover Wine". With sparse and in the background instruments - "Leftover Wine" has sugar-plums dancing in her head - bowls of stale vino enticing come the morning after. Fans will dig the 'Single Edit' of "Lay Down (Candles In The Rain)" cleverly placed after the LP has ended. 

The live set is supposed subtitled 'Recorded Live At Margie's Birthyday Party' which turns out to be New York's Carnegie Hall done 'solo' - her and an Acoustic Guitar. Opening with a slightly dreary "Close To It All" - things pick up with a far better "Uptown Down" - her voice and finger-picking echoing ever so reverentially around the famous venue with surprising clarity. The boys in the city couldn't care less if she loves them or not - while she continues to search for God knows what. Another strong song elicits applause - "Momma Momma" starting out politely until she lets go - a brave brute of a performance in front of such an audience with just an acoustic guitar. Someone even shouts 'we love you' inbetween tunes and they did.

Melanie Safka sadly passed in January 2024 - but this BGO twofer documenting her first four albums on Buddah Records (1968 to 1970) does her starting out period a genuine solid - a fabulous release and one I'm sure fans will love. 

What have they done to my song ma - they've treated it right. God Bless...

Tuesday 16 April 2024

"Osibisa/Woyaya" by OSIBISA – April 1971 and January 1972 UK Debut and Second Studio Albums on MCA Records – June 1971 and February 1972 in the USA on Decca (November 2004 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters – Reissued December 2012) - A Review by Mark Barry...






https://www.amazon.co.uk/Osibisa-Woyaya/dp/B0002U4EMI?crid=3PJ9L3ZSB1ADK&dib=eyJ2IjoiMSJ9.cpfQb4MPKaugqm9mX_mhQw.akvzoCijOOR6hpe_2PUvauVWqALvSBrlc-Hjzdafln4&dib_tag=se&keywords=5017261206466&qid=1713277528&sprefix=5017261206466%2Caps%2C78&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=d76b152a157a6bd14ba22ca7d9d9d7ce&language=en_GB&ref_=as_li_ss_tl

RATINGS: 
**** Material
***** Remasters
**** Presentation

"…The Beautiful Seven…"

Afro Rock, Afro Beat and Afro Funk owes a huge debt to the seven-piece OSIBISA – a band who followed in the Latin Rock footsteps of America's Santana in bringing another genre to the World Music stage in the early Seventies.

Three from Ghana and one each from Grenada, Antigua, Trinidad, and Nigeria – the beautiful seven (as they liked to call themselves) and their lengthy drums, brass, and funky rhythms songs (some with positive messages when they weren't making African noises) captivated audiences with their infectious sound. And resplendent in gorgeous ROGER DEAN gatefold artwork paintings and with Tull/Traffic-like Flute passages amidst the relentless Funky whacking of Tom Toms and Tablas - they also captured the eyes of Prog Rock fans too. OSIBISA kept going for over 40 years in one form or another but in truth are largely forgotten here in 2024. 

Even though MCA Records in those early Seventies years was more about Budgie, Wishbone Ash and bands like The Who - both Osibisa Afro-Rock albums charted well in the USA (No.55 and No.66 on Decca) whilst doing even better in a mucho-toured Blighty (No.11 in both cases, 1971 and 1972). 

This superb-sounding BGO Twofer 2CD Compilation therefore compiles both Osibisa's first two studio efforts and was first issued November 2004, then reissued December 2012 and seems to have been kept on catalogue ever since. To the beautiful seven details…

UK released 19 November 2004 (reissued 17 December 2012) - "Osibisa/Woyaya" by OSIBISA on Beats Goes On Records BGOCD646 (Barcode 5017261206466) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows (song playing times from the CDs):

CD1 (41:07 minutes):
1. The Dawn (7:02 minutes) [Side 1]
2. Music For Gong Gong (5:29 minutes)
3. Ayiko Bia (7:52 minutes)
4. Akwaaba (4:19 minutes) [Side 2]
5. Oranges (4:40 minutes)
6. Phallus C (7:13 minutes)
7. Think About The People (4:26 minutes)
Tracks 1 to 7 are their debut album "Osibisa" – released April 1971 in the UK on MCA Records MDKS 8001 and June 1971 in the USA on Decca Records DL 75285. Produced by TONY VISCONTI (Engineered by Martin Rushent) – it peaked at No. 11 on the UK Rock LP charts (No. 55 in the USA on Billboard). 

CD2 (40:54 minutes):
1. Beautiful Seven (6:42 minutes) [Side 1] 
2. Y Sharp (6:20 minutes)
3. Spirits Up Above (7:18 minutes)
4. Survival (5:40 minutes) [Side 2]
5. Move On (5:08 minutes)
6. Rabiatu (5:07 minutes)
7. Woyaya (4:28 minutes)
Tracks 1 to 7 are their second studio album "Woyaya" – released January 1972 in the UK on MCA Records MDKS and February 1972 in the USA on Decca Records DL 75327. Produced by TONY VISCONTI (Engineered by John Punter) – it peaked at No. 11 on the UK Rock LP charts (No. 66 in the USA on Billboard).

OSIBISA:
TEDDY OSEI (from Ghana) – Tenor Sax, Flute, African Drums and Vocals on Tracks 1 to 3 on CD1
SOL AMARFIO (from Ghana) – Drummer
MAC TONTOH (From Ghana) – Trumpet, Flugel Horn and Kabasa
SPARTACUS R (from Grenada) – Bass Guitar and Assorted Percussion
WENDELL RICHARDSON (from Antigua) – Lead Guitar & Vocals on Track 7 on CD1
ROBERT BAILEY (from Trinidad) – Organ, Piano  & Timbales
LOUGHTY LASISI AMAO (from Nigeria) – Tenor Sax, Baritone & Congas

The outer card slipcase lends the release a classy feel, but you would have to say that despite photos of the inner gatefolds and the Richard Williams liner notes to "Woyaya" reproduced on the inner page spread – the August 2004 8-page liner notes from ALAN ROBINSON feel a tad slight. The band photos and credits make their way into the booklet, onto the rear inlay beneath the 2CD see-through tray and so on – but why don’t we get the obvious – the two gatefold spreads showing the amazing ROGER DEAN artwork which when I was a teen back in the day was ALL YOU SAW. They are of course on the card sleeve and the opening page of the booklet – but it still feels like a trick was missed here. 

Robinson sets the World Music Scene explosion before Osibisa – The Beatles and Indian instruments on "Revolver" and "Sgt. Peppers" – Santana and its Latin grooves in 1969 and 1970 – and of course Africa and its influence in rhythms and tones - Brian Jones of The Rolling Stones and The Pipes of Pan at Joujouka (which would be released on Rolling Stones Records in 1973). Robinson explains how Jazz boys Teddy Osei, Sol Amarfio and Mac Tontoh joined forces in England to create the high life very dance-orientated African/Caribbean sound of Osibisa. It’s well written but as I say, I would have liked more, and the booklet has never been updated, despite reissues.

But what BGO did get right is the Audio - Remasters by ANDREW THOMPSON from original MCA Recordings tapes. As all the music is Drums and Bass and Brass punching through the relentless rhythms – clarity is of the Funky essence – and that’s what you get on every number. When the Guitar Afro Funk of "Ayiko Bia" kicks in – you feel it. Over on CD2 is the same – the superbly musical "Y Sharp" feeling like a revelation you needed reacquaintance with. To the musical love…
In a nutshell – for me the "Osibisa" debut is good to very good – but the follow-up "Woyaya" shows a maturity and brilliance that has lasted far better than its predecessor. The opening track has Teddy explaining (talking against crickets and morning sounds) that Osibisa soundscapes are "…criss-cross rhythms that explode with happiness…" as the opening number "The Dawn" works its way across your speakers for a leisurely seven minutes. An instrument showcase, "The Dawn" pushes out Bass, Percussion, and strummed guitars at first – but then spacey flute passages soon kick in after which comes killer Brass and Organ that suddenly makes it feel Earth, Wind & Fire had a baby with The Graham Bond Organization. As it fades out, Teddy does that breathy thing Ian Anderson does when he’s playing Flute for Jethro Tull. 

At a relatively short five-minutes-plus and with its Brass-friendly upbeat groove, "Music For Gong Gong" was an obvious album sampler so it got released in Germany as a 45-single from the album in that eye-catching Roger Dean artwork. The first British 45 wouldn’t arrive until January 1972 when MCA put "Music For Gong Gong" on the A-side with "Woyaya" on the flip (MCA Records MKS 5079) – clearly an error as the US 45 gets it right with "Woyaya" on the A-side (Decca 32920). African rhythms and vocals kick in for "Ayiko Bia" as does Wendell Richardson giving it some very Santana-like guitar soloing – sounds great. I remember when we played this at Reckless Records in Soho – its hybrid Jazz meets Africa meets Funk meets Drums and Whistles fest getting punters to the counter demanding to know what 80ts African album this was. 1971 mate! There you go!

Side 2 gets all happy with "Akwaaba" – a sexily commercial brass and pumping Bass dancer – like Greenslade getting down with its inner Todd Rundgren. Keeping on with commercial – the almost piano-poppy "Oranges" feels like it might have dropped in from another recording session. Panning the brass across the speakers dates the instrumental a tad but there is some lovely Herb Alpert-type trumpet fills. Thinking you are better than me obsesses the vocals of "Phallus C" – a play on words. And again – great Afro Funk passages if you isolate them. A mellow almost Donny Hathaway meets Santana moment finishes the debut – Guitarist Wendall Richardson asking us to stop and think about the world and pollution and the system and their combined effect on people - "Think About The People". 

"Woyaya" was a huge leap for the band - a maturity in songs and approach. Bowie's main man Producer TONY VISCONTI once again helmed recordings and as you can hear from the crystal clear opening minute and half of "Beautiful Seven" - where rain, lightning, bass, piano, flute and guitar all melt into one lovely slow sexy groove - Visconti had their vibe down. As the drums and voices float around your speakers - the message of positivity is sounded large. "Y Sharp" sports a lovely melodious opening brass arrangement and tinkers along like that (can't help thinking an edit of its six minutes) might have made an interesting instrumental 45). Soulful and Bluesy organ opens "Spirits Up Above" where it feels like Billy Preston has joined Malo for a chill-out. Gorgeous tune and cool audio too. 

Side 2 opens with banter between the band and producer before they start African cat calls and a pulsating drum beat that feels like someone is going to be roasted over a bonfire in a Ray Harryhausen Lost World movie. But then something brill happens - at almost two minutes in "Survival" suddenly goes into a fantastic Brass and Funk and Voices groove. You can't help thinking that an edit-out of the superfluous beginning would have served the song better - maybe have been a single Pans People could have hot-pants'd to on Top Of The Pops - Sax solo at the close too. "Move On" indulges in an 'Osibisa' chant up to about 45-seconds to once again go into a African meets West funk - lyrics about progressing but getting nowhere. "Rabiatu" opens with clear Bass notes only to be quickly joined by a nice Brass and Drums dancer that feels like Santana living in Ghana. And it all comes to a close with the vocals of "Woyaya" - a song someone thought would make a single because of its happy-upbeat message (heaven knows how we will get there). A sweet end to a highly stylised listen - but revelatory for it too. 

For further investigation of OSIBISA, Beat Goes On (BGO) of the UK also reissued studio album number three - "Heads" – originally released September 1972 in the UK on MCA Records MDKS 8007 (October 1972 in the USA on Decca DL 75368). That Remaster issued 15 November 2005 on Beat Goes On Records BGOCD690 (Barcode 5017261206909) is also still widely available.

African Funk Beat purveyors OSIBISA are a forgotten musical phenomenon in 2024 – their self-titled debut from the spring of 1971 now closing in on 55-years ago. But like Santana, Earth, Wind & Fire, Malo, War and even Blaxploitation Soundtracks – the Funky earthy positive-vibe cocktail stills draws music lovers in like moths to a rhythm flame. 

Resplendent in its card slipcase and sporting Spirits Up Above audio – BGOCD646 is a 2CD twofer you might want to seek out and then buy-in ice-packs for your aching limbs. Enjoy…

Monday 15 April 2024

"Night Fades Away/Wonderland" by NILS LOFGREN – September 1981 and August 1983 US Albums on Backstreet Records - Featured Guests include Guitarists Jeff Baxter (Steely Dan and The Doobie Brothers) and Elliott Randall (guested on Steely Dan albums), Pianist Nicky Hopkins, Keyboardists Greg Mathieson and Robbie Kondor, Trumpet by Chuck Findley, Drummers Richie Hayward of Little Feat, Jeff Porcaro of Toto and Andy Newmark, Bassists Neil Jason, David Hungate (of Toto) and Kevin McCormick with Singers Del Shannon, Louise Goffin, Edgar Winter and Carly Simon (March 2024 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...





https://www.amazon.co.uk/Night-Fades-Away-Wonderland-Lofgren/dp/B0CQ4R4PJG?crid=1EVCXBQ2IWOOO&dib=eyJ2IjoiMSJ9.1ZLYSW4NUj5m-3rzdht21g.8C7YTSOWLlbxdPEyj4-OXoalOhvmQo3tgKE8LC_PoM8&dib_tag=se&keywords=5017261215123&qid=1713188143&sprefix=5017261215123%2Caps%2C75&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=cdcba5eefcb15d9fdf51c01bf27379e8&language=en_GB&ref_=as_li_ss_tl

RATINGS: *** Material **** Remasters ***** Presentation

"…Feel This Explosion…"

This is the second release for England's Beat Goes On Records (aka BGO) of Nils Lofgren back catalogue that's been in collaboration with the artist. 

25 February 2022 saw his legendary live-double from October 1977 "Night After Night" be given a classy Remaster on the 2CD set Beat Goes On BGOCD1473 (Barcode 5017261214737) and here in March 2024, we get slot number two in what we must presume will be an on-going reissue series.

This time around we stretch into the Eighties after Lofgren and A&M Records parted company post the "Nils" album in June 1979. Backstreet Records (who were part of MCA) had signed Tom Petty & The Heartbreakers so Lofgren and his explosive guitar Rock must have seemed like a good fit. Big things were expected. But – and this is a big but for me with this reissue – when I worked at Reckless Records in Soho both these 80ts albums were strictly pound-fodder and for good reason (they remain so in 2024). "Night Fades Away" is mired in iffy sub-par material and dreadful bombastic Eighties production values into the bargain - while the saving grace for this twofer compilation is "Wonderland" – a criminally overlooked 1983 studio set that saw him return to the live simplicity of his former bandmates (Andy Newmark from the A&M days) so that when NL went into record – his playing was on fire and more important - the songs were far better. 

Long-term fans and Nils-nerds like me will welcome this great sounding and properly presented British 2CD reissue, but I would advise any newcomers to get a listen first. To the details…

UK released Friday, 1 March 2024 (17 March 2024 in the USA) - "Night Fades Away/Wonderland" by NILS LOFGREN on Beats Goes On Records BGOCD1512 (Barcode 5017261215123) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows:

CD1 (37:27 minutes):
1. Night Fades Away [Side 1]
2. I Go To Pieces
3. Empty Heart
4. Don't Touch Me
5. Dirty Money
6. Sailor Boy [Side 2]
7. Anytime At All
8. Ancient History
9. Streets Again
10. In Motion
Tracks 1 to 10 are his fifth solo studio album (sixth overall) "Night Fades Away" – released September 1981 in the USA on Backstreet Records BSR-5251 and in the UK on MCA Records MCF 3121. Produced by JEFFREY BAXTER (and dedicated to Vietnam Veterans) - it peaked at No. 99 on the US Billboard Rock LP charts and at No. 50 in the UK. All songs written by NL except two co-writes with Jeff Baxter on "Streets Again" and "In Motion" and two cover versions - "I Go To Pieces" by Del Shannon and "Anytime At All" by The Beatles.

BAND and GUESTS:
NILS LOFGREN – Guitars, Accordion, Synths and all Lead Vocals
JEFF BAXTER of Steely Dan and The Doobie Brothers on Guitar, Guitar Synth and all Production
ELLIOTT RANDALL on Electric Guitar for "I Go To Pieces", "Sailor Boy" and "Anytime At All"
TREVOR VEITCH on Acoustic Guitar for "I Go To Pieces" and "Anytime At All"
NICKY HOPKINS on Acoustic and Tack Piano for "Streets Again" and Fender Rhodes Electric Piano on "Night Fades Away"
GREG MATHIESON – Fender Rhodes Electric Piano on "I Go To Pieces", "Sailor Boy" and "Anytime At All"
ED GREENE – Drums 
JEFF PORCARO of Toto on Drums for "Sailor Boy" and "Anytime At All" 
RICHARD HAYWARD of Little Feat on Drums for "Empty Heart", "Dirty Money", "Streets Again" and "In Motion"
NEIL JASON on Bass Guitar for all tracks except NEIL STUBENHAUS on "I Go To Pieces" and "Anytime At All" and DAVID HUNGATE (of Toto) on Bass for "Sailor Boy"
DEL SHANNON – Vocals on "I Go To Pieces"
CHUCK FINDLEY – Trumpet on "In Motion"
JERRY PETERSON – Saxophone on "Don't Touch Me"

CD2 (40:37 minutes):
1. Across The Tracks [Side 1] 
2. Into The Night
3. It's All Over Now
4. I Wait For You
5. Daddy Dream
6. Wonderland [Side 2]
7. Room Without Love
8. Confident Girl
9. Lonesome Ranger
10. Everybody Wants
11. Deadline
Tracks 1 to 11 are his sixth studio album (seventh overall) "Wonderland" – released August 1983 in the USA on Backstreet Records BSR-5421 and in the UK on MCA/Backstreet Records MCF 3182. Produced by NILS LOFGREN, KEVIN McCORMICK and ANDY NEWMARK and dedicated to James Honeyman Scott and Pete Fardon of The Pretenders – it didn’t chart in either country. All songs written by NL except "It's All Over Now" which is a Bobby Womack cover version done by The Rolling Stones also in the Sixties

BAND:
NILS LOFGREN - Lead Vocals, Lead Guitar, Keyboards
ROBBIE KONDOR – Synthesisers
KEVIN McCORMICK – Bass Guitar and Background Vocals
ANDY NEWMARK – Drums with JIM MAELEN on Percussion

GUESTS:
LOUISE GOFFIN sings on "Wonderland" and "Everybody Wants"
CARLY SIMON sings on "Lonesome Ranger"
EDGAR WINTER sings on "Across The Tracks"

The outer card slipcase and substantial 20-page booklet with new liner notes from CHARLES WARING via new interviews with Lofgren give this 2CD Reissue a look and feel of class (let alone artist endorsement). The artwork front and rear for both LPs is here as are other photos (the sweaty teeshirt shot taken by Annie Leibovitz – his small band for album number two sat on steps). Instead of dry facts, Lofgren talks of leaving A&M after four studio albums and one hugely popular live double, his new signing to Backstreet Records (a subsidiary of MCA) and the high hopes both albums had that did not translate into public interest. 

Nils give a song-by-song insight – ex Steely Dan and Doobie Brothers stalwart Jeff Baxter is given real praise – a man who had worked with Nazareth and understood Rawk (he and Nils did pre-production work for weeks at 'Skunk' Baxter's place in Laurel Canyon). The "Night Fades Away" title track was flipped with "Ancient History" as a US 45-single which led the charge in October 1981 (Backstreet BSR-51191) - but it did little business. Released in September 1981, the album stalled on the US LP-charts at No. 99 but did much better in the UK at No. 50. The liner notes recall the great axeman's heyday and how he morphed into the Boss's sideman (Lofgren has been a permanent member of Bruce Springsteen's E-Street Band since 1984 – an astonishing 40 years burning down that code of the road whilst maintaining a Solo Career on the side). The new BGO Records Remasters are by ANDREW THOMPSON from Universal-licensed original tapes and both shine as much as original techniques will allow (2024 ears will have to adjust to that bombastic 80ts sheen production values they had back then - especially on the "Night Fades Away" album which of the two fares worse in my books). You can't make a purse out of...but what is here is very clear and well done. To the music...

As upbeat as "Night Fades Away" is an opening salvo, there is a crass feel to "Don't Touch Me" and the dismissive anger in "Dirty Money" feels forced too. "Sailor Boy" is a bopper opening Side 2 that does little to help the feeling that there are no tunes - while an ill-advised cover of The Beatles "Anytime At All" feels like Southside Johnny doing a filler song. The flipside of the album’s only single, "Ancient History" is for me the best dead-aim song on a patchy album – the treated guitars, piano and vocals doing the business. His fifth studio album "Night Fades Away" rolls home using two co-writes with Jeff Baxter – the decidedly un-pc lyrics to "Streets Again" making for a weird and uncomfortable listen – the Side 2 finisher "In Motion" with its striking and daring Chuck Findley Trumpet solo being so much better. In his fabulous Great Rock Discography books, music chronicler Martin Strong awards the "Night Fades Away" album a stingy 4-stars out of ten (worst in his catalogue) but I have to say, I unfortunately agree with him. Strong then gives "Wonderland" (next up) 6-stars and again – right about that too.

In the liner notes, Lofgren explains that his band had been jamming and rehearsing and gelling for months prior to the recording of "Wonderland" in 1983 – a back to basics approach - and man does it show. After the almost sedate playing displayed on "Night Fades Away" - it is like Lofgren went mad with his solos on "Wonderland" because they are incendiary. He was clearly excited about the material (10 originals and one cover that suited), his tight unit of a band – the no-nonsense production achieved by all three principal players in his group. Almost Rolling Stones in its down-to-business sound and wild playing - "Across The Tracks" opens proceedings with a kicker – a song about a boy and a girl from different sides of the social divide – Daddy with his shotgun by the railings should young lips touch. "Into The Night" is a typically excellent Lofgren song, simple yet touching, melodic yet softly rocking in its own way.

Things return to Rawk with the only cover on the LP – a hard-hitting very Chuck Berry chugging go at the Bobby Womack song "It's All Over Now" – Nils building the menacing guitar chords to a great solo (breakfast in bed, ease my aching head). The next offers huge guitar pings as an opening where "I Wait For You" later goes into echoed guitar soloing. There's a cool chord chug to "Daddy Dream" that might have made a good double with "Wonderland" as a US 45 (Louise Goffin, daughter of Jerry Goffin, sings on both "Wonderland" and "Everybody Wants"). "Room Without Love" feels like a Ry Cooder ballad – a room without hope where our Nils has been pining for a lady gone to greener pastures. No less than Bob Dylan told Nils in a corridor quick-chat that he loved "Confident Girl" – sound and changes – not bad. The island-beach-sand shuffle of "Lonesome Stranger" features a subtle backing vocal on the chorus from Carly Simon – sweet support that works. The LP romps home with the slight reggae-feel of "Everyday Wants" while his trademark guitar-led rocking bricks "Deadline". 

"Night Fades Away" did OK but despite his high hopes, "Wonderland" the LP didn't chart and was largely ignored. Why - truth be told – neither album is a blinder and it's easy to hear why less than a dollar or a pound will secure either vinyl LP a full forty-years after the events. 

But Nils Lofgren fans will also know that outside of expensive and now deleted Box Sets these hard-to-find platters are new to standalone CD and accompanied as they are with quality Remasters and great presentation – you have to say that England's BGO Records have done it again - and how. Wallet ahoy daddy-o, Nils won't go, but you may have too...

Thursday 14 December 2023

"We Have Met Together" by MICK MALONEY – February 1973 UK Debut Solo Album [ex The Johnstons] on Transatlantic Records (August 2023 UK Beat Goes On (BGO) Records Reissue onto CD with Andrew Thompson Remasters) - A Review by Mark Barry...




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This Review And 225 Others Is Available In My AMAZON E-Book 
BOTH SIDES NOW - FOLK & COUNTRY 
And Genres Thereabouts
Your Guide To Exceptional CD Reissues and Remasters
For the 1960s and 1970s
All Reviews In-Depth and from the Discs Themselves
(No Cut And Paste Crap)

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"…Molloy's Favourite And The Earl's Chair…"

Limerickman, Banjo and Mandolin playing Folky Mick Maloney had already done his Irish Traditional Music time with The Johnstons between 1966 and 1972 – a very fondly remembered Folk/Folk Rock act on Transatlantic Records. Apart from lead vocalist Adrienne Johnston, Mick Maloney and the American Chris McCloud - The Johnstons were also the six-album home to one of Ireland's truly great songwriters - Paul Brady. 

Time to go solo - and for his Transatlantic Records debut in early 1973 - Maloney ditched that old crew and roped in a six-piece outfit of International players – Friedemann Witecka from Germany on Guitar, Dave O'Docherty from Dublin on Flute and Whistles, Dave Moses and Mal White from England on Bass Guitar, Recorder and Bodhran respectively with Ian (Jan) Inge Rasmussen from Norway on Guitar and Second Vocals and Scotsman Aly Bain from the Shetland Islands on Fiddle. Maloney played Tenor Banjo, Mandolin and Guitar and sang Lead Vocals on eight of its seventeen tunes. Adam Skeaping (one of the Engineers on the album) plays Synthesiser on the final lament to eerie effect on Side 2. Beat Goes On Records of England (commonly known as BGO Records) has also managed a first time on CD for this forgotten rarity with both beautiful Presentation and clear Audio. Here are the heady traditional details…

UK released Friday, 4 August 2023 (18 August 2023 in the USA) - "We Have Met Together" by MICK MALONEY on Beat Goes On Records BGOCD1498 (Barcode 5017261214980) Remasters his 1973 debut solo album onto CD and plays out as follows (45:51 minutes):

1. Two Jigs [Side 1]
2. The Invisible Man
3. The Pipe On The Hob
4. Belfast Town
5. Bodhrán Solo
6. Don't Cry In Your Sleep
7. Reel On Mandolin
8. Farewell To The Rhondda
9. Vi Skal Ikkje Sova Burt Sumar Natta
10. Bean Pháidín [Side 2]
11. Bodhrán Solo
12. Molloy's Favourite And The Earl's Chair
13. Avondale
14. The Leitrim Fancy
15. An Gaoth Andheas
16. Flute Solo
17. The Fields Of Vietnam
Tracks 1 to 17 are his debut solo LP "We Have Met Together" – released February 1973 in the UK on Transatlantic Records TRA 263. Produced by MICK MALONEY – it is first time on CD
NOTES: 
"The Invisible Man" is a Leon Rosselson song and features Friedemann Witecka on Second Guitar with Dave Moses on Bass
"Belfast Town" features Ian Inge Rasmussen on Second Guitar
Mal White plays the Bodhran on "Bodhrán Solo"
"Bean Pháidín" is Irish for Paddy's Wife
"Don't Cry In Your Sleep" features Ian Inge Rasmussen on Second Guitar and Vocal with Dave O'Docherty on Flute
"Reel On Mandolin" features Ian Inge Rasmussen duetting on Guitar
"Farewell To Rhondda" is a Frank Hennessy song about the Welsh mining strikes in 1972 and features Friedemann Witecka and Ian Inge Rasmussen on Guitars with Dave Moses on Bass
"Vi Skal Ikkje Sova Burt Sumar Natta" is a 1960s Norwegian Song (and not Traditional Folk as misdescribed in the original LP liner notes) and features Friedemann Witecka on Second Guitar with Dave Moses on Bass and Recorder
"Molloy's Favourite And The Earl's Chair" features Ian Inge Rasmussen on Guitar with Dave O'Docherty on Flute and Mal White on Bodhrán (the Molloy in the title refers to Irish Flutist legend Matt Malloy of Planxty and The Bothy Band)
"Avondale" is a Dominic Behan song about Charles Stewart Parnell and features Second Guitar by Friedemann Witecka and Dave Moses on Bass
"An Gaoth Andheas" translates as The South Wind and features Aly Bain on Fiddle (Late with The Boys of the Lough)
"Flute Solo" features Dave O'Docherty on Flute only
"The Fields Of Vietnam" is a Ewan MacColl song with Adam Skeaping on Synthesiser

Quite apart from the lovely card slipcase that lends these stand-alone album reissues a real sense of visual class – the 20-page accompanying booklet with new JOHN O'REGAN liner notes goes deep on Maloney’s history with Folk, the album and beyond. Many Net sources are quoted – the original LP's liner notes are reproduced as is its artwork. O'Regan and Musician friends of Maloney note how he made the layout of the album tracks something of a template for future releases – Irish, English, Scottish, Welsh, Euro and American Roots tunes sat alongside instrumentals on the Bodhrán, Flute or Banjo. 

Subject matters included the dread emigration, labour woes once in cheap work, unemployment hunger once out of casual jobs, occupying armies and alienation at home and all roads to and from similar socially aware themes. Maloney sings with his very nasal Tĩr na n'Óg vocals on eight songs (all others are instrumentals) – Tracks 2, 4, 6, 8, 9, 10, 13 and 17. Audio is a New Remaster by ANDREW THOMPSON and it is clean, warm and a lovely listen – the real simple instruments given space to shine.

Some will find the barricades and gelignite lyrics in "Belfast Town" an open-wound – a brave and horribly realistic song about the Northern Ireland troubles – its author wanting to remain anonymous in 1973 no doubt fearing reprisals from both side of the paramilitary divide. The same anchor's away to a better place doom permeates "Don't Cry In Your Sleep" while a jolly-roger lilt fills the colliery pit-men song "Farewell To The Rhondda" – the mines all closing and the population falling – all heading towards the big smoke of London to get work. Side 1 ends with a 60ts Norwegian song sung in the native tongue – it's pretty and features floating recorder, accented Bass and lovely acoustic soloing from guest Guitarist Friedemann Witecka. It's contemporary Folk and not Traditional at all.

A Traditional does open Side 2 – sung in Gaelic, "Bean Pháidín" is Irish for Paddy's Wife and Maloney makes light-work of the speedily sung impenetrable lyrics as the Mandolin and Acoustics strum and pick. After a short Bodhrán solo, the band gets to show its instrumental chops on "Molloy's Favourite And The Earl's Chair" – a Banjo, Whistle and Bodhrán tapping set of reels learned from Flutist Matt Molloy. Things return to plaintive ballad with the lovely "Avondale" – Dominic Behan singing of tall trees and ancient glory in the vales – Maloney sounding completely at home with the lead only to be joined on the second chorus by the other lads (very nicely done, Parnell would have approved). 

Two instrumentals highlight Acoustic Guitars, Banjo, Fiddle and Flute whilst "An Gaoth Andheas" is about a Southern Winter where Aly Bain of Boys of the Lough plays a binder on plaintive fiddle. The album ends of probably its best shot at greatness – a cover of the Ewan MacColl political ballad "The Fields Of Vietnam". It opens with lonesome solo vocals but is soon joined by an ominous synth drone (Adam Skeaping) – the Vietnamese taken on by the invading armies of the French and the Americans – none of them succeeding. "The Fields Of Vietnam" brings to an end a strong debut – not a masterpiece by any means – but superbly presented here for those who have waited decades for it to show on decent digital.

Having toured since the Sixties and been involved in nearly forty albums – Mick Maloney made the USA his home and sadly passed in July 2022 aged 77 – a lifetime given over to all forms of Folk music and its rich history, academia and philanthropy. Although his name may not reverberate around the annals of Music Fame outside of the Traditional genres – inside it – Maloney was beloved and spread the gospel far and wide – some saying he chronicled and championed all forms of Roots Music with a passion and warmth that was infectious. Much like this rather lovely CD Reissue and Remaster…

Sunday 3 December 2023

"Tempest/Living In Fear plus Bonus Tracks" by TEMPEST – February 1973 UK Debut Album and April 1974 UK Second and Last Studio Album on Bronze Records featuring Paul Williams, Alan Holdsworth, Ollie Halsall, Mark Clarke and Jon Hiseman (October 2023 UK Beat Goes On Records Compilation – 2LPs Plus Two Bonus Tracks onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...





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RATING: *** (Content), ***** (Presentation and Audio)

 

"...Waiting For A Miracle..."

 

In some respects, 1973 was a strange year for Rock. On the one hand, you had extraordinary releases from Bowie, Oldfield, Pink Floyd, Yes, Marvin Gaye, Paul McCartney, 10cc, Cockney Rebel, The Who, Elton John, John Martyn, Curtis Mayfield, Bobby Womack, Donny Hathaway and Stevie Wonder – all chockers with innovation and musical excellence – and loads more like them across Pop, Prog, Folk and even Reggae. And on the other hand, you had all these bands arising out of the ashes of old – in particular 1970, 1971 and 1972 line-ups – hustling for what should have been a glorious new beginning and eventual global domination followed quickly by concert teeshirt worship.

 

The short-lived TEMPEST was such a British group. Lead Singer and Front Man Paul Williams had come up through the ranks of Zoot Money and the heyday of Juicy Lucy, Lead Guitarist Alan Holdsworth had graced the doors of the one-album Decca Records cult band Igginbottom while Bassist Mark Clarke and Drummer Jon Hiseman were ex Uriah Heep and Colosseum respectively. In fact Hiseman saw Tempest as a vehicle to tackle a more Hard Rock approach as opposed to the Fusion Prog of Colosseum and Holdsworth could play to beat the band while ballsy/bluesy vocalist Paul Williams could dominate a microphone. Both Williams and Holdsworth jumped ship for the second LP only to be replaced with another ace-axeman – Ollie Halsall. So all in all – with their pair of studio LPs originally on the much-liked Bronze Records - Tempest sported righteous omens and pedigree call sheets - on paper

 

But that's were the good news ends - because 50-years on Tempest so often elicit the venomous ire of derision – a band obviously lacking in tunes. Their music was sort of Rock and sort of Prog - but despite gimmicky sleeves bound to engender cult collecting – were not particularly sexy pants as a band on either front.

 

Well, Beat Goes On Records of the UK have said damn the accusational torpedoes ye heathens of yore and reissued both albums with two appropriate bonuses in tow in one of those natty card slipcases they do so well. Stick that in your high-pressure front, you aging man-children of Gorgon. To the wet and windy details...

 

UK released Friday, 6 October 2023 - "Tempest/Living In Fear plus Bonus Tracks" by TEMPEST on Beats Goes On Records BGOCD1502 (Barcode 5017261215024) offers Two Albums from 1973 and 1974 Remastered onto Two CDs with Two Bonus Tracks and plays out as follows:

 

CD1 (35:40 minutes):

1. Gorgon [Side 1]

2. Foyers Of Fun

3. Dark House

4. Brothers

5. Up And On [Side 2]

6. Grey And Black

7. Strangeher

8. Upon Tomorrow

Tracks 1 to 8 are the debut album "Tempest" – released February 1973 in the UK on Bronze ILPS 9220 and Warner Brothers BS 2682 in the USA. Produced by JON HISEMAN – it didn’t chart in either country

 

TEMPEST line-up for the debut "Tempest"

PAUL WILLIAMS (ex Zoot Money and Juicy Lucy) – Vocals, Keyboards, Acoustic Guitar

ALAN HOLDSWORTH (ex ‘Igginbottom) – Lead Guitar and Violin

MARK CLARKE (ex Uriah Heep) – Bass, Keyboards and Vocals on "Grey And Black"

JON HISEMAN (ex Colosseum) – Drums and Percussion

 

CD2 (47:06 minutes):

1. Funeral Pyre [Side 1]

2. Paperback Writer

3. Stargazer

4. Dance To My Time

5. Living In Fear [Side 2]

6. Yeah Yeah Yeah

7. Waiting For A Miracle

8. Turn Around

Tracks 1 to 8 are their second and last studio album "Living in Fear" – released April 1974 in the UK on Bronze ILPS 9267 (no US release). Produced by GERRY BRON – it didn’t chart

 

TEMPEST line-up for "Living In Fear"

OLLIE HALSALL – Guitar, Keyboards and Vocals

MARK CLARKE – Bass and Vocals ("Stargazer" only)

JON HISEMAN – Drums and Percussion

 

BONUS TRACKS

9. You And Your Love

10. Dream Train

 

The card-slipcase is cool, the 20-page booklet reproducing the album artwork and lyrics (debut only) and photos from that elaborate artwork. Valiant new liner notes from CHARLES WARING explain the Colosseum connection and give a song-by-song breakdown – but despite his usual thoughtful and fact-filled assessment – it is for me all in vain because the music just does not warrant it. You cannot accuse this twofer however of not sounding kick-ass – the ANDREW THOMPSON Remasters storming out of your speakers with great power and separation.

 

It begins with a promising fade-in of acoustic guitars, treated mysterious vocals and swirling high-hat soundscapes – but then descends into plodding riffage and horrible lyrics about girlies studying evil all the time. If ever there was a template for Spinal Tap – this is it. Poor Paul Williams tries to passion his way into the guitars with lyrics that do him no favours. Writers Hiseman, Holdsworth and Clarke continue with the Cream-out-of-time heavy handedness of "Foyers Of Fun" and "Dark House" – Williams and his strained vocals sounding so out of place that it's obvious he's the wrong man for the job. Clever guitar parts hold together the Side 2 opener "Up And On" – soloing ahoy in the second half of the song.

 

A welcome melodic keyboard refrain opens "Grey And Black" but Clarke doesn't have the strongest voice in the world and so it feels like sub-standard Greenslade. At least the oddly spelt "Strangeher" feels like some half-decent Rock and Roll meets twin-guitar Wishbone Ash type sounds. A beautifully recorded Violin and Keyboard plink opens the decidedly jazzy-Prog final track on the debut "Upon Tomorrow" – the drum flourishes of Hiseman and the Weather Report bass notes of Clarke rattling around your speakers with wonderful clarity. But of course, come two minutes in – we get the sudden riffage that doesn't really excite. But at least Williams sounds more convincing – making "Upon Tomorrow" probably the best cut on a patchy debut album.

 

Both Singer/Keyboardist Paul Williams with Guitarist Alan Holdsworth jumped ship after the debut where Tempest effectively became a trio for the 1974 set "Living In Fear" – Ollie Halsall joining as Guitarist and Singer. But therein for me lies the problem with platter number two – Halsall can play and is famous for being a wiz on the fretboard – but again his voice is grating and not enticing you in. The band didn't seem to have learned the mistakes of the debut. And you wouldn’t mind if the songs had improved – no such luck.

 

Gerry Bron of Bronze Records produced and it feels a tad amateur despite Halsall going all wobbly guitar notes on the opener "Funeral Empire". A very clever and welcome cover gives them a chance to Rock – "Paperback Writer" getting grunged with guitars and layered vocals. But it only serves to remind that Tempest could never write something this brilliant – only that they can heavy-hand the song which they do. We get a tad Juicy Lucy with "Stargazer" where Mark Clarke takes lead vocals and at least it feels like a tune albeit in a Man kind of way. There then follows a line of hammy songs the best of which is the mildly guitar-jaunty “Yeah Yeah Yeah". Both "Waiting For A Miracle" and the decidedly guitar-whig-out finisher "Turn Around" try hard enough but lack any real kind of hook. The bonus tracks are only OK – the poppy "Dream Train" sounding dangerously close to bad Sparks.

 

You have to admire BGO of England for giving these 1973 and 1974 Tempest rarities a digital go-round and any fans out there are really going to love the classy presentation and massively upgraded sound. But I would advise a listen first for anyone else...

INDEX - Entries and Artist Posts in Alphabetical Order