"To The Limit" by JOAN ARMATRADING - Album from October 1978 on A&M Records (April 2016 Music On CD Reissue with a 1997 Remaster) - A Review by Mark Barry...

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"...In Your Loving Arms Again..."

Brummie lass Joan Armatrading (born in the West Indies but moved to the UK when she was 8) had been building a steady stream of classy British LP releases by the time she reached "To The Limit" in October 1978 - her sixth platter.

After her November 1972 debut "Whatever’s For Us" on Fly Records went largely unnoticed - her UK signing to A&M Records brought "Back To The Night" in April 1975 – an equally unsuccessful chart attempt but the first real indication of the monumental talent that would eventually unleash "Joan Armatrading" in August 1976 with the huge global hit "Love And Affection". That chart breakthrough was followed with the equally lovely "Show Some Emotion" album in September 1977 featuring the title track and "Willow".

I recall "To The Limit" at the time - the kind of album that bubbled under in 1978 rather than exploded. In fact since the tectonic impact of "Joan Armatrading" in late 1976 - it had seemed she was on a visible downward slide. "To The Limit" peaked at a respectable No. 13 in the UK - less than "Show Some Emotion" at No. 6 - but tellingly it stalled at No. 125 in the USA after it entered the charts there in November 1978. This feels like a shame to me because I've always thought "To The Limit" to be a wee bit of an overlooked gem in her long and impressive catalogue.

And that's where this 'Music On CD' reissue comes stomping in. As far as I recall the last remaster of the whole album was 2004 (quickly deleted) with some of the songs turning up on the 1996 "Love And Affection" 2CD anthology that had Roger Wake Remasters. The album has been notoriously difficult to find on CD at anything other than exorbitant prices – so this rather tasty looking reissue is a godsend for fans and the plain curious. And it sounds utterly fantastic too. Here are the unlimited details...

UK released April 2016 - "To The Limit" by JOAN ARMATRADING on Music On CD MOCCD13291 (Barcode 0600753605165) is a straightforward CD Reissue and Remaster of the 10-track 1978 LP that plays out as follows (41:20 minutes):

1. Barefoot And Pregnant [Side 1]

2. Your Letter

3. Am I Blue For You

4. You Rope You Tie Me

5. Baby I

6. Bottom To The Top [Side 2]

7. Taking My Baby To Town

8. What Do You Want

9. Wishing

10. Let It Last

Tracks 1 to 10 are her sixth studio album "To The Limit" - released October 1978 in the UK on A&M Records AMLH 64732 and November 1978 in the USA on A&M Records SP-4732. Produced by GLYN JOHNS - it peaked at No. 13 in the UK and No. 123 in the USA.

JOAN ARMATRADING - Lead Vocals and Acoustic Guitar

PHIL PALMER - Lead Electric Guitar

RED YOUNG - Piano

DICK SIMMS - Organ & Accordion

QUITMAN DAVIS - Lyricon

DAVE MARKEE - Bass

HENRY SPINETTI - Drums 

The 'Music On CD' label is a bit of a strange one. They started out as I recall being 'Music On Vinyl' - the go-to reissue label for all of the Sony product on VINYL - quality 180-gram represses with remasters. But in 2014 the Europe-Pressed CD label began reissuing albums from a huge array of labels and now have over 220 titles in their canon (most are under the Universal umbrella of labels). All their releases come in those natty-looking rounded-corner 'super jewel cases' and for "To The Limit" you also get an 8-page booklet that essentially reproduces the inner sleeve of the 1978 LP - lyrics to the songs - a couple of photos and musician credits - but nothing else - no new liner notes nor any mention of mastering and from what. Credit or no - the audio on this CD is truly glorious - Glyn Johns' original production values shining through - "What Do You Want" sounding audiophile good and stupendously moving for it. 

While the compilations always go for the catchy jaunt of "Barefoot And Pregnant" and the hip Reggae rhythms of "Bottom To The Top" – the hidden album gems of "Baby I" and "What Do You Want" are fantastic songs – full of truth and yes – hurting – a relationship on the rocks – slipping away – even lost. Throw in the sexy acoustic guitar and strangulated synth soloing of "Am I Blue For You", the deceptive groove of "Wishing" and the "Love And Affection" acoustic vibe of "Let It Last" bolstered up with gorgeous accordion and piano notes that compliment rather than intrude as it builds towards a triumphant conclusion (let it last until we die) – and the whole record starts to feel like an overlooked nugget. "To The Limit" is not a masterpiece - but it is chock-full of great songs that still stand up and crucially still get to you.

She would go slightly pop with "Me Myself I" in May 1980 - an album that would storm up No. 5 in the UK and return her to the radio and real chart success Stateside (it peaked at No. 28 – her best showing their). But for many her trio of "Joan Armatrading", "Show Some Emotion" and "To The Limit" from 1976, 1977 and 1978 represent an artistic and emotional high that stings, swoons and ultimately elevates.

I'm off now to check out the first "Outlaws" album (originally 1975 on Arista) and "Blood, Sweat & Tears 3" (originally 1969 and 1970 on Columbia and CBS Records) - both of which have been recently reissued by Music On CD with Remasters.

In the meantime go back in time forty years to 1978 again and take this excellent Joan Armatrading album back 'in your loving arms again'...   

"Blood, Sweat & Tears 3" by BLOOD, SWEAT & TEARS (June 2014 Music On CD Reissue and Remaster) - A Review by Mark Barry...

"...Emergence and Submergence..."

I've had a few Music On CD reissues before (Joan Armatrading's "To The Limit" and John Renbourn's "Faro Annie" to be precise) and they come as is - a gatefold slip of paper for an inlay and in this case - an SACD-type jewel case. And while you really do miss a booklet and some decent background details on this 'huge' album (a second US No. 1 for BST) – you do at least get the ‘original album artwork’ inner gatefold that came with 1970 Vinyl originals (not that you can actually read any of the miniaturised wording).

What you don't notice is the Audio. I mention this because I'd swear this is the SACD Remaster done by Mobile Fidelity Sound Lab in 2003 – even if it doesn’t mention Remasters or indeed mastering anywhere on the packaging. I could be wrong of course - but I guess what I’m saying is that without costing a small part of your already heavily taxed anatomy - this unassuming and relatively cheap little CD reissue 'sounds damn good' and is only docked a star because of the lazy inlay. Here is the Audio Hi-De-Ho (Lucretia)...

UK released 16 June 2014 - "Blood, Sweat & Tears 3" by BLOOD, SWEAT & TEARS on Music On CD MOCCD 13139 (Barcode 8718627221389) is a straightforward Remaster of their third LP originally from 1970 and plays out as follows (42:45 minutes):

1. Hi-De-Ho [Side 1]

2. The Battle

3. Lucretia Mac Evil

4. Lucretia's Reprise

5. Fire And Rain

6. Lonesome Suzie

7. Sympathy For The Devil / Sympathy For The Devil

(i) Emergence - A. Fanfare

(ii) Devil's Game - A. Labyrinth

B. Satan's Dance C. The Demand

(iii) Submergence - A. Contemplation B. Return

8. He's A Runner

9. Somethin' Comin' On

10. 40,000 Headmen

Tracks 1 to 10 are their third studio album "Blood, Sweat & Tears 3" - released July 1970 in the USA on Columbia Records KC 30090 and August 1970 in the UK on CBS Records S 64024. Produced by LOU WAXMAN - the album peaked at No. 1 on the US LP charts and No. 14 in the UK.

BLOOD, SWEAT & TEARS were:

DAVID CLAYTON-THOMAS - Lead Vocals

STEVE KATZ - Guitars and Harmonica

FRED LIPSIUS - Alto Saxophone, Piano, Electric Piano, Musical Box [Music Box] and Vocals

DICK HALLIGAN - Organ, Piano, Electric Piano, Harpsichord, Celesta, Trombone, Flute, Alto Flute, Baritone Horn and  Vocals

JERRY HYMAN - Trombone, Bass Trombone and Recorder

CHUCK WINFIELD - Trumpet and Flugelhorn

LEW SOLOFF - Trumpet, Flugelhorn and Piccolo Trumpet

JIM FIELDER - Bass

BOBBY COLOMBY - Drums, Percussion and Vocals

Their fabulous April 1968 US debut LP "Child Is Father To The Man" (when Al Kooper was with the band) had been a slow burner – peaking at No. 47 in the States but doing seven better at No. 40 in the UK when released there in July 1968 (on CBS Records). No such dithering with the New York band's second platter - the self-titled "Blood, Sweat & Tears" released in January 1969 that went all the way to No. 1 on the Billboard Rock Albums chart and a healthy No. 15 in the UK (released in Blighty in April 1969). The Jazz-Rock/Blues-Rock band simply compounded that roaring second success with another in 1970 – the third album launched in July with the superbly catchy "Hi-De-Ho" 45 on Columbia Records 45204 (CBS Records 5137 in the UK in August 1970). "Hi-De-Ho" broke the Top Twenty in America peaking at No. 14, and in both countries came with "The Battle" from Side 1 of the LP as its B-side. October 1970 saw the album’s other obvious hooky little winner "Lucretia Mac Evil" get a 7" single release with (not surprisingly) "Lucretia's Reprise" on the flipside. And although Columbia Records 45235 only made No. 29 in the USA – it kept the album in the public's ears and hearts, eventually lasting a whopping 41 weeks on the US Billboard charts.

Three had its fair share of choice cover versions - Laura Nyro's "He's A Runner" sits alongside James Taylor's "Fire And Rain while Richard Manuel's "Lonesome Suzie" from The Band's 1968 debut LP "Music From Big Pink" rubs up against Traffic's Steve Winwood-penned "40,000 Headmen". And of course The Rolling Stones' "Sympathy For The Devil" (one of the Sympathy songs on Side 2 - the other with the same name being by BST's Dick Halligan) dominates much of Side 2. The other nods to quality songwriters comes in the shape of two obscure B-sides - the first is the renamed "Hi-De-Ho" - a Jerry Goffin and Carole King composition given to Dusty Springfield in 1969 - the flip to her cover of Tony Joe White's "Willie And Laura Mae Jones" - called (just to be confusing) "That Old Sweet Roll (Hi-De-Ho)". Blood, Sweat & Tears just kept it simple and renamed it "Hi-De-Ho". The second nod was the B-side to Joe Cocker's 1968 single "With A Little Help From My Friends" on Regal Zonophone Records - a tune called "Somethin' Comin' On" penned by Chris Stainton and Joe Cocker. The rest of the album is original material provided by Steve Katz, David Clayton-Thomas, Fred Lipsius and Dick Halligan.

Right from the get-go you’re blasted with the huge audio and even if it is 1970, the music sounds so hip and happening even in 2019 – almost fifty years after the event. Like so many other bands, BST discovered something Soulful in the music of James Taylor and indeed in Carole King – songs like "Hi-De-Ho" and "Fire And Rain". That’s not to say that guttural vocalist David Clayton-Thomas and his "Lucretia Mac Evil" contribution isn’t in fact one of the best songs on here. The near eight minutes of the double-named "Sympathy For The Devil" Suite over on Side 2 can (it has to be said) test your patience in the stop-start world of 2019, but all that brass and fantastic arrangements by Halligan is still thrilling. And that trio of choice-covers only serve to bring home an already great LP.

Blood, Sweat & Tears would start a slow musical decline after this – Clayton-Thomas issuing some very cool solo LPs in 1972 and 1973 which Repertoire (of Germany) have reissued on Remastered CDs. But there is something wildly special about their initial trio of albums – a band on fire – lightning-in-a-bottle moments from the tail end of one special decade segueing into one even more amazing. Dig in get dancing...

"Faro Annie" by JOHN RENBOURN (March 2018 Music On CD Reissue with 2002 Remaster) - A Review by Mark Barry...

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"...Year Of The Riverboat..."

Although it doesn't say it anywhere on this latest March 2018 UK/Euro released edition of John Renbourn's much loved 1972 LP "Faro Annie" - what you have here is a reissue of a Castle Music CD Remaster done in 2002 - released July 2002 on Castle Music CMRCD534 - Barcode 5050159153428 to be exact (and to confuse matters further - itself reissued in 2016). 

Music On CD Reissues tend to be basic affairs and this unfortunately is no different - a bare bones gatefold slip of paper as an inlay which just about tells you who did what. They tend to piggyback on other people's reissue work and although the Remaster Engineer is not named - I had the original Castle Music CD reissue for years and its audio was/is gorgeous - same here (licensed from Sanctuary/BMG). Let's get to the White House Blues...

UK/EURO released 2 March 2018 - "Faro Annie" by JOHN RENBOURN on Music On CD MOCCD13553 (Barcode 8718627226605) is a straightforward 11-Track CD Remaster (2002 version) of his 1972 LP that plays out as follows (42:13 minutes):

1. White House Blues [Side 1]

2. Buffalo Skinners

3. Kokomo Blues

4. Little Sadie

5. Shake Shake Mamma

6. Willy O'Winsbury [Side 2]

7. The Cuckoo

8. Come On In My Kitchen

9. Country Blues

10. Faro Annie

11. Back On The Road Again

Tracks 1 to 11 are his 7th solo studio album "Faro Annie" - released February 1972 in the UK on Transatlantic Records TRA 247 and August 1972 in the USA on Reprise MS 2082. Produced by BILL LEADER - all tracks are Folk and Blues Traditionals arranged by Renbourn except  "Faro Annie" which is written by Danny Thompson, John Renbourn, Sue Draheim and Terry Cox with three cover versions by named artists being - "Come On In My Kitchen" by Robert Johnson, "Country Blues" by Dock Boggs and "Back On The Road Again" by Ian Campbell.

MUSICIANS:

JOHN RENBOURN - Lead Vocals (except where noted below), Lead Guitars, Sitar and Harmonica

DORRIS HENDERSON - Vocals on "White House Blues", "Kokomo Blues" and "Back On The Road Again"

SUE DRAHEIM - Fiddle on "Willy O'Winsbury", "Little Sadie" and "Country Blues"

PETE DYER - Harmonica on "Come On In My Kitchen" and "Kokomo Blues"

DANNY THOMPSON - Bass on "Faro Annie" and "Shake Shake Mamma"

TERRY COX - Drums on "Faro Annie" and "Shake Shake Mamma"

The gatefold inlay does at least reproduce Renbourn's short, slightly nutty (and at times very funny) liner notes that appeared on the rear of the original 1972 LP as well as the photos of his five guest musicians - including most notably the American lady singer Dorris Henderson who featured as a duet partner on Renbourn's ultra rare British debut LP "There You Go!" from 1965 on Columbia Records SX 6001 (she lived in the UK and once was Lead Vocalist for Elektra's group Eclection). His old muckers Danny Thompson and Terry Cox from Pentangle are here as is Pete Dyer who would later join Stray in 1975 over on Dawn Records and Sue Draheim who would join the ranks of The Albion Band on Pegasus and Island Records (UK Folkies Ashley Hutchings of Fairport Convention and Steeleye Span and Shirley Collins of the Collins Sisters). To the music at hand...

"Faro Annie" opens with a gorgeous and simple Folk duet on "White House Blues" – Dorris Henderson and her paired-back vocals softly accompanying Renbourn's Lead without ever grandstanding or stealing from it. The Acoustic Audio is gorgeous on this Side 1 starter as is on the next song - his first use of the Sitar on the Traditional "Buffalo Skinners" - a tune of seven able-bodied men hitting the Westward Road into New Mexico - a place where their pleasures will end and their hardship begin. Harmonica playing Pete Dyer (later with Stray) joins Dorris with John on the jaunty "Kokomo Blues" - a baby-don't-you-hear-me-cry sexy shuffle that sees JR give it some wah-wah electric guitar too.

"Little Sadie" is actually a dark murder ballad with county jails, judges and juries and love in the first degree - Sue Draheim's fiddle adding a fabulous Americana feel to Renbourn's acoustic playing. Cleverly arranged - "Shake Shake Mamma" sees Danny Thompson's trademark Double Bass sound and Terry Cox's Drums come sliding in to end Side 1. Turns out she’s a North Kentucky big fat woman - hips just like a snake and our hero's gotta buy that gal a diamond ring (don’t do it Johnny – resist you pillock). And don't you just love that electric wah-wah guitar addition Renbourn features throughout.

The King-as-prisoner-in-Spain - "Willy O'Winsbury" is an exile and birthing-song rolled into one that's been done in several forms (The Bothy Band and more) - Sue Draheim's fiddle-playing adding an extra layer of sadness to the tale of woe as his daughter Janet marries to help Daddy's politics. The second use of Sitar follows with the slightly sinister "The Cuckoo" - an emotionally cautious tale of gambling and love. I never could resist Acoustic Blues and when it's combined with a warbling Little Walter type harmonica - I'm a goner - so his cover of Robert Johnson's "Come On In My Kitchen" is a fabulous sounding Blues chugger with Dyer playing a blinder. Legendary Appalachian Banjo picker Dock Boggs provides the next cover - a fiddle and acoustic duet on "Country Blues" - a funeral song full of graveyard grounds and such like finality worries. The self-penned "Faro Annie" provides the albums only Pentangle moment - a sort of Jazzy Folk-Rock instrumental jaunt with Renbourn taking Harmonica duty this time while Sue plays second Fiddle to Cox and Thompson on Drums and Bass. The album ends on an upbeat note - Dorris Henderson once again joining Renbourn on an Ian Campbell song about a musician's life in "Back On The Road Again".

For sure Renbourn's voice has never been the strongest in the world and you'd be hard pressed to find the kind of guitar-playing histrionics that his pal Bert Jansch would produce on his solo LPs with ease. But "Faro Annie" is a lovely album - the kind of record you listen to all the way through – quietly soaking up all those Americana via Blighty tunes.

And it sounds great on this Music On CD Reissue too. Job done...