"Death May Be Your Santa Claus" by SECOND HAND (June 2017 Esoteric Recordings 'Expanded Edition' CD Reissue - Ben Wiseman Remaster) - A Review by Mark Barry...

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"...Cyclops..."

Anyone who has slaved and slavered in the 'rare records' game (like me) will have come across Second Hand's two albums of Experimental Rock from the late Sixties and early Seventies - "Reality" on Polydor in 1968 and this - the cheerily titled and mad as a dingbat on acid "Death May Be Your Santa Claus" (Mushroom Records UK from the spring of 1971.)

Commercially both records tanked at the time but collectors have loved their Avant Garde grooves ever since - so the first LP is booked in 2018 at a mere £300 or you can have the second for a paltry £250 (but of course you may have to sell that Pokémon collection if your seeking good-copies on well-known auction sites). In fact three members of the disbanded band under the songwriting aliases Nek, Max Fish and (wait for it) Herr Von Tskutting (Ken Elliott, Kieran O’Connor and George Hart) - went on to make "Chillum" by Chillum which was released December 1971 on Mushroom Records 100 MR 11 in a sleeve that resembled a private pressing. That album too has been subject to CD reissue and British originals with its hand-stencilled sleeve and photo insert will set you back a trifling £150 – or more.

Some history first - the nucleus of SECOND HAND (or The Moving Finger as they were credited on early copies of "Reality") was Ken Elliott and Kieran O'Connor - multi-instrumentalists who would later morph into SEVENTH WAVE (on Gull Records). The first album on Polydor got no promotion and the second just as little - so both have been notorious rarities on the UK Prog collecting scene for decades. See For Miles had a bash at a CD reissue in 1997, UFO in 1991, Sunbeam in 2010 and now in late June 2017 we're getting the latest and greatest from a rising star in the reissue firmament - 'Esoteric Recordings' - part of England’s Cherry Red Records. Resplendent with a Ben Wiseman remaster, hallucinogenic liner notes from Malcolm Dome and three relevant Bonus Tracks - this weird and wonderful sucker has never sounded nor looked so good - or frankly ahead of its time. Here are the first hand funereal revelations...

UK released Friday, 30 June 2017 (7 July 2018 in the USA) - "Death May Be Your Santa Claus" by SECOND HAND on Esoteric Recordings ECLEC 2594 (Barcode 5013929469440) is an 'Expanded Edition' CD Reissue with Three Bonus Tracks and pans out as follows (44:19 minutes): 

1. Death May Be Your Santa Claus [Side 1]

2. Hangin' On An Eyelid

3. Lucifer And The Egg

4. Somethin' You Got

5. Cyclops [Side 2]

6. Sic Transit Gloria Mundi

7. Revelations Ch. 16, Vs. 9-21

8. Take To The Skies

9. D.M.B.Y.S.C. (Reprise)

Tracks 1 to 9 are their second studio album "Death May Be Your Santa Claus" - released April 1971 in the UK on Mushroom Records 200 MR 6 (no US release).

SECOND HAND was:

ROB ELLIOTT - Lead Vocals

KEN ELLIOTT - Vocals, Organ, Mellotron and Piano

KIERAN O'CONNOR Vocals, Vibraphone, Percussion, Noises and Drums

GEORGE HART - Vocals, Bass and Violin

Guest:

MOGGY MEAD - Guitar on "Cyclops"

BONUS TRACKS:

10. Funeral

11. Dip It Out Of The Bog Fred

12. Baby RU Anudder Monster

PAUL GREEDUS - Vocals on "Funeral"

TONY McGILL - Guitar on "Funeral" 

Co-ordinated by Mark and Vicky Powell – this reissue features a 16-page booklet with new MALCOLM DOME liner notes including revealing interviews with original band member Ken Elliott (a mere 22 when he made the album with a 20-year old Kieran O’Connor) and Vic Keary who produced their debut album in 1968 and formed the British Independent label Mushroom Records which would house their second and third platters in 1971. The rare "Funeral" British 45 on Mushroom 50 MR 19 is pictured (released June 1972, the album track "Hangin' On An Eyelid" was its B-side) as are period band photos, tour dates, trade paper adverts and each set of double-pages features the smoke trails of the “Reality” album sleeve as a backdrop (nice touch).

But the big news is a BEN WISEMAN Remaster from original tapes. Ben has handled wads of reissues - The Flock, Audience, Help Yourself, The Sensational Alex Harvey Band, Patto, Unicorn, Spooky Tooth, Man, Juicy Lucy, Second Hand, Dada, Eyes Of Blue and many more. Another bang up job here.

It opens with a decidedly ELP vs. Greenslade moment in "Death May Be Your Santa Claus" complete with a rather overbearing vocal and mad keyboard tinkling from Elliott. The album's true experimental nature shows through with "Hangin' On An Eyelid" where it seems that hundreds of keyboards ideas are colliding with each other - the playing and sound stages amazing. The near eight minutes of "Lucifer And The Egg" is a Prog monster with treated screeching vocals and manic drumming - modern art meets keyboard radio workshop madness. Heavy Psych Fuzz Guitar lovers will head straight for "Somethin' You Got" while aficionados of doom-keyboards will dig the seven minutes of "Cyclops" - all in-and-out menace as it builds on layers and layers of Moog sounds. The 45-seconds of "Sic Transit Gloria Mundi" is lunatic noises and throwaway madness. It leads into the difficult guitars and Magical Mystery Tour keys of "Revelations..." where someone's been reading too many underground leaflets about the end of the world and the Russians. "Take To The Skies" and the Reprise of the title track may test your patience but again others will secretly thrill to their BBC workshop sounds.

Mushroom Records also put out a rare album by Greek singer Andreas Thomopoulos called "Born Out Of The Tears Of The Sun" which apparently featured Ken Elliott, George Hart and Kieran O'Connor of Second Hand. Ken Elliott and Kieran O’Connor then formed the Synth band Seventh Wave and did two albums on Gull Records in 1974 - "Things To Come" and "Psi-Fi". Ken Elliott does soundtracks now while Kieran O'Connor sadly passed in 1991 due to alcohol related illnesses.

No matter how accomplished the paying may be – this is a difficult and at times trying listen and very much of the period (experiment and be damned) – so for sure SECOND HAND will not be for everyone. But those who love their Prog a bit mad and keyboard noises a tad workshop will find much to enjoy in this smorgasbord of soundscapes. Take me to the skies indeed...

"Rock On" by HUMBLE PIE (2007, 2009, 2010, 2016 JAPAN-Only 'SHM-CD" Reissues - 2007, 2009 and 2016 in Mini LP Repro Artwork) - A Review by Mark Barry...

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Blues Rock, Prog Rock, Rock-Fusion, Psychedelic and Underground

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"…Jam Tart Lips…"

Humble Pie's ‘rawk’ sound properly emerged with their self-titled July 1970 debut album for Herb Albert’s A&M Records - “Humble Pie”. Step two came with the appropriately titled “Rock On” in March of the following year only to be hammered home with the force of a mallet in November 1971 when they joined the pantheon of huge Rock bands with their storming “Performance – Rockin’ The Fillmore” double live album – the record that broke them everywhere.

Although both the studio albums “Humble Pie” and “Rock On” laid the foundations for their rightly praised live performances – they’re unfairly forgotten now in the mists of receding time. And for such a huge band – their CD reissues from this Classic Rock period seem to be all based overseas – namely Japan.

"Rock On" was originally UK released on A&M Records AMLS 2013 in March 1971 (May 1971 in the USA on A&M Records SP 4301) – their fourth studio album and the British band's first charting in the USA eventually peaking at a decidedly humble No.118. "Rock On" had a straightforward 10-track CD reissue in the USA on A&M/Rebound 314 520 240-2 (Barcode 731452024022) in the Nineties – yet I'd argue that the stunning 24-bit Digital Remaster carried out in Japan in 2007 (and used ever since) is a whole different sonic ballgame.

But in 2018 - I calculate there are now no less four Japanese release dates for SHM-CD reissues – and I’d like to sort out what’s what. "Rock On" by HUMBLE PIE first appeared 14 February 2007 in Japan on Universal/A&M UICY-93220 (Barcode 4988005459749) in a 5" Mini Album Sleeve Repro – part of their 'Paper Sleeve Collection' Series. Like its 1970 "Humble Pie" predecessor (the first in that series) - "Rock On" aped the original UK gatefold sleeve artwork in all its cops-on-motorbikes gatefold glory. It too came with a Japanese worded booklet (dated 25 Dec 2006) and an outer OBI strip (the matt gatefold). Perhaps most importantly though - it had a new 2007 24-bit Remaster. But - as is the habit in Japan with these 'supposed' limited editions – they seem to get reissued every two or three years and that’s what’s happened here.

22 April 2009 saw the second Japanese SHM-CD version on Universal/A&M UICY-94067 (Barcode 4988005555168 that also used the 2007 remaster (another paper-sleeve series).

Third came 22 December 2010 using the 2007 Remaster – a SHM-CD in a jewel case on Universal/A&M UICY-22094 (Barcode 4988005638960). There were only four titles in this series -“Humble Pie”, “Rock On”, “Performance” and “Smokin’”.

And now this fourth outing – "Rock On" by HUMBLE PIE reissued 23 November 2016 on Universal/A&M Records UICY-77978 (Barcode 4988031188118) – the latest version again using that HIDEAKI NISHIMURA Remaster from 2007). If you cut and paste any of the above barcodes into Amazon’s search bar – you will get the issue you want (check them because prices can fluctuate wildly – and not in a good way).

A SHM-CD doesn't require a special CD player to play it on (compatible on all) nor does it need audiophile kit to hear the benefits. It's a new form of the format that picks up the nuances of the transfer better (top quality make). I own about 25 of them and they're uniformly superb. Let's get to the music (38:48 minutes):

1. Shine On [Side 1]

2. Sour Grain

3. 79th And Sunset

4. Stone Cold Fever

5. Rolling Stone

6. A Song For Jenny [Side 2]

7. The Light

8. Big George

9. Strange Days

10. Red Neck Jump

HUMBLE PIE was:

STEVE MARRIOTT – Guitars, Harmonica and Lead Vocals

PETER FRAMPTON – Guitars, Keyboards and Lead Vocals

GREG RIDLEY – Bass, Guitar and Lead Vocals ("Big George" only)

JERRY SHIRLEY – Drums and Keyboards

Guests:

BOBBY KEYS – Saxophone on "Big George"

BJ COLE – Pedal Steel Guitar on "79th And Sunset" and "A Song For Jenny"

CLAUDIA LENNEAR, DORIS TROY, P.P. ARNOLD and ALEXIS KORNER – Backing Vocals on “Sour Grain” and "A Song For Jenny" (Alexis Korner on "Big George")

Like those other great British bands Free and Led Zeppelin – Humble Pie produced the most brilliant Classic Rock albums in 1970 and 1971 with what seemed like effortless ease. Both their own "Stone Cold Fever" and the Muddy Waters cover of "Rolling Stone" (from "Rock On") would feature prominently on the November 1971 double-live monster “Performance – Rockin' The Fillmore” – the LP that broke them worldwide.

"Rock On" opens with a fantastic Peter Frampton written moment – "Shine On" – with PF on Lead Vocals. Sporting a wicked riff worthy of The Who's "Who's Next" (which would arrive in August 1971) - its organ and guitar pairing is bolstered by a trio of great female vocalists. The Tina Turner luscious Claudia Lennear famously had "Brown Sugar" written about her on The Rolling Stones "Sticky Fingers" album - Soul Heroine Doris Troy was now over on the prestigious Beatles Apple label and P.P. Arnold of "First Cut Is The Deepest" fame on Immediate Records would have to wait decades for her comeback. Frampton would make a huge feature of the "Shine On" song on his "Frampton Comes Alive" specially priced juggernaut double-album in 1976. Next up is Marriott growling to spectacular effect on the boozy "Sour Grain" – a straight up rocker. "79th And Sunset" is a lewd barroom stroller – Marriott casually discussing red-eyed Ruby in downtown LA with her "...nut-crushing boobs and jam-tart lips..." where he informs us there’s such a lot of good ways to be bad (BJ Cole gets a Pedal Steel Guitar solo towards its end). Swagger boys, swagger.

Side 1 ends on a great double-whammy - the raucous "Stone Cold Fever" – a rocker with a Funky break half way through and you can so hear why it was used as Track 3 on Side 1 of "Performance..." – followed by the Rock Blues of "Rollin' Stone" – English boys paying fitting tribute to their Chess Records hero Muddy Waters. Marriott wrings the emotional neck out of "Rollin' Stone" – singing it with fantastic (echoed) gusto - warbling on the Harmonica in-between licks and that huge Bass line. I don't know if its Frampton or Marriott who provides the final Jimmy Page-esque solo on “Rollin’ Stone” just before they go into that fantastic (and uncredited) rocking break – slipping in the "she's so fine" lyrics and riff to The Righteous Brothers "My Babe" (a forgotten London 45 for the clean-cut American duo issued in November 1963 - written by Bill Medley and Bobby Hatfield). Humble Pie takes a snippet of it and nasty-rocks-that-sucker-up - and man does it work! Foghat (more Brit rockers done-good in the USA) would return to "My Babe" on their equally cool "Fool For The City" album in October 1975 on Bearsville Records. Hell - their version might as well have been Humble Pie. Whichever version you dig - "Rollin' Stone" is a highlight on this album.

Side 2 opens on an unexpected moment of Acoustic Guitar and Pedal Steel sweetness “A Song For Jenny" – the three ladies giving it some soulful backing vocals too. It's a love letter from on the road that works so well. Frampton gets Funky as he complains of someone stealing his axe in "The Light" – singing about waiting and worrying and living in fear (Marriott does a great counter vocal doing the chorus). Bassist Greg Ridley wrote and sings Lead Vocals on "Big George" - another Faces-sloppy song about dodgy geezers with size ten feet (Bobby Keys of Rolling Stones fame helps out on Saxophone thereby sealing the song's boozy credentials). And I'd swear that's the mighty Alexis Korner from C.C.S. giving it some backing vocals just as the song fades out.

"Strange Days" actually feels like The Doors who of course had an album by the same name – Marriott freaked out by FBI stools mixing with drug dealers – both flogging their wares and slavery. It has a Soulful-Rock feel despite those Bluesy drum whacks, echoed vocals, dirty-sounding guitars and Little Feet funky piano fills. I love it. The album ends of a giggling bop-shoo-waddy boozer of a tune – broken bottles and barroom pianos playing out "Red Neck Jump" – an invite to stomp and hang it all out.

November of 1971 would see the band take flight and destroy all comers with the mighty “Performance – Rockin’ The Fillmore” – the kind of live double you go absolutely nuts about (to this day just looking at its sleeve makes me weak at the knobbly knees). “Smokin’” from 1972 and the underrated double-album "Eat It" from 1973 still had many moments of HP magic - but after that it all seemed to plunge downhill fast in a blizzard of drugs, tantrums and health issues. Best we remember them in their glory moments...and "Rock On" is one of them.

At roughly a twenty-spot or a wee bit more (in the right places) - these 2016 Japanese SHM-CD reissues can be pricey I know. But if you’re a fan – seek them out – both sonically and visually - they’re so worth it…

PS: Titles in the 23 November 2016 Japanese SHM-CD Reissue Series:

1. "Humble Pie" (1970) – Universal/A&M UICY-77977 (Barcode 4988031188101)

2. "Rock On" (1971) – Universal/A&M UICY-77978 (Barcode 4988031188118)

3. "Performance – Rockin' The Fillmore" (1971, Live 2LP Set onto 1CD) – Universal/A&M UICY-77979 (Barcode 4988031188125)

4. "Smokin'" (1972) – Universal/A&M UICY-77980 (Barcode 4988031188132)

5. "Eat It" (1973) – Universal/A&M UICY-77981 (Barcode 4988031188149)

6. "Thunderbox" (1974) – Universal/A&M UICY-77982 (Barcode 4988031188095)

7. "Street Rats" (1975) – Universal/A&M UICY-77983 (Barcode 4988031188156) – 11 Tracks

8. "Street Rats – UK Version" (1975) – Universal/A&M UICY-77984 (Barcode 4988031188163) – 15 Tracks

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"Streetnoise" by JULIE DRISCOLL, BRIAN AUGER & THE TRINITY (November 2013 JAPAN-Only Vivid Sound/Ghostown SHM-CD In Mini LP Repro Artwork with 2004 Remaster) - A Review by Mark Barry...

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1960s and 1970s MUSIC ON CD - Volume 1 of 3 - Exceptional CD Remasters

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Blues Rock, Prog Rock, Rock-Fusion, Psychedelic and Underground

Just Click Below To Purchase for £3.95

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"...In Search Of The Sun..."

I've always had a 'thing' for double-albums - studio or live. There's more to listen too obviously but also there's always more to deal with. There’s loads to gawk at – minutiae to ponder as you pour over the indecipherable artwork, script writing, cool types on the inner sleeve looking like models and art-school dropouts and those pseudo-noodle-gazing statements across four labels about 'Tribal Love Rock' and 'Eye Of The World' and all that oneness Devadip word cabbage. I love it.

Bob Dylan's "Blonde On Blonde" (1966), Zappa & The Mothers "Freak Out" (1966), "The Beatles" (1968), The Who’s "Tommy" (1969), Fleetwood Mac’s "Blues Jam At Chess" (1969), Muddy Waters "Fathers And Sons" (1969), Beefheart's “Trout Mask Replica” (1969), "Jesus Christ Superstar" (1970), Eric Burdon & War’s "Black Man's Burdon" (1970), The Byrds "Untitled" (1970), The Allman Brothers Band "At Fillmore East" (1971), The Rolling Stones "Exile On Main St." (1972), Stephen Stills "Manassas" (1972), Deep Purple's "Made In Japan" (1972), Todd Rundgren's "Something/Anything?" (1972), The Who's "Quadrophenia" (1973), Genesis "The Lamb Lies Down On Broadway" (1974), Thin Lizzy's "Live And Dangerous"  (1978) – 2LP magic the whole damn lot. Which brings us to the fab-and-funky plug-my-moog-in-baby "Streetnoise" from May 1969 – a forgotten and underrated gem in that long pantheon of cool twofers.

Apparently there was discord in the fledgling British group come album number three. But despite having no tunes when they went into to record the beast - Julie Driscoll and Brian Auger simply whacked out eight of their favourite cover versions and then conjured up seven originals between them with "In Search Of The Sun" provided by The Trinity’s Bassist David Ambrose. Working well under pressure - something brill was born - a 16-track double-album that stills sounds ludicrously fresh to this day over 50 years after the event. And with the Soul/Dance orientated 'yuth' of 2018 digging those Hammond Organ grooves and neck-jerking funky instrumental workouts – "Streetnoise" is an album's that become more in demand than ever. But what version to buy...

Loving the original Marmalade Records gatefold cover (British release) - I wanted the best visuals and sound. So I've plumbed for this wonderful sounding 2013 Japan-Only SHM-CD reissue that affords you full repro artwork and the latest remaster on a better format CD. Here are the Indian Rope Men...

Japan-Released 23 November 2013 - "Streetnoise" by JULIE DRISCOLL, BRIAN AUGER & THE TRINITY on Vivid Sound Corporation/Ghostown VSCD4218 (Barcode 4540399260884) is a Japan-Only SHM-CD Reissue in Mini LP Repro Card Artwork and plays out as follows (74:09 minutes): 

1. Tropic Of Capricorn [Side 1 "How Good It Would Be To Feel Free"]

2. Czechoslovakia 

3. Medley: Take Me To The Water/I'm Going Back Home

4. A Word About Colour

5. Light My Fire [Side 2 "Kiss Me Quick, He Has To Part"]

6. Indian Rope Man

7. When I Was A Young Girl

8. Flesh Failures (Let The Sunshine In)

9. Ellis Island [Side 3 "Looking In The Eye Of The World"]

10. In Search Of The Sun

11. Finally Found You Out

12. Looking In The Eye Of The World

13. Vauxhall To Lambeth Bridge [Side 4 "Save The Country"]

14. All Blues

15. I've Got Life

16. Save The Country

Tracks 1 to 16 are the double-album "Streetnoise" – released May 1969 in the UK on Marmalade 608005/6 and June 1969 in the USA on Atco SD 2-701.

The two-sided colour foldout is a copy of the Castle Music/Sanctuary inlay put out in 2004 with LOIS WILSON liner notes (a noted writer for Mojo magazine). It has great photos of Jules and Brian, rare foreign 7" picture sleeves, trade adverts, Melody Maker covers etc. And although it doesn't give any mastering credits – I’m pretty sure this is the Sanctuary Records Remaster done at The Town House in the UK in 2004. The repro Mini LP Artwork is gorgeous - gatefold stippled card sleeve with that cool inner spread (the original British issue) – there’s an OBI and separate foldout white page with Japanese writing (blank on the other side – shame I can’t read it) and this release is part of the 'Brian Auger's Straight Ahead Collection' SHM-CD Reissue Series by Vivid Sound/Ghostown (see full 17-Title list below). Let’s get to the music...

As the high-hats open Side 1's "Tropic Of Capricorn" and those funked-up Brian Auger keyboards kick in (he sounds like Keith Emerson whose swallowed a Rotary Connection Cadet Records pill) – the Audio is superb – kicking with all the hedonistic punch you would want. Chris Thacker gets his drummer's moment too as the Hammond Organ grooves and flies. "Tropic Of Capricorn" is the first of four Auger originals on the 2LP set – the other three are "Ellis Island", "Finally Found You Out" and "Looking In The Eye Of The World".

Driscoll now kicks in with her first original – her voice striking and unique. The subtitle to Side 1 "How Good It Would Be To Feel Free" turns up in the lyrics to the diverse and at times chillingly beautiful "Czechoslovakia". Fighters in close formation – ready for the invasion – she sings as the Funk slows to an Acoustic Guitar amble – but then descends into an unwise clatter of percussion trying to ape that country’s horrible political turmoil. And although "Czechoslovakia" returns to the Acoustic and Voice for its final coda that aggressive and hard-to-listen-to portion beforehand ruins the song for me. But all is redeemed by a seriously soulful moment - "Take Me To The Water". On the original album it’s simply credited as one song but it’s actually a two-track medley – Nina Simone’s "Take Me To The Water" followed by Rudy Stevenson’s Gospel stormer "I’m Going Back Home" – the later taking the bopping number to a preacher finish. Marmalade tried it as the album's lead off 45 in the UK in September 1969 on Marmalade 598018 with the far better "Indian Rope Man" on the B-side - a cover of a Richie Havens song from his "Richard P. Havens, 1969" double-album on Verve. Mods and R&B dancers have regularly wet themselves with excitement when that fantastic dancer hits the turntables. The acoustic and austere "A Word About Colour" ends Side 1 - smart lady Julie speaking about race and breaking down barriers.

Side 2 opens with a rather lame version of The Doors classic "Light My Fire" but that's quickly forgotten when you're hit with the seriously groovy "Indian Rope Man" - up there as the best B-side ever surely (The Beatles "Don't Let Me Down" is another). A Traditional "When I Was A Young Girl" gets the boozy drunkard treatment by Driscoll - all public alehouses and early graves - an ominous set of Hammond notes plonking away for seven minutes as she sings and eventually wails of aching heads and broken hearts (go send for the Preacher boys while we’ve time). Sounding utterly amazing (great Remasters) we get the first of tw covers from the "Hair" Musical - Galt McDermott's Love Tribe People giving it some "Let The Sunshine In". Knowing the Musical was huge - ATCO Records in the USA used it as their lead-off 45 on Atco 45-6685 in June 1969 with "Save The Country" as the flip-side but to no joy.

Side 3 opens with a tribute to one of Auger's musical heroes - the Trumpeter Don Ellis - and man does Brian deliver. The instrumental "Ellis Island" is four-minutes of driving Funky Organ Fury where BA just lets rip - racing up and down those keys - an amazing dancer and boogaloo tune. In fact I can't help thinking that "Ellis Island" must be one of 'the' great 7" single 'lost opportunities'. This sucker might have done a "Frankenstein" - taken the pop world by storm as an instrumental - capturing the Mod sound. I love this track and after "Indian Rope Man" - one I play most often. That's followed by the album's sleeper - "In Search Of The Sun" where Dave "Lobs" Ambrose who penned the truth (the Bass player) gets a rare vocal turn. Side 3 ends with two more from Auger - the groovy instrumental "Finally Found You Out" (get your Talcum Powder out lads) and the wistful piano vocals of "Looking In The Eye Of The World" - a lonesome nation-for-nation plea for peace.

Side 4 is probably the most introspective and Jazzy-Soulful. Opening with Julie's "Vauxhall To Lambeth Bridge" - London's coolest gives us six and half minutes of Acoustic sight-seeing - walking down by the Thames River as Big Ben winks his eye at the hot chick with the short hair (tonight the old clock is feeling lonely too). Now we go full-on Jazz with "All Blues" - an Oscar Brown, Jr. and Miles Davis homage - fabulously languid like the best parts of "Kind Of Blue" (some Blues are glad, some Blues are sad). Two covers end Side 4 - the second of the "Hair" tracks "I've Got Life" where the singer has no smokes, no job, no coins - but has life (and at least that's free). We finish on Laura Nyro's piano-upbeat "Save The Country" where Jules urges people and children to come on down to the river and wash themselves in the glory streams singing "we shall overcome".

Re-listening to "Streetnoise" has been a joyful experience - I've played it so many times before but on this reissue I feel like it's my new best pal - a face from the past welcomed back and hugged with real affection. And ain't that the best...

Covering the years 1967 to 1977 - titles in the 2013 and 2014 

'Brian Auger's Straight Ahead Collection' 

SHM-CD Reissue Series from Japan are:

STEAMPACKET

1. "The Definitive Recordings" - Vivid Sound Corporation/Ghostown VSCD4211/2 [2-Discs] (Barcode 4540399260785) - released 13 Nov 2013

BRIAN AUGER

2. "Language Of The Heart" - Vivid Sound Corporation/Ghostown VSCD4213 (Barcode 4540399260792) - released 13 Nov 2013

BRIAN AUGER & THE TRINITY

3. "The Mod Years" (1965-1969: Complete Singles, B-Sides And Rare Tracks) - Vivid Sound Corporation/Ghostown VSCD4214 (Barcode 4 540399 260808) - released 13 Nov 2013

BRIAN AUGER & THE TRINITY featuring SAVANNAH GRACE

4. "Mod Party" - Vivid Sound Corporation/Ghostown VSCD4215 (Barcode 4540399260853) - released 13 Nov 2013

BRIAN AUGER, JULIE DRISCOLL & THE TRINITY

5. "Open" (1967) - Vivid Sound Corporation/Ghostown VSCD4216 (Barcode 4540399260860) - released 4 Dec 2013

BRIAN AUGER & THE TRINITY

6. "Definitely What" (1968) - Vivid Sound Corporation/Ghostown VSCD4217 (Barcode 4540399260877) - released 4 Dec 2013

JULIE DRISCOLL, BRIAN AUGER & THE TRINITY

7. "Streetnoise" (1969) - Vivid Sound Corporation/Ghostown VSCD4218 (Barcode 4540399260884) - released 23 Nov 2013

BRIAN AUGER'S OBLIVION EXPRESS

8. "Befour" (1970) - Vivid Sound Corporation/Ghostown VSCD4219 (Barcode 454039926089) - released 4 Dec 2013

9. "Brain Auger's Oblivion Express" (1971) - Vivid Sound Corporation/Ghostown VSCD4220 (Barcode 4540399260914) - released 18 Dec 2013

10. "A Better Land" (1971) - Vivid Sound Corporation/Ghostown VSCD4221 (Barcode 4540399260921) - 18 Dec 2013

11. "Second Wind" (1972) - Vivid Sound Corporation/Ghostown VSCD4222 (Barcode 4540399260938) - released 18 Dec 2013

12. "Closer To It" (1973) - Vivid Sound Corporation/Ghostown VSCD4223 (Barcode 4540399260945) - released 18 Dec 2013

13. "Straight Ahead" (1974) - Vivid Sound Corporation/Ghostown VSCD4224 (Barcode 4540399260952) - released 29 Jan 2014

14. "Live Oblivion - Volume 1" (1974) - Vivid Sound Corporation/Ghostown VSCD4225 (Barcode 4540399260976) - released 29 Jan 2014

15. "Live Oblivion - Volume 2" (1976) - Vivid Sound Corporation/Ghostown VSCD4226 (Barcode 4540399260983) - released 29 Jan 2014

16. "Reinforcements" (1975) - Vivid Sound Corporation/Ghostown VSCD4227 (Barcode 4540399260990) - released 29 Jan 2014

17. "Happiness Heartaches" (1977) - Vivid Sound Corporation/Ghostown VSCD4228 (Barcode 4540399261003) - released 26 March 2014

"Sleeping For Years: The Studio Recordings 1970-1974" by ATOMIC ROOSTER (December 2017 Esoteric Recordings 4CD Box Set - Ben Wiseman Remasters) - A Review by Mark Barry...

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I'm fast thinking that Cherry Red's 'Esoteric Recording' could soon pip 'Ace Records' as being the best re-issue label England has (traitor you say). They've gotten frightfully good at this 'sort of thing' - they really have. And 2017's "Sleeping For Years..." is adding even more fuel to that retrospective fire.

ATOMIC ROOSTER came out of the ashes of The Crazy World Of Arthur Brown when VINCENT CRANE and ELP master-drummer CARL PALMER formed the band in early 1970. Palmer left of course for bigger more Proggy pastures becoming EMERSON, LAKE & PALMER on Island Records scoring number one albums galore whilst AR had to settle for two hit singles (the fondly remembered "Tomorrow Night" and "Devil's Answer") and low placed albums - the first of which lasted one whole week on the British LP charts. But that's not to say that those who dig their Rock with a bit of Head in the Sky Prog, Friday the 13th Doom and screeching men in unfeasibly tight-trousers don't remember Vincent Crane's rocking Atomic Rooster with huge affection. They do. Hell they even went AWB-Funky for the Chris Farlowe albums on Dawn Records – overlooked little nuggets in my books.

So what do you get - five hard-to-find British vinyl albums in full from 1970 to 1973 (the bank won't thank if you're looking for Mint originals), alternate takes for an American debut LP that never materialised and different versions put on German, French and US albums, two Demos as well as five non-album single-sides - and all of it newly remastered into one clamshell box for under an apple core. Made in England indeed. Let's get in hearing of...

UK released Friday, 1 December 2017 (8 December 2017 in the USA)- "Sleeping For Years: The Studio Recordings 1970-1974" by ATOMIC ROOSTER on Esoteric Recordings ECLEC 42612 (Barcode 5013929471207) is a 4CD clamshell-shaped Box Set containing five newly remastered studio albums, single sides and other rarities. It plays out as follows...

Disc 1 (66:44 minutes):

1. Friday The 13th

2. And So To Bed

3. Winter

4. Decline And Fall

5. Banstead

6. S.L.Y.

7. Broken Wings

8. Before Tomorrow

Tracks 1 to 8 are their debut album "Atomic Rooster" - released February 1970 in the UK on B&C Records CAS 1010 (no US release).

The original British album running order can be sequenced as follows:

Side 1: Tracks 1, 2, 7 and 8

Side 2: Tracks 5, 6, 3 and 4

Three tracks had guitars overdubbed for a planned US-album variant but it was never released (see Bonus tracks 9, 10 and 11)

9. Friday The 13th (US Album Version)

10. S.L.Y. (US Album Version)

11. Beyond Tomorrow (US Album Version)

12. VUG (1970 Demo with Carl Palmer)

13. Devil's Answer (1970 Demo Version)

14. Tomorrow Night (Single Version) - released September 1970 as a UK 7" single on B&C Records CB 131 with "Play The Game" as the B-side (see Disc 2). Charted February 1971 and rose to No. 11

Disc 2 (73:22 minutes):

1. Death Walks Behind You [Side 1]

2. VUG

3. Tomorrow Night (Album Version)

4. 7 Streets

5. Sleeping For Years [Side 2]

6. I Can't take No More

7. Nobody Else

8. Gerschatzer

Tracks 1 to 8 are their second studio album "Death Walks Behind You" - released September 1970 in the UK on B&C Records CAS 1026 and June 1971 in the USA on Elektra Records EKS-74094 in a different sleeve

9. Play The Game - non-album B-side of "Tomorrow Night" - see Track 14 on Disc 1

10. Devil's Answer (Single Version) - A-side of a May 1971 UK 7" single on B&C Records CB 157 ("The Rock" was its B-side)

11. Breakthrough

12. Break The Ice

13. Decision/Indecision

14. A Spoonful Of Bromide Helps The Pulse Rate Go Down

Tracks 11 to 14 are Side 1 of the album "In Hearing Of" - released August 1971 in the UK on Pegasus Records PEG 1 and November 1971 in the USA on Elektra Records EKS 74109 (see also Track 5 on Disc 2 - an extra on the American LP)

Disc 3 (65:47 minutes):

1. Black Snake

2. Head In The Sky

3. The Rock

4. The Price

Tracks 1 to 4 are Side 2 of the album "In Hearing Of" - released August 1971 in the UK on Pegasus Records PEG 1 and November 1971 in the USA on Elektra Records EKS 74109 (see also Track 5 below)

5. Devil's Answer (Pete French Vocal Version) - appeared as Track 5 on Side 1 of the US LP for "In Hearing Of" on Elektra EKS 74109

6. Take Your Time [Side 1]

7. Stand By Me

8. Little Bit Of Inner Air

9. Don't Know What Went Wrong

10. Never To Lose

11. Introduction /Breathless [Side 2]

12. Space Cowboy

13. People You Can't Trust

14. All In Satan's Name

15. Close Your Eyes

Tracks 6 to 15 are their fourth studio album "Made In England" - released October 1972 in the UK on Dawn Records DNLS 3038 and October 1972 in the USA on Elektra Records EKS 75039. Initial copies of the UK LP came in a stitched denim sleeve hiding an insert and the LP inside (no cover art. The 1972 US LP has cover art, which was eventually used in 1973 in the UK also to replace the limited edition denim sleeve.

Disc 4 (58:48 minutes):

1. All Across The Country [Side 1]

2. Save Me

3. Voodoo To You

4. Goodbye Planet Earth

5. Take One Toke [Side 2]

6. Can't Find A Reason

7. Ear In The Snow

8. Satan's Wheel

Tracks 1 to 8 are their fifth studio album "Nice 'n' Greasy" - released September 1973 in the UK on Dawn Records DNLS 3049 and December 1973 in the USA as "IV" on Elektra Records EKS 75074. The American LP replaced "Goodbye Planet Earth" with "Moods" as fourth and last track on Side 1 whilst "Satan's Wheel" was replaced with "What You Gonna Do?" as fourth and last track on Side 2

9. What You Gonna Do?

10. Moods

The American LP of "Nice 'n' Greasy" was called "IV" and replaced "Goodbye Planet Earth" with "Moods" as the fourth and last track on Side 1 – with "What You Gonna Do?" replacing "Satan's Wheel" as the fourth and last track on Side 2

11. Tell Your Story (Sing your Song)

12. O.D.

Tracks 11 and 12 are the non-album A&B-sides of a March 1974 UK 7" single on Decca FR 13503 credited to Vincent Crane's Atomic Rooster

I dig these clamshell box sets - they allow a label to spread out and Esoteric has done so here. The four card sleeves reflect the artwork of four albums - the exception being the denim cover of "Made In England" which is pictured in German and US forms on Pages 21 and 22. The whole 32-page booklet is a feast of colour photos of the band in its many incarnations whilst rare Euro, US and Japanese 7" single picture sleeves pepper the text. The band's long and tangled history is tackled in September 2017 liner notes from noted writer MALCOLM DOME - where he describes Vincent Crane (the band's backbone for all five albums and after that too) as a 'troubled genius' - sadly succumbing to his mental demons in February 1989 when he took his own life. Particularly good is the albums pictured and discussed towards the end where Dome calls on previous Crane interviews to explain almost every song. It's properly in-depth and you feel Dome's enthusiasm as he makes the case for this unfairly sidelined British band.

Compiled and co-ordinated by Mark and Vicky Powell - the big news is new 24-bit digital remasters from original tapes by an experienced Audio Engineer - BEN WISEMAN. Ben has handled wads of reissues - The Flock, Audience, Help Yourself, The Sensational Alex Harvey Band, Patto, Unicorn, Spooky Tooth and many more. I had the "Heavy Soul" 2CD Atomic Rooster set from 2002 and to my ears these masters are meatier - more bang for your buck. The sound is really great.

The "Atomic Rooster" debut felt like the three-piece band was a variant of Focus vs. ELP - way more Prog Fusion than Hard Rock. And with Carl Palmer's involvement and Crane's ever-looming organ and piano (no guitars) - songs like "Before Tomorrow" could easily have been outtakes from ELP's self-titled first outing on Island Records (also in 1970). In amongst the Vincent Crane, Carl Palmer and Nick Graham originals - I love the cover of John Mayall's "Broken Wings" (from his 1967 set "The Blues Alone" on Decca's Ace Of Clubs label) where ex Skin Alley frontman Nick Graham lets rip on throaty vocals while Crane gets all soulful come the solo. You get the pretty 'flute' version of "Winter" and I actually prefer the overdubbed guitars of ex Andromeda axeman John Cann on the 'US Version' of "S.L.Y." (his guitars replace Crane's piano parts). The demo of "Devil's Answer" is a fascinating slice - the grungy guitar on this rough cut rightly replaced with a more direct axe attack and that slide-intro sharpened up. The "Tomorrow Night" single version is fab too - what a Rock winner. And I’m a complete sucker for a cool B-side - the wickedly Funky instrumental "The Rock" delivering my crave.

The second platter is a massive jump forward - "Death Walks Behind You" - where a recognisable 'Atomic Rooster sound' emerges. As the seven minute title track opens you might be forgiven for thinking you've stumbled on a Hammer Horror haunted parlour scene where someone's gonna get a knife in the back (or some other unpleasant part of their anatomy) - but it soon settles down into a great Rock groove (new drummer Paul Hammond playing up a storm while John Cann makes his guitar presence known). The instrumental "VUG" is very Colosseum - a Prog jaunt dominated by Crane and Cann battling it out on Keyboards and Guitars. The full four-minute album cut of "Tomorrow Night" has amazing punch here - and 45-seconds more than the single edit is alright by me. The near seven-minutes of "Seven Streets" features Crane getting an almost church-like sound out of his Hammond while John Cann slashes away on an array of riffs. Love that faded guitar opening of the box set's namesake "Sleeping For Years" - how very Led Zeppelin - before it turns into a dirty gritty rocking monster. Some vocal madness precedes the clear-as-a-bell piano of "Nobody Else" - a surprisingly mellow and pretty offering for such a heavy album (Crane already finding his whole world is going away). Although a tad hissy in places - Drummer Paul Hammond gets his magnificent Bonzo moment on the lengthy but strangely beautiful "Gerschatzer" - a song you just know will have slaughtered 'live' as each member of the band gets to show what they can do during their solos (and it did).

Newly signed to Pegasus Records – the three piece of Crane, Cann and Hammond took on body number four - the ex Leafhound vocalist Pete French and quickly produced what many feel is their best moment – 1971's "In Hearing Of". It would be their last album to chart in the UK reaching No. 18 in August of that mercurial year. Sat nestling alongside The Who’s mighty “Who’s Next” and Vertigo Spiral Prog obscuros like Ben and Gravy Train in shop racks – the third Atomic Rooster album seemed to capture British Rock in all its grungy, snot-nosed swagger and came complete with 'an old dear' cover courtesy of Roger Dean - artwork man of the moment for those special years. Both "Breakthrough" and "Break The Ice" are excellent with the crushed-and-broken piano melody of "Decision/Indecision" sealing the album's greatness. Piano vs. Organ vs. Gee-tar Prog Rock comes roaring out of your speakers on the fantastic conclusion to Side 1 - the instrumental "A Spoonful Of Bromide Helps The Pulse Go Down" - an album highlight for me where everyone in the band plays a blinder.

Perhaps it seemed like a good idea in 1972 but the gimmick 'denim' sleeve for Rooster's fourth LP "Made In England" probably did for sales rather than encouraged them. Listed in the 2018 RC Price Guide at a cool £100 - I can honestly say I've seen a UK original maybe twice in my collecting/rarities manager life - which is a shame because I thought it was a worthy follow-up. Ex Colosseum lead vocalist Chris Farlowe joined Vincent along with Steve Bolton on Guitars and Ric Parnell on Drums. Two of Elton John’s fave backing singers Doris Troy and Liza Strike bolster up "Stand By Me" and "People You Can't Trust". I'm amazed Dawn didn't try the fabulous Soul-Rock of "Time Take My Life" as a lead-off 45 – not surprisingly they went instead for the hookier and just as Funky "Stand By Me" in May 1972 (Dawn DNS 1027 with "Never To Lose" on the B-side). Not to be confused with the Percy Sledge classic – Crane’s own "Stand By Me" was a Crane go by him at a Rotary Connection-type groove. Farlowe then goes Dr. John on the vocal to the R&B shuffler "Little Bit Of Inner Air" while he takes the false-preacher Michael on the introduction to the furious "Breathless". Said to be one of Crane's faves on the album (probably because his piano playing is on fire throughout) - "Breathless" also has Steve Bolton let fly with an amazing guitar solo worthy of Tommy Bolin. I also love the very American Rock Funk of "People You Can’t Trust" – another sleeper with the ladies giving it some Labelle in the background. Maybe because the LP seemed like a complete turnaround in sound - Fun to Funky and away from Prog – perhaps that saw "Made In England" fail. Their fourth is all but forgotten now when I'd argue that it shouldn't be.

Farlowe stayed for album number five "Nice ‘n’ Greasy" with Johnny Mandala replacing Steve Bolton on Guitar (Crane and Parnell made up the other two). Farlowe’s vocals now sounded like Bobby Harrison of Snafu as did the band’s sound – a sort of Blues, Funky, Rock-Soul combo. If "Made In England" is forgotten then so too is "Nice ‘n’ Greasy" – an album that feels like the cigarette butt in the friend egg on the cover. I like "Voodoo In You" and the impossibly funky "Take One Toke" – an encore number at gigs for years.

For sure Atomic Rooster are not going to be everyone’s idea of bliss on a Sunday morning – but this box set brings a Hell of lot of great Prog Rock and Funk-Rock-Soul into my home and I’m down with both. Well done to all involved...