"Strangers In The Room: A Journey Through The British Folk-Rock Scene 1967-73" by VARIOUS (March 2019 Grapefruit Records 3CD Clamshell Box Set) - A Review by Mark Barry...

This Review and 259 more like it are available 

In my e-Book "There's Something About 1970..."

Your All-Genres Guide To The Best CD Remasters 

(No Cut and Paste Crap - All Reviews from the Actual Discs) 

Featuring 7" Single and Album tracks from 1971 by 
Steeleye Span, Trees, Alan James Eastwood, The Woods Band, Unicorn, C.O.B. 
Dando Shaft, Daylight, Shirley Collins and The Albion Country Band, 
Jude and Gerry Rafferty 

"...Gathering Wild Roses..."

Grapefruit Records have been slowly winning the pickled hearts of collectors these last few years with a steady stream of these 3CD clamshell-type Box Sets - and I suspect they'll be avalanched with quite a few saucy Valentine Cards (even in late March) for this wee buxom beauty.

Sixty genre-bending Folk and Folk-Rock tracks from 1967 to 1973 across three CDs (four Previously Unreleased with many others not stated as being Alternate or Rare Versions) and a Billy Bunter sized 40-page booklet to scoff it all down with. It's off to the Tuck Shop my wassailing lads and lassies of England, Scotland, Wales, Ireland and any other shire we may drag our non-European musical ruin stones and shillelaghs through. Put your finger-in-the-ear people and hope for the best. Here goes...

UK released Friday, 29 March 2019 (5 April 2019 in the USA) - "Strangers In The Room: A Journey Through The British Folk-Rock Scene 1967-1973" by VARIOUS ARTISTS on Grapefruit CRSEGBOX054 (Barcode 5013929185401) is a 60-Track 3CD Clamshell Box Set of Remasters that plays out as follows:

Disc 1 "Raise Your Voice And Sing Sweetly" (79:15 minutes):

1. Stranger In The Room - MICHAEL CHAPMAN (from the March 1970 UK LP "Fully Qualified Survivor" on Harvest SHVL 764)

2. The Blacksmith - STEELEYE SPAN (from the March 1971 UK LP "Please To See The King" on B&C Records CAS 1029)

3. Dangerous Dave (Alternative Version) - SPIROGYRA (PREVIOUSLY UNRELEASED, Recorded February 1972) *

4. Murdoch - TREES (from the February 1971 UK LP "On The Shore" on CBS Records S 64168)

5. Sad Song For Winter - CHIMERA (Recorded November 1970 with a Wil Malone arrangement, not originally issued) +

6. Shoeshine Boy - THE HUMBLEBUMS (March 1970 UK 7" single on Big T Records BIG 130, A-side. Featured the comedian Billy Connolly and singer-songwriter Gerry Rafferty later with Stealer's Wheel and a solo career)

7. Martha - HARVEY ANDREWS (from the May 1972 UK LP "Writer Of Songs" on Cube Records HIFLY 10)

8. Hanging Tree - OO BANG JIGGLY JANG (November 1971 UK 7" single on President PT 356, A-side - featuring Peter Bramall and James Roper of The Motors)

9. She's Getting Married In August - ALAN JAMES EASTWOOD [of The Exception] (from the February 1971 UK LP "Seeds" on President PTLS 1037)

10. Amongst Anemones - JADE (from the July 1970 UK LP "Fly On Strangewings" on DJM Records DJLPS 407)

11. I Don't Know Why - KNOCKER JUNGLE (November 1970 UK 7" single on Ember EMBS 293, A-side. Were Tony Coup and Keith Jones of Mandragon)

12. The Sailor - ROBIN SCOTT (August 1969 UK 7" single on Head HDS 4003, A-side - members of Mighty Baby featuring as the backing band)

13. Here Comes The Rain - TRADER HORNE (February 1970 UK 7" single on Dawn DNS 1003, A-side. Featured Judy Dyble of Fairport Convention and Jackie McAuley of Them)

14. My Delicate Skin - DAVE CARTWRIGHT (May 1973 UK 7" single on Transatlantic BIG 510, A-side and the May 1973 UK LP "Back To The Garden")

15. Almost Liverpool 8 - MIKE HART (from the February 1970 UK LP "Mike Hart Bleeds" on Dandelion S 63756)

16. Candy Dora - RICHMOND (January 1973 UK 7" single on D'Art ART 2008, A-side - featuring Chas Seward and Steve Hall)

17. Don't Know Why You Bother Child - GARY FARR (from the December 1969 UK LP "Take Something With You" on Marmalade 608 013)

18. 1917 Revolution - BEAU (August 1969 UK 7" single on Dandelion 4403, A-side)

19. Jesus Was A Carpenter - THE JOHNSTONS (from the November 1969 UK LP "Bitter Green" on Transatlantic Records TRA 211 featuring Paul Brady and Paddy Maloney - Ewan MacColl song)

20. We Can Swing Together - ALAN HULL (December 1969 UK 7" single on Big T Records BIG 129, A-side - later lead singer and songwriter in Lindisfarne)

Disc 2 "Back To The Garden" (78:31 minutes):

1. Woodstock - MATTHEWS SOUTHERN COMFORT (original 8-Track mix but not finally issued version, recorded July 1970) +

2. The Man Who Called Himself Jesus - THE STRAWBS (not originally issued alternative mix, Recorded July 1968) +

3. As I Roved Out - THE WOODS BAND (from the December 1971 UK LP "The Woods Band" on Greenwich Records GSLP 1004 - featuring Gay and Terry Woods - Terry later with The Pogues, Gay with Auto Da Fe)

4. Sir Patrick Spens - FAIRPORT CONVENTION (not originally issued, recorded October 1969 during "Liege & Lief" sessions) +

5. Be Not So Fearful (Demo Version) - BILL FAY (not originally issued demo version, recorded early 1969) +

6. I Loved Her So Long - UNICORN (from the June 1971 UK LP "Uphill All The Way" on Transatlantic TRA 238)

7. Sarah In The Isle Of Wight - AL JONES (from the September 1969 UK LP "Alun Ashworth-Jones" on Parlophone PCS 7081 in Stereo)

8. Song For A Dead Mole - LEA NICHOLSON and STAN ELLISON (from the June 1972 UK LP "God Bless The Unemployed" on Transatlantic TRA 254)

9. There's A Place I Know - BRIDGET ST. JOHN (February 1972 UK 3-Track 7" single on Dandelion 2001, Track 1 of 2 on the B-side of "Fly Away")

10. People Smile With Ghosts In The Land Of Make-Believe - JEREMY HARMER (from the privately pressed 1968 UK LP "Idiosyncratics And Swallow's Wings" on JH Records JH 001 - features David Costa of Trees and Celia Humphris sister Sue) +

11. Pucka-Ri - URBAN CLEARWAY (not originally issued, recorded circa August 1972) +

12. Scranky Black Farmer - C.O.B. [Clive's Own Band - Clive Palmer of The Incredible String Band] (from the November 1971 UK LP "Spirit Of Love" on CBS Records 69010)

13. Lady Of St. Clare - DAYLIGHT (August 1971 UK 7" single on RCA Victor RCA 2106, A-side)

14. Love Has Gone - MARY-ANNE [Mary-Anne Patterson] (from the April 1970 UK LP "Me" on Joy Records JOYS 162)

15. Time Machine - MICK SOFTLEY (August 1970 UK 7" single on CBS Records S 5130, B-side of "Can You Hear Me Now" - features Mike Vickers of Manfred Mann on Keyboards)

16. Fleance - THIRD EAR BAND (from the March 1972 UK LP "Music From Macbeth" on Harvest Records SHSP 4019)

17. Morning Glow - STORYTELLER (from the May 1970 UK LP "Storyteller" on Transatlantic Records TRA 220)

18. Riverboat - DANDO SHAFT (from the May 1971 UK LP "Dando Shaft" on RCA/Neon NE 5)

19. What I Am - FRESH MAGGOTS (PREVIOUSLY UNRELEASED, recorded circa October 1970) *

20. Like A Rolling Stone - CANTICLE (November 1970 USA 7" single on Century Records 36685, A-side)

Disc 3 "Down Into The Moonlight World" (77:21 minutes):

1. Queen Of The Moonlight World - ANDY ROBERTS (from the March 1970 UK LP "Home Grown" on RCA Victor SF 8086 - ex Liverpool Scene, later with Everyone, also with Iain Matthews in Plainsong)

2. The Cuckoo - THE PENTANGLE (from the October 1969 UK LP "Basket Of Light" on Transatlantic TRA 205)

3. Little Woman (Single Version) - MR.FOX (November 1970 UK 7" single on Big T Records BIG 135, A-side - featuring Bob and Caroline Pegg - different mix from the LP, first appearance on CD since release) +

4. Father Forgive Them - RALPH McTELL (from the November 1970 UK LP "Ralph McTell Revisited" on Transatlantic TRA 227)

5. Just As The Tide Was A Flowing - SHIRLEY COLLINS and THE ALBION COUNTRY BAND (from the November 1971 UK LP "No Roses" on Pegasus PEG 7)

6. Oh Did I Love A Dream - THE INCREDIBLE STRING BAND (not originally issued, recorded circa mid-1972) +

7. Strange Days - PAPER BUBBLE (not originally issued, recorded October 1970) +

8. Dahlia - PAULK BRETT'S SAGE (March 1973 UK 7" single on Dawn Records DNS 1021, A-side – possibly withdrawn and never released) +

9. Your Lovely Ways (Part One) - MIKE COOPER (May 1970 UK 7" single on Dawn Records DNX 2501, A-side) +

10. River Of Fortune – HERON (not originally issued, recorded July 1970) +

11. Beverley Market Meeting – JUDE (not originally issued, recorded February 1971 – Judith Willie) +

12. All In A Dream - STEVE TILSTON (from the May 1972 UK LP "The Collection" on Transatlantic Records TRA 252)

13. Carry Me – PRELUDE (from the October 1973 UK LP "How Long Is Forever" on Dawn Records DNLS 3052 – Irene Hume on Lead Vocals)

14. City Girl - JOAN ARMATRADING (from the November 1972 UK LP "Whatever’s For Us" on Cube Records HIFLY 12)

15. Furniture – HORSLIPS (from the January 1973 Ireland and UK debut album "Happy To Meet, Sorry To Part" on Oats Records MOO 3)

16. Who Cares - GERRY RAFFERTY (PREVIOUSLY UNRELEASED, recorded mid 1971) *

17. Young Waters - JSD BAND (from the June 1973 UK LP "Travelling Days" on Cube Records HIFLY 14)

18. September - 9.30 FLY (from the June 1972 UK LP "9:30 Fly" on Ember NR 5062)

19. Waxing Of The Moon - LIFEBLUD (PREVIOUSLY UNRELEASED, recorded circa January 1970) *

20. Who Knows Where The Time Goes - SANDY DENNY (not originally issued, recorded July 1967) +

* PREVIOUSLY UNRELEASED

+ ALTERNATE or RARE VERSION

Put together by the uber-knowledgeable and Baby Driver with-it JOHN REED – his equally sexy co-compiler DAVID WELLS pours on the facts in the multitudinous 40-page booklet – each artist and song given a full appraisal usually sided by period photos, ticket stubs, flyers, trade adverts and those impossibly rare single and LPs pictured throughout. Take the Steve Tilston entry for his "All In A Dream" song on Disc 3. It advises that in late 1972 after the album's release in May, Steve did an interview with Zig Zag magazine ruminating on how fame and fortune might affect his songwriting. None other than John Lennon replied in writing (to his worries) and that was the basis for the rather insipid Al Pacino film vehicle "Danny Collins" – or that Prelude who had a huge hit with their truly gorgeous Acapella version of Neil Young's "After The Gold Rush" sang backing vocals on another huge Folk-ish hit - "Streets Of London" by Ralph McTell. I didn’t know either of those things and I dare say, neither did you. Each entry is full of great name-checks like that. Beautifully laid out and aimed at collectors and novices alike – when I think of the recent miserable 8-page inlay given to Fleetwood Mac and their supposed '50 Years – Don’t Stop' 3CD celebration, it really does show how independents light the way, when the majors seem content with what they can get away with.

Audio is by ALAN WILSON and with so many sources is a mixed bag of the astonishing vs. the muffled with most being way better than that. For sure the audio dips on each of the CDs when it comes to those fast and loose demos and alternate mixes, but the rest of it is impressively presented and in some cases (as I say) will blow your socks off for recordings that are mostly 50+ years old. To the garden of delights...

Across 60 tracks there are those fabulous discoveries - the debut Unicorn LP on Transatlantic Records where the chosen debut album song "I Loved Her So Long" is the link between Matthews Southern Comfort and Plainsong (much of their better material in the mid 70ts on Harvest Records had the same hooky gorgeous melodies) - the beautiful ethereal harmony vocals of Fairport Convention's Judy Dyble and Them's Jackie McAuley in their Trader Horne incarnation for "Here Comes The Rain" (see my separate review of that album reissued by Earth Records on CD). Some of it (as already mentioned) is unfortunately ropey Audio wise - the hissy Billy Fay demo and The Woods Band is disappointingly muddied but on the other hand Dave Cartwright's McGuinness Flint-sounding "My Delicate Skin", Michael Chapman's box-set title song "Stranger In A Room" (see my review for Light In The Attic's stunning reissue of his second album "Fully Qualified Survivor" and Storyteller's early Genesis-like "Morning Glow" all sound superlative - huge acoustic guitars, voices and clever string arrangements.

Only winners are the fabulous Folk-meets-Pastoral union in Dando Shaft's flute-and-acoustic shuffle "Riverboat" - the jolly acoustic jostle of my "Lady Of St. Clair" by the staggeringly collectable Daylight - and even if Jeremy Harmer's self-recorded "People Smile With Ghosts In The Land Of Make-Believe" gives us some 'ships in squalls that change to gurgling laughter' might be a hippy lyric too far - the 99-only copies LP contained David Costa from Trees with their singer Celia Humphris' sister Sue doing harmony vocals (just about as cultish and collectable as it can get). Paul Brady and Paddy Maloney newly attached to The Johnstons transform the Ewan MacColl song "Jesus Was A Carpenter" into a "Woodstock" beautiful moment while Mick Softley gets fully-fledged Audio quality on his impressive "Time Machine" where he sings 'who will they be in 5000 AD' - indeed – a star tripper maybe. Speaking of that famous Joni song, I love the 8-Track Tape Version of the Matthews Southern Comfort UK No. 1 - it's a version that unlike the single has the acoustic and pedal steel guitars much more to the fore. And although it doesn't say it anywhere in the box, I think it's the version that turned up on the "Three's A Charm" privately-pressed CD from Iain Matthews in 1999 for his fans – the mix that was remastered by Bradley Kopp in Boulder, Colorado and is featured in his forthcoming "Orphans And Outcasts" 4CD Box Set. Anyway – it's a keeper, much like this fabulously inventive little box set...

A companion piece to Grapefruit's much praised duo of threesomes - "Milk Of The Tree: An Anthology Of Female Vocal Folk & Singer-Songwriters 1966-73" from June 2017 (see review) and "Gathered From Coincidence: The British Folk-Pop Sound Of 1965-1966" from June 2018 (review to follow) – March 2019’s "Strangers In The Room: A Journey Through The British Folk-Rock Scene 1967-1973" is a deserved Amazon No 1 in the Folk-Rock genre section.

Cadburys Easter Eggs on every desk and big-time kudos to the compilers and everyone else involved...

"In A Wild Sanctuary/Gandharva/All Good Men" by BEAVER & KRAUSE (March 2019 Righteous Reissue - 3LPs onto 2CDs - Alan Wilson Remasters) - A Review by Mark Barry...

This Review and 100s of Others Available in my e-Book:

"...Spaced..."

Including the 1971 Album "Gandharva" on Warner Brothers Records

There aren't many bands or artists who 'don't' make the Record Collector Rare Records Price Guide when they issued albums as far back as 1970, 1971 and 1972 - but the eccentric and frankly noodlesome output of PAUL BEAVER and BERNARD KRAUSE are among that select few.

When I worked as a Rock and Rarities Vinyl Buyer at Reckless Records (a stretch of 20 years penal servitude) - Beaver & Krause albums were like Bach on a Moog or Sitar for your Grannies Bunions - curios that sold for a few quid, usually bought by hipster DJs looking for samples, quirky bits of noise they could use in between spins on the Technics 1200s. And in some respect, not a lot has changed for this dynamic duo of alternate soundscapes.

What you're getting here is three full albums the keyboard bending boys did for Warner Brothers in the early Seventies (they did their first in 1968 "The Nonesuch Guide To Electronic Music" and a second on Limelight Records in 1969 called "Ragnorök (Electronic Funk)") – the third having slowly moved away from Ambient Electronics to embrace proper songs (even if they are a bit weepy and let the side down somewhat). Short on playing time but impactful nonetheless, the first and third of these forgotten albums were only released in the USA ("In A Wild Sanctuary" in 1970 and "All Good Men" in 1972) - whilst the more commercially accessible "Gandharva" LP saw both America and Blighty outings and remains the one album most British Rock heads have ever seen by them.

Insider support was impressive too. The first two albums drew in some world class players prepared to bolster up experimental outings - Bud Shank on Flute and Saxophone, Dave Grusin on Keyboards, Gerry Mulligan on Saxophone with Milt Holland on all manner of Percussion. The Electronic Rock of the "Gandharva" album even has the guitar work of Mike Bloomfield and Ronnie Montrose on it with genuine Soulful bonuses being supplied by that trio of classy backing vocalists - Vanetta Fields, Clydie King and Patrice Holloway – Clydie lending "Walkin'" an almost ethereal Rotary Connection feel before the three launch into a full-on see-me-in-church Gospel romp on the very next song (and that's a Nirvana for me I can tell you). Ace Conductor Jimmie Haskell arranged the third platter where the duo did most of the playing – tackling Scott Joplin amongst other things - all forgotten now in a sea of existential bum fluff.

But (and as they say in a Donald Trump shower situation, here comes the big but) - there's much to be getting on with here - goodies due reappraisal - music that is actually moving and even beautiful at times - tunes that have passed many discerning ears by. Beaver & Krause even championed environmental and ecological issues in 1970 on their big label debut "In A Wild Sanctuary" with the full permission of Warner Bros executives - back in the days when hopeful men ran the music business and not disinterested suits. I mean how can you not love a band that has song titles like "Aurora Hominis" and "Walking Green Algae Blues". For sure the third platter lets the side down somewhat...

Anyways, some reissue crowd called 'Righteous' seem determined that we pay attention with this 2019 digital twofer and start yanking on those bare wires again. So as the plugged-in boys said in their original liner notes - let's get to our 'environmental expressions recorded with Moog synthesiser' (I will if you will baby)...

UK released Friday, 29 March 2019 (5 April 2019 in the USA) - "In A Wild Sanctuary/Gandharva/All Good Men" by BEAVER and KRAUSE on Righteous PSALM23:93D (Barcode 5013929989320) offers 3 albums from 1970, 1971 and 1972 (originally on Warner Brother Records) Remastered onto 2CDs and plays out as follows:

Disc 1 (46:30 minutes):

1. Another Part Of Time [Side 1]

2. And There Was Morning

3. Spaced

4. So Long As The Waters Flow

5. Aurora Hominis [Side 2]

6. Salute To The Vanishing Bald Eagle

7. People's Park

8. Walking Green Algae Blues

9. Sanctuary

Tracks 1 to 9 are their third studio album "In A Wild Sanctuary" - released June 1970 in the USA on Warner Brothers WS 1850 (no UK release).

10. Soft White [Side 1]

11. Saga Of The Blue Beaver

12. Nine Moons In Alaska

13. Walkin'

14. Walkin' By The River

Tracks 10 to 14 are Side 1 of their fourth studio album "Gandharva" - released May 1971 in the USA on Warner Brothers WS 1909 and in the UK on Warner Brothers K 46130.

Disc 2 (55:49 minutes):

1.  Gandharva [Side 2]

2. By Your Grace

3. Good Places

4. Short Film For David

5. Bright Shadows

Tracks 1 to 5 are Side 2 of their fourth studio album "Gandharva" - released May 1971 in the USA on Warner Brothers WS 1909 and in the UK on Warner Brothers K 46130.

6. A Real Slow Drag [Side 1]

7. Legend Days Are Over

8. Love Of Col. Evol

9. Sweet William

10. Bluebird Canyon Stomp

11. Looking Back Now

12. Prelude

13. Child Of The Morning Sun

14. Between The Sun And The Rain

15. All Good Men

16. Waltz Me Around Again Willie/Real Slow Drag

Tracks 6 to 16 are their fifth and final studio album "All Good Men" - released September 1972 in the USA on Warner Brothers BS 2624 (no UK release).

The liner notes by DAVE HENDERSON are witty and suitably eclectic (given the two involved) – but there is precious little by way of actual album credits (the guest musicians I’ve mentioned above) and he barely touches the actual music. For instance the third LP has songwriter Adrienne Anderson giving it some ‘love you’ soulful vocals on Side 1’s "Sweet William" and US Folky Cris Williamson getting all Jimmy Webb on "Looking Back Now" – ballads that are more Dionne Warwick than Karlheinz Stockhausen. There’s an Native Indian voice attributed to Elizabeth Watson in the LP credits on the repeated spoken lyrics in "Legend Days Are Over" – but again no background as to who or why – when it would have been cool to know after all these decades.

ALAN WILSON has done the mastering - the 8-page booklet peppered with snaps of those WB master tapes. "Gandharva" was done digitally in 1994 with Lee Herschberg on the Warner Archives Series while two ok Collector’s Choice CDs came out in 2006 for "In A Wild Sanctuary" and "All Good Men" and I suspect that all three of these have been used (licensed from WEA). The audio is good – at times great – but at other times just a tad low and wanting. Overall I’d say four out of five stars. To the sounds...

Patters of a Tabla Drum are quickly joined by cool synth notes and a hip organ melody on "Another Part Of Time" – the first LP’s opener. It’s a tune that acts like its Ramsey Lewis on Cadet Records in 1968 instead of 1970. The instrumental "And There Was Morning" has huge dawn-of-man notes and apes an ELP moment. The quiet "Spaced" has surprisingly little hiss as the synth notes trickle like water dripping on a sidewalk – while "So Long As The Water Flows" forgoes dribbles in space and gives us the full storm – crashes and bangs and static sounding like lashing rain – synth notes rising above- all majestic for five minutes. There is even an "Obscured By Clouds" Pink Floyd feel to "Salute To The Vanishing Bald Eagle" – the whole flowery album plea ending with one and half minutes of the peaceful "Sanctuary".

While the first LP is undoubtedly interesting, things pick up steam considerably with "Gandharva". The Bluesy Guitar picking of Mike Bloomfield follows a huge synth swish at the beginning of "Saga Of The Blue Beaver" – an instrumental that thereafter chugs along in a Funky fashion to a point where you feel you’ve stumbled on a Shuggie Otis LP over on Epic Records. That’s followed by a droning synth instrumental called "Nine Moons In Alaska" that sounds not unlike "Electro Lux Imbroglio" on Steve Miller’s "Book Of Dreams" album in 1977. But this is only a prelude to my fave – Clydie King scatting echoed vocals on the fabulous "Walkin'" – a trippy Soulful moment that acts as a lead in to the full-on Gospel of "Walkin' By The River". Perhaps even better is Gerry Mulligan playing on his own "By Your Grace" over on Side 2 followed strongly by another pretty floating Sax moment in "Good Places".

Minus the big names and with almost every instrument played by the duo only – unfortunately the third album is a very mixed bag (worst of the three) coming across at times like some bad Paul Williams schlock and not the wired experimentalism of the groovy first and second platters. Beaver unwisely sings with his twee voice of a child running in meadows and the sun shining and la-la-laing his way through saccharine flutes. The intro synth drone of "Between The Sun And The Rain" quickly gives way to bopping Salsa rhythms that is frankly way too close to some bad lounge band taking the Michael. The Scott Joplin covers just feel out of place too. There are other better moments on "All Good Men", but they’re not the Side 2 Flute and Sax instrumentals of "Gandharva'".

So musically it’s a bit of mishmash then, the first two offering genuinely surprising moments of grandeur and vibe whilst number three loses its way without those big name helps.

Still, a timely reminder and a cool little reissue into the Moogy bargain...

"The Works 1969-1971: Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS MAGIC THEATRE (April 2017 Cherry Red Records 3CD Mini Box Set) - A Review by Mark Barry...

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"...Amused The Magic Throng..."

You have to love John Peel. Named after a batty relative of the percussionist Lyn Edwards (Lyn is pictured furthest to the right on the back cover of the "Soundtrack" LP) - Principle Edwards Magic Theatre were the first act signed in early 1969 to the witty DJ's new record label - Dandelion Records. And you have to wonder was Peely (and all 14 of the ensemble for that matter) on mushrooms not necessarily destined for tins of Heinz Soup. Re-listening to this music in April 2017 and it's bleeding obvious that this group stood no chance of chart success. Or maybe that was the point…

Part theatre, part Prog, part Folk Rock – PEMT incorporated all that was counter-culture in those halcyon years - hippy-lore, eastern mysticism, tie-dye shirts and dollops of ancient literature. Their sound was a hybrid of The Incredible String Band and Curved Air – a sort of Prog variant of Folk-Rock with a woman out front singing ponderous lyrics about rhododendrons in your midst while rainbow bridges lead to giants and interlunar caves (don't you just hate that). Musically it's like Traffic, The Amazing Blondel and Quintessence engaged in a summer solstice threesome at the foot of Stonehenge and nine months later (on a full moon of course) – a lovechild is brought forth that none of them know what to do with (yikes).

For sure PEMT will not be for everyone (critics of the time called them naïve at best and pretentious at worst) - but those who do love their mishmash sound married to theatrical visuals will have to get their grubby mitts on this wicked new release from those champions of all things eclectic and awkward - Cherry Red Records. They've done this most British of bands a proper solid and of course for Pink Floyd fans - there's the tie-in of Nick Mason on album No. 2. Here are the enigmatic insomniac machines (and that's just Side 1 of the first album)...

UK released Friday, 14 April 2017 (21 April 2017 in the USA) - "The Works 1969-1971: Albums, Demos, BBC Sessions and Live Recordings" by PRINCIPAL EDWARDS MAGIC THEATRE on Cherry Red Records CDTRED 704 (Barcode 5013929170438) is a Remastered 3CD set housed in a card slipcase (three card sleeves and a booklet) that plays out as follows:

Disc 1 - "Soundtrack" - 53:32 minutes:

1. Enigmatic Insomniac Machine [Side 1]

2. Sacrifice

3. The Death Of Don Quixote

4. Third Sonnet To Sundry Notes Of Music [Side 2]

5. To A Broken Guitar

6. Pinky: A Mystery Cycle

Tracks 1 to 6 are their debut album "Soundtrack" - released August 1969 in the UK on Dandelion Records S 63752 and Elektra Records D9-103 in the USA. The US album featured a 'face' as its artwork - that shot is used as Page 1 of the booklet.

BONUS TRACKS:

7. Ballad (Of The Big Girl Now And The Mere Boy)

8. Lament For The Earth

Tracks 7 and 8 are both non-album tracks - their debut UK 7" single on Dandelion Records 4406 released July 1969

Disc 2 - "The Asmoto Running Band" - 40:24 minutes:

Side Three/The Asmoto Side

1. McAlpine's Dream [Side 1]

2. McAlpine Versus The Asmoto

3. The Asmoto Running Band (Hou'Amih)

4. Asmoto Celebration

5. Further Asmoto Celebration (After The Ball)

Side Four/The Gambini Side

6. Total Glycerol Esther [Side 2]

7. Freef ('R) All

8. Autumn Lady Dancing Song

9. The Kettering Song

10. Weirdsong Of Breaking Through At Last

Tracks 1 to 10 are their 2nd studio album "The Asmoto Running Band" - released January 1971 in the UK on Dandelion Records DAN 8002 (no USA issue). The album was produced by NICK MASON of PINK FLOYD.

Disc 3 - "Hidden Treasure: Sessions, Live and Demos" - 74:06 minutes:

1. The Ballad (Of The Big Girl Now And The Mere Boy) - Top Gear, 1969

2. Third Sonnet To Sundry Notes Of Music - Top Gear, 1969

3. Pinky: A Mystery Cycle - Top Gear, 1969

Tracks 1 to 3 recorded 24 February 1969 at the BBC for the John Peel 'Top Gear' Show - broadcast 3 March 1969. Taken from an off-air recording made by Eddy Duffy

4. King Of The - Top Gear, 1970

5. The Fortieth Day Of Winter - Top Gear, 1970

Tracks 4 and 5 recorded at the BBC 13 January 1970 for John Peel's 'Top Gear' Show - broadcast 17 Jan 1970 - taken from Original Master Tapes

6. Vollabast

7. Two Women

8. Weasel (In The Wardrobe)

9. Scarlett HalfMan

10. The Egg And The Antrobus

Tracks 6 to 10 recorded live at Hampstead Theatre in the UK, September 1971 - tapes transferred and mixed by Richard Jones

11. Rainy Day Anne

12. Dear John & Mary (A State Of Affairs)

13. Ministry Of Madness

Tracks 11 to 13 are demos recorded at Morgan Studios in London, October 1971 - supervised by Nick Mason of Pink Floyd.

Tracks 4 to 13 are all PREVIOUSLY UNRELEASED

PRINCIPAL EDWARDS MAGIC THEATRE was:

VIVIENNE McAULIFFE and MARTIN STELLMAN – Lead Vocals and Recorders

ROOT CARTWRIGHT – Guitars, Recorders and Bass Guitar

BELINDA 'BINDY' BOURQUIN – Violin, Recorder, Piano and Organ

JEREMY ENSOR – Bass

DAVID JONES – Percussion (and Lyrics)

LYN EDWARDS - Percussion

ROGER SWALLOW – Drums on "The Asmoto Running Band" only

Associated:

Dan Leatherbarrow - Lyrics (Tracks 3 and 5 on Disc 2)

Monica Nettles – Dancer and Speaking Voice

John McMahon Hill – Dancer

Eva Darlow – Dancer

Gillian Hadlev – Choreography and Writer

Leslie Adley – Lights

Harry Housman – Stage, Road Manager and Designer

Christopher Runciman – Lights

Chrissie Morris – Lightshows and Effects

Terry Budd – Drums on Track 7, Disc 3

Beth Wood – Vocals and Recorder on Track 6, Disc 3 – Violin on Track 9

Joe Read – Bass Guitar and Recorder on Track 7, Disc 3

You get three single card sleeves slotted inside a card slipcase with a 20-page booklet sat alongside them. The first two card sleeves show the front and rear artwork for "Soundtrack" from 1969 and their second studio platter from early 1971 - "The Asmoto Running Band" – both on Dandelion Records. Fans will know they were originally gatefold sleeves on vinyl and carried lyric inserts so Cherry Red have reproduced the lyrics and the booklet's first page carries the different 'face' artwork of the USA issue for "Soundtrack" on Elektra Records – nice touches and attention to detail. The third CD uses a period black and white photo of their stage show as its artwork – while MIKE BARNES provides the in-depth liner notes that include interviews with keeper of the flame – Root Cartwright. And all three CDs are picture discs. It's all very tastefully done.

The audio is down to ALAN WILSON – and it's very pretty indeed. While some passages feature whig-out guitars – a lot of it is Trippy Acoustic veering into Folk-Rock so benefits from a good transfer and that's what you get. Some of the tracks on Disc 3 are ropey for sure but are here for obvious reasons - rarity value (previously unreleased). Let's get to the music...

Their debut album "Soundtrack" had only six tracks - three to either side - each half of the record dominated by one long track. "Enigmatic Insomniac Machine" starts proceedings with a flute, acoustic guitars and light marching percussion - like Tyrannosaurus Rex about to take a tab of acid and want to rock. You immediately notice Vivienne McAuliffe's voice that is akin to Bridget St. John (another Dandelion folky worth checking out – see separate review) or Sonja Christina of Curved Air. She starts rattling off lyrics about a mascara man who doesn't understand that she can't sleep for worry about the world. Things turn decidedly Heavy Prog Rock with the guitar riffage opening of "Sacrifice" - but it soon settles down into a more Folk-Rock amble with the droning voice of the band's other singer - Martin Stellman - soon joined by McAuliffe. Unfortunately its obvious why Vivienne is given the bulk of the singing chores - Stellman's voice is the kind of deadpan hippy drone that might induce a stoning from a less than sympathetic audience. The song is good though and has interesting stoner parts towards the end. The staggeringly wordy "The Death Of Don Quixote" is a near fourteen-minute Folk-Rock tour de force - violin, voice, acoustic guitar and words - pages of them. You could leave – paint the front room – and when you return – Vivienne will still be singing about a pleased witch in a mill in a tone that you suspect says she approves (Peel even gets a line himself).

Shakespeare provides the lyrics for "Third Sonnet To Sundry Notes Of Music” where its duet vocals and generally hippy nature is saving by a wicked rocking guitar break half way through the monk-like chants and ye olde wordage. "To A Broken Guitar" is a short acoustic ode from Cartwright and Leatherbarrow to their instrument of choice. The guitar work in the 10-minute "Pinky: A Mystery Cycle" is superb and will raise a chill amongst collectors – but it's partially negated by a spoken ending from Vivienne that unintentionally verges on the laugh-out-loud. The two non-album single sides are very hippy Folk of the period (pretty and ponderous) and collectors will appreciate their presence here. To sum up - the debut LP is a typically eclectic start – part loveable, part cack.

The second album "The Asmoto Running Band" brought on board two heavyweights in different departments – Hipgnosis did the cover art while Nick Mason of Pink Floyd fame did the Production. The Drummer Roger Swallow - who did stints with Harsh Reality, Matthews Southern Comfort and would later be with The Albion Country Band – also joined the ranks for album number two - even bringing the excellent "Freef ('R) All" track with him as collateral. The moment you play "McAlpine’s Dream" you hear the upgraded sound – Vivienne and Martin voices clear while the recorders get all fairy-lore on our ears. The largely instrumental "McAlpine Versus The Asmoto" shows amazing maturity in their compositions and playing – part Captain Beefheart, part Flock – all crooked pianos and violins one moment – then beauty the next (and the Audio is fantastic too). Other Prog-leaning winners include "Asmoto Celebration" and the undeniably pretty "The Kettering Man" which is heading towards Mellow Candle in its complex beauty. The second album is an unsung hero in their catalogue and its cool to hear it sound so good here.

The three Top Gear tracks from 1969 are acoustic and live - the audio good rather than being great - a few clicks and pops here and there. "Ballad..." is introduced as the new single and they sound like Sandy Denny doing a Demo. The Shakespeare poem 'Third Sonnet' is given an acoustic going over too with both vocalists. Far better sonically is "King Of The" and "The Fortieth Day Of Winter" from 1970 - taken from real tapes - Martin Stellman (unfortunately) taking lead vocals on both where PEMT sound like a lighter version of "This Was" Jethro Tull. "Vollabast" turns out to be six minutes of Funky keyboards against a very Prog backdrop. But the big prize here is the 13-minute "Weasel (In The Wardrobe)" - Duncan Browne sounding Spanish acoustic guitar carrying Vivienne McAuliffe and more pages of words. Best amongst the demos is "Rainy Day Anne" which shows a more Steeleye Span direction.

Principal Edwards Magic Theatre will not be for everyone by any stretch of the imagination and some of those early hippy incantations might bring some rockers out in a rash that not even real ale will cure. But amidst all of that loopy ensemble Folk Rock and somewhere in those Prog theatrical flourishes lies beauty and daring. And reissue hero Cherry Red is to be praised for putting all that Kettering quackery back out there and in such style too...