"Sun Zoom Spark: 1970 to 1972" by CAPTAIN BEEFHEART (November 2014 Rhino 4CD Box Set - Dan Hersch and Brian Kehew Remasters) - A Review by Mark Barry...

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"…Distant Cousins…There's A Limited Supply…

...We're Down to Dozens...And Here's The Reasons Why..."

Featuring the album "Lick My Decals Off, Baby" 
Released in the UK in 1971 (1970 USA)

"Sun Zoom Spark" takes its title from a track on the wonderfully bat-shit "Clear Spot" album from 1972. But by my calculations, the last time CD remasters were applied to Captain Beefheart's hugely sought after trio of Seventies albums listed below was over 20 years ago (in 1993 I believe). 

So this 2014 reissue box set of 4CDs by Rhino Records of the USA with its truly fabulous sonic overhaul has been long overdue and is made all the more exciting by Previously Unreleased goodies on Disc 4. Makes me want to booglarize my big toe right quick and grow fins. But before we get all metaphysical on yo ass - here are the Smithsonian Institute Blues, Golden Birdies and Big-Eyed Beans from Venus...

UK released Monday 17 November 2014 - "Sun Zoom Spark: 1970 to 1972" by CAPTAIN BEEFHEART on Rhino R2 541728 (Barcode 603497905553) is a 4CD Box Set of Remasters that breaks down as follows:

Disc 1 (38:48 minutes):

1. Lick My Decals Off, Baby

2. Doctor Dark

3. I Love You, You Big Dummy

4. Peon

5. Bellerin' Plain

6. Woe-Is-Uh-Me-Bop

7. Japan in A Dishpan

8. I Wanna Find A Woman That'll Hold My Big Toe Till I Have To Go [Side 2]

9. Petrified Forest

10. One Red Rose That I Mean

11. The Buggy Boogie Woogie

12. The Smithsonian Institute Blues (Or The Big Dig)

13. Space-Age Couple

14. The Clouds Are Full Of Wine (Not Whiskey Or Rye)

15. Flash Gordon's Ape

Tracks 1 to 15 are the album "Lick My Decals Off, Baby" - his fourth album first released October 1970 in the USA on Straight/Reprise RS 6240 and January 1971 on Straight STS 1063 in the UK.

Disc 2 (35:59 minutes):

1. I'm Gonna Booglarize You Baby

2. White Jam

3. Blabber 'n Smoke

4. When It Blows Its Stacks

5. Alice In Blunderland

6. The Spotlight Kid [Side 2]

7. Click Clack

8. Grow Fins

9. There Ain't No Santa Claus On The Evenin' Stage

10. Glider

Tracks 1 to 10 are his 5th studio album "The Spotlight Kid" - released February 1972 in the USA on Reprise Records RS 2050 and Reprise K 44162 in the UK

Disc 3 (37:30 minutes):

1. Low Yo Yo Stuff

2. Nowadays A Woman's Gotta Hit A Man

3. Too Much Time

4. Circumstances

5. My Head Is My Only House Unless It Rains

6. Sun Zoom Spark

7. Clear Spot [Side 2]

8. Crazy Little Thing

9. Long Neck Bottles

10. Her Eyes Are A Blue Million Miles

11. Big Eyed Beans From Venus

12. Golden Birdies

Tracks 1 to 12 are his sixth studio album "Clear Spot" - released November 1972 in the USA on Reprise MS 2115 and February 1973 in the UK on Reprise K 54007

Disc 4 "Out-Takes 1970 to 1972" (46:39 minutes):

1. Alice In Blunderland (Alternate Version) [3:55 minutes]

2. Harry Irene [3:33 minutes]

3. I Can't Do This Unless I Can Do This/Seam Crooked Sam [2:00 minutes]

4. Pompadour Swamp/Suction Prints [4:23 minutes] - see NOTE

5. The Witch Doctor Life (Instrumental Take) [5:27 minutes]

6. Two Rips In A Haystack/Kiss Me My Love [2:38 minutes]

7. Best Batch Yet (Track) Version 1 [2:18 minutes]

8. Your Love Brought Me To Life (Instrumental) [3:11 minutes]

9. Dirty Blue Gene (Alternate Version 1) [2:52 minutes]

10. Nowadays A Woman's Gotta Hit A Man (Early Mix) [3:59 minutes]

11. Kiss Where I Kain't (Instrumental) [2:44 minutes]

12. Circumstances (Alternate Version 2) [3:23 minutes]

13. Little Scratch [2:57 minutes]

14. Dirty Blue Gene (Alternate Version 3) [3:03 minutes]

All Tracks Previously Unreleased. Note: "Pompadour Swamps" appeared on the Virgin Records LP "Bluejeans And Moonbeams" LP in November 1974 - but the music is an early version of "Suction Prints" which later appeared on the Virgin Records LP "Shiny Beast (Bat Chain Puller)" in February 1980.

The Box Set (using his own paintings as cover art) is shaped a little like a 7" single set with the sepia-printed 20-page booklet inside and four 5" Card Repro Sleeves inlaid into a centred hollow with a red ribbon to pull them out with ease. The fourth disc not surprisingly utilizes one of his paintings as its artwork - a pastel from 1970 called "Button Down Fashion Bow". Each of the three album repro sleeves is of a very high quality with clear facsimiles of the colour artwork front and rear (no gatefolds). A real nice touch is that "The Spotlight Kid" has the lyric insert that came with original copies of the vinyl album and "Clear Spot" has its outer plastic envelope (I'd put the naked CD in a protective to avoid scratching).

The Box has been produced by STEVE WOOLARD and BILL INGLOT (a long time associate remaster engineer for Rhino) and inspired by TIM FRASER-HARDING. The hugely experienced DAN HERSCH carried out the remasters at D2 Mastering in LA with the "Out-takes" done by BRIAN KEHEW at Timeless Studios in North Hollywood. The remasters are sensational to my ears - full of life and presence - both men are to be praised for their work on this.

The booklet I'm glad to say is a classy affair. The size of a 7" single - it foregoes track lists and time-wasting for an essay called "The Sky Ran Down My Pencil" by RIP RENSE which features extracts from Beefheart interviews, Magic Band Trombonist Fowler, Guitarist Morris Tepper, Eric Feldman - celebrities and admirers like Matt Goening of The Simpsons, David Hidalgo of Los Lobos, the famous reviewer Lester Bangs from The Rolling Stone and there's even a wicked poem on Don by none other than TOM WAITS on Page 11. There's a witty quote on the side of the box too. But let's get to the real deal - the sonic wallop...

I'm probably going to elicit the wrath of legions, mental health enquiries and many sharp instruments rammed up the softer parts of my elderly person's flabby behind by saying that I've always found the 1969 double-album "Trout Mask Replica" 'hard going'. I say this because the 1971 single-album follow up "Lick My Decals Off, Baby" (after Replica quite possibly the best album title ever in the Universe) feels like "Trout" Part 2. And for this (spurious I know) reason - its fifteen short 'n' gangly discordant vignettes frankly do my brain in. But - and this is not up for debate or grabs - fans who've been listening to the 1993 "Decals" CD version are going to have their grey matters fried this time around because the new DAN HERSCH remaster sounds unbelievable - fantastically detailed and vibrant - bringing new layers to the music that simply wasn't there before. Comparing the new remaster of say "Woe-Is-Uh-Me-Bop" to its previous version is like comparing a Derby Car wreck to a James Bond's Aston Martin Vanquish - the mad Tom Waits rhythms of "Smithsonian" is the same.

Things go from great to frigging stratospheric on "The Spotlight Kid". There is slight hiss around the opening guitars of "I'm Gonna Booglarize You" for sure - but Mother-of-God when they kick in - the power of the riffage is just HUGE. And then his fantastic voice comes out of the speakers and I'm gone baby gone. The clarity of the pitter-pattering drums and vibes on "Blabber 'n' Smoke" is fantastic and his vocals just 'there' like never before. The same applies to the instrumental "Alice In Blunderland" with that manic Winged Eel Fingerling guitar solo. And I've waited near four decades to hear the harmonica/piano/guitar battle of "Click Clack" sound this good - and that harmonica wailing on "Grow Fins" ("I'm gonna take up with a mermaid...") - wowser!

Then it's on to my favourite album of his and one of the great-unsung masterpieces of the Seventies - the fabulous "Clear Spot". "Nowadays..." sounds amazing - full of life - while you see why people like Everything But The Girl covered the beautiful "My Head Is My Only House Unless It Rains". The title track rocks and Zoot Horn Rollo's guitar on "Big Eyed Beans From Venus" slides across your speakers like a snake with a Gibson strapped on (lyrics from it title this review). The lovely vibe "Too Much Time" has is now amplified and not over trebled for the sake of it. Great.

The "Out-Takes 1970 to 1972" disc opens strongly with a kicking version of the instrumental "Alice In Blunderland" - wonderful clarity too (no crappy demo feel). He then gets tender on "Harry Irene" and Harmonica Boogie on the short but cool "obscene cookie Sam" song "I Can't Do This..." There's fantastic opening guitar riffing on "Pompadour Stomp" while we get some "right on" dialogue at the beginning of mid-paced instrumental "The Witch Doctor Life". It's Tom Waits time again with "Two Rips In A Haystack" which features his trademark growl vocals sounding not unlike a white Howlin' Wolf. Because I'm so familiar with the realised song - the early mix of "Nowadays A Woman's Gotta Hit A Man" is utterly brilliant to me - that chug of the brass and guitars have subtle differences - so damn cool. The instrumental "Kiss Where I Kain't" is a fast boogie number that could so easily have been on either "Spotlight" or "Clear Spot". In fact listening the whole of Disc 4 - it feels like the album that should have maybe followed "Clear Spot".

The word genius is liberally bandied about in music - but in truth there's only been a few out-and-out genuine contenders - and the mighty Don Van Vliet was/is one of them. And isn’t it so good to see Rhino return to reissue form and give Captain Beefheart's recorded legacy such a tasty makeover. "Dawned on me man..." - what a winner - and for me a clear reissue of the year 2014.

Rest with the angels and your paintbrushes you anarchic peach...

"The Atlantic Recordings" by LOUDON WAINWRIGHT III (June 2016 Real Gone Music CD Reissue – 2LPs from 1970 and 1971 Remastered onto 1CD Plus One Previously Unreleased Outtake – Dan Hersch Remasters) featuring Kate McGarrigle and Saul Broudy - A Review by Mark Barry...

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"...Museum All The Blues Away..."

This CD Reissue contains the two albums 

"Loudon Wainwright III" (August 1970)

and "Album II" (July 1971)

Plus One Bonus Track

Loudon Wainright III's first two bare-bones LPs from 1970 and 1971 made very little impact sales-wise (especially in the UK) - but have ever since remained a cool pool of refreshing water for those who thirst after honest contemporary US Folk with brains, emotional courage and an acidic tongue. But their availability on CD has been problematic for decades…until now…

This stunning relaunch from America's 'Real Gone Music' is a June 2016 single-CD reissue of a mail-order-only website-CD Rhino Handmade put out Stateside in December 1999 - itself a limited edition of 5000 numbered copies. That initial CD pressing sold out almost immediately – as did a short-lived reissue in November 2003 - and both versions have been hard to locate ever since – garnishing high prices in some places too.

Well now along comes Real Gone Music to the rescue of fans by reissuing that collectable at a reasonable cost and still with the great Dan Hersch Remastered Audio and decent liner notes (including the lyrics). Packaging-wise the only difference is that 1999's Rhino Handmade RHM2-7709 (Barcode 081227770921) came in a numbered card-sleeve while this is your basic jewel case (non-numbered).

Essentially what you're getting are his debut LP "Loudon Wainwright III" from August 1970 (USA) and the follow-up "Album II" from July 1971 (both originally on Atlantic Records) - as well as one Previously Unreleased Bonus Track from the "Album II" sessions left off the original LP due to time restrictions. With his razor-sharp wit, strangulated vocal delivery and obvious lyrical prowess - it's hardly surprising too that these 1970 and 1971 recordings of one-man-and-his guitar have been favourably compared to 1962 and 1963 Bob Dylan - LW III simply updating the scenarios to his own Delaware days of sin and redemption. And with a playing time of 78-minutes-plus - you can't argue that "Atlantic Recordings" isn't great value for money too. There's a lot to wade through - so here are the Uptown details and it's time to cook that dinner Dora...

US released 3 June 2016  - "The Atlantic Recordings" by LOUDON WAINWRIGHT III on Real Gone Music RGM-0461 (Barcode 848064004615) offers 2LPs Remastered onto 1CD with One Previously Unreleased Bonus Track that plays outs as follows (78:27 minutes):

1. School Days [Side 1]

2. Hospital Lady

3. Ode To A Pittsburgh

4. Glad To See You've Got Religion

5. Uptown

6. Black Uncle Remus [Side 2]

7. Four Is A Magic Number

8. I Don't Care

9. Central Square Song

10. Movies Are A Mother To Me

11. Bruno's Place

Tracks 1 to 11 are his debut album "Loudon Wainwright III" - released 17 August 1970 in the USA on Atlantic SD 8260 and October 1970 in the UK on Atlantic 2400 103 (reissued in 1973 on Atlantic K 40107). All songs by LW III - produced by LW III and MILTON KRAMER.

12. Me And My Friend The Cat [Side 1]

13. Motel Blues

14. Nice Jewish Girls

15. Be Careful There's A Baby In The House

16. (a) I Know I'm Unhappy (b) Suicide Song (c) Genville Reel

17. Saw Your Name In The Paper

18. Samson And The Warden [Side 2]

19. Plane, Too

20. Cook That Dinner, Dora

21. Old Friend

22. Old Paint

23. Winter Song

Tracks 12 to 23 are his second studio album "Album II" - released 5 July 1971 in the USA on Atlantic SD 8291 and August 1971 in the UK on Atlantic 2400 142 (reissued in 1973 on Atlantic K 40272). All songs by LW III - produced by LW III and MILTON KRAMER. Guests - Kate McGarrigle sings Backing Vocal and Saul Broudy plays Harmonica on "Old Paint" only.

24. Drinking Song

Recorded February 1971 – it was intended to be placed on Side 2 (Track 3) but there was enough room Previously Unreleased Studio Recording Outtake.

The substantial 20-page booklet is entirely US-based with new (November 1999) liner notes entitled "An Unflinching Stare" are a 'reflection' by PETER FALLON on Wainwright's melodic style and blunt-as-a-mallet skill with words. Pages 4 and 5 with Pages 11 and 12 offer full-page plates of both album covers (back and front) - whilst the all-important lyrics are reproduced for both albums (and the lone outtake) for the first time. DAN HERSCH of Rhino fame has handled the tapes and the Remasters are gorgeous - one man and his guitar - clean, atmospheric, vibrant and filling up your room with that air analogue has.

I'm no fool about Wainwright. I saw him live at Ireland's second 'Lisdoonvarna Folk Festival' in 1979 (a headliner) where he promptly slaughtered the crowd one sunny beautiful day. They loved his honesty, sense of humour and 'Rufus The Tit Man' tunes. Wainwright was dragged back to the stage for more - more – more – beaming to the encores that were genuine. But I also had a mate of mine who in early Seventies Dublin couldn't abide the nasal whine of his voice - never mind the often barren-nature of his song-subjects. So instead of guffawing - he'd come out in a rash at the mere mention of LW III's name. Therefore in my book musically both albums would be an acquired taste. But if you do get into his acoustic tales of woe and love (and I know many who have) - you may find yourself studying every chord change and memorising those brilliant lyrics to impress your mates next time you're in that village pub with a roaring fire and a few pints of Dutch courage.

The debut opens with a tale of his Delaware younger days ("School Days") where LW was the James Dean tearaway begged by girls to join them in their boudoirs. Afterward he would pencil his pimple parables riling against those who tried to force their religious moralising down his throat. In "Hospital Song" he is touched by a dying old lady whom he knows was once a pretty young thing in 1953 - but now her new lover is the Reaper waiting with a stone face at the end of the bed (gorgeously simple acoustic melody). Both "Ode To A Pittsburgh" and "Glad To See You Got Religion" start feeling bitter and angry - strumming hard with his machine that kills fascists – raging against people who don’t discharge their creative juices while old LW can’t wait too. All the freaks are freaking him out in "Uptown" - hailing a cab – reading the Allied Chemical News en route – head into the Garden in the rain for some Basketball or maybe Boxing. Many will know the brilliant "Black Uncle Remus" – it’s death-letter-blues, catfish catches and rusted banjo strings turning up on CD compilations that want to impress with their cool.

"Four Is A Magic Number" opens Side 2 of "Loudon Wainwright III" with more acoustic guitar and his desperate Willie Nile voice regaling about a sinking sinner in the gutter. "I Don't Care" has the slow melancholy of say Leo Kottke or even Tim Buckley on a purely Folk tip - bidding his girl goodbye as she heads off to San Francisco for sand-in-the-hair nights on the beach with someone else. Mary McGuire and Big Frank Clark get drunk in "Central Square Song" - their six-pack passion making them act like teenagers – and petulant ones at that. Loudon's love of escape comes roaring out of "Movies Are A Mother To Me" - films on a rainy Tuesday giving him back some sort of recovered sanity. The debut ends on the jaunty "Bruno's Place" where yoga-girls and Swamii-pearls hang out in Bruno's meat-less apartment down on Seventh Street (he trashes his guitar like Richie Havens getting carried away on stage). In truth I don't think Side 2 is as good as Side 1 on the starter album - but LP2 is another matter…

If his undeniable songwriting and social commentary brilliance was gestating on the debut – then for me it explodes into proper magic on "Album II". I like almost every song on it. "Me And My Friend The Cat" and "Motel Blues" open the second LP in grand style - very cool melodies and words. The second Atlantic Records sampler LP "The New Age Of Atlantic" from March 1972 (the British LP was on Atlantic K 20024) gave the song "Motel Blues" from "Album II" a rare plug. The compilers no doubt hoped that lyrics like "...the Styrofoam bucket's full of ice...Come up to my motel room...treat me nice..." would tickle the public's buying fancy (not to be unfortunately). Even better song-wise is "Nice Jewish Girls" where his Episcopalian schooling isn't helping as LW stares at those ladies with surnames like Pearlstein - his Yiddish young-man juices starting to bubble uncontrollably (and not for their skills with a bagel). A newborn bundle of joy is jarring his nerves in "Be Careful There's A Baby In The House" - or is the kid's parents and their smug remarks that are getting on his trupenny bits. More misery follows in the weary and inebriated three-parter "I Know I'm Unhappy..." where our hero rarely makes love but regularly gets laid. Wainwright ends a masterful Side 1 with "Saw Your Name In The Paper" where he's happy for a talented friend from the past but warns that their heroics might induce slavery to something else – becoming a limelight chaser – a junky for fame.

There is a superb simplicity and therefore power to Side 2's "Plane, Too" where he lists the people and things on his flight. They can't get away - can't get out - and as he looks in the 747’s toilet mirror - realises that neither can he. "...Set that place for me...Arm me with utensils..." Wainwright asks of Dora in "Cook That Dinner..." where you suspect that his mealtime might contain something else baked into his cottage pie other than mincemeat.  You wish Wainwright had let both Kate McGarrigle and Saul Broudy onto other tracks – they add hugely to "Old Paint". It ends on a brilliant acoustic melody "Winter Song" and you can so hear why he thought the equally good "Drinking Song" should have been on the album.

In all honesty I'd forgotten about these Loudon Wainwright III records – especially that deeply satisfying second LP. I'm also left with more than a feeling that these 1970 and 1971 Atlantic Records recordings contain overlooked gems that deserve a second-go-round - even if they are a bit misery-guts. And typical of many musicians with a penchant for the neurotic muddle of life and loving – Loudon is a damn good actor too…