"Naturally" by J.J. CALE - Debut Album from 1971 (June 2013 Japan-Only Universal SHM-CD Remaster In 5” Mini LP Repro Sleeve) - A Review by Mark Barry...

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THERE'S SOMETHING ABOUT 1971... - Exceptional CD Remasters  

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"...I Think I'll Get Me Some To Go..."

*** THIS REVIEW IS FOR THE JAPANESE-ONLY SHM CD REMASTER FROM 2013 ***

Since his tragic loss in July 2013 renewed interest in J.J. Cale and his wonderfully laid-back songwriting magic has never been higher. And his superb 1972 debut album "Naturally" will be a first port of call for many. Four tracks from it were remastered for the 2CD Anthology "Any Way The Wind Blows" in 1997 - but this 2013 Japanese SHM-CD represents the first time the entire album's been sonically overhauled. However - given the poor quality of the original 1970 and 1971 recordings - even this best ever audio remaster of "Naturally" has its drawbacks.

Released in Japan 26 June 2013 - "Naturally" by J.J.  CALE on Universal UICY-75627 (Barcode 4988005771582) is a SHM-CD (Super High Materials) and features Repro US LP artwork (including the colour-coded Track List/Musician breakdown on the rear cover that's missing from the card digipak of "Naturally" in the 2013 "Classic Album Selection" 5CD box set).

1. Call Me The Breeze[Side 1]

2. Call The Doctor

3. Don’t Go To Strangers

4. Woman I Love

5. Magnolia

6. Clyde

7. Crazy Mama [Side 2]

8. Nowhere To Run

9. After Midnight

10. River Runs Deep

11. Bringing It Back

12. Crying Eyes

Tracks 1 to 12 are his debut album “Naturally” – released November 1971 in the USA on Shelter SW-8908 and January 1972 in the UK on A&M Records AMLS 68105

A SHM-CD doesn't require a special CD player to play it on (compatible on all machines) - nor does it need audiophile kit to hear the benefits. It's a new form of the CD format that picks up the nuances of the transfer better (top quality make). I own about 10 of them and they're uniformly superb. Also this 'actually remastered' reissue of his debut album is 13 seconds longer than the previous Eighties non-remaster (32:26 minutes as opposed to 32:13). The booklet is the usual 8-white pages of Japanese liner notes and a stab at the English lyrics - nothing to really get your teeth into. It should also be noted that the old issues of this CD and the one in a card digipak in the 2013 "Classic" box set are NOT REMASTERS.

SOUND:

I wore out original tan label issues (and silver and green label reissues) of "Naturally" on Seventies vinyl trying to find a copy that didn't sound like a wall of hiss coming out of the speakers. I now know why. Although the improvement in sound here is extensive - the original sessions were dogged with excessive hiss on the master tapes - and I'm afraid that's what you largely get on this 2013 reissue - only accentuated more in some cases.

Hiss culprits include "Call The Doctor", the lovely "Magnolia" and "River Runs Deep". But the piano on "After Midnight", the fiddles on "Clyde" and Mac Gayden's slide guitar on "Crazy Mama" - are all wonderfully clear - major improvements. "Woman I Love" and "Bringing It Back" (lyrics above) are the kind of tracks that don't turn up on "Best Of's" that often - and I'm thrilled to say that they both sound stupendous - stunning clarity on the bass and brass. "Call Me The Breeze" (covered to stunning effect by Lynyrd Skynyrd on 1974's "Second Helping") kicks in nicely too after that beat-box rhythm opening. Overall I'd say that those expecting audiophile from this release should probably cry off - but for those who love the man and his music - then this remaster is a must-buy. Even with that hiss - the clarity is the best yet.

J.J. Cale was one of my audio heroes growing up - and his influence on Eric Clapton, Dire Straits and even John Mayer is undeniable. What a loss and what an artist. And damn the Japanese for being so good with these bloody things (I've also reviewed "5" and "Troubadour") because I need all 8 of them now!

My long-suffering bank manager will be pleased...

Albums in the June 2013 

J.J. CALE

Japan-Only Universal SHM-CD Mini LP Repro Reissue Series are:

1. Naturally (1972 - his debut) on Universal UICY-75627 (Barcode 4988005771582)

2. Really (1973) on Universal UICY-75628 (Barcode 4988005771599)

3. Okie (1974) on Universal UICY-75629 (Barcode 4988005771605)

4. Troubadour (1976) on Universal UICY-75630 (Barcode 4988005771612)

5. "5" (1979) on Universal UICY-75631 (Barcode 4988005771629)

6. Shades (1981) on Universal UICY-75632 (Barcode 4988005771636)

7. Grasshopper (1982) on Universal UICY-75633 (Barcode 4988005771643)

8. No. 8 (1983) on Universal UICY-75634 (Barcode 4988005771650)

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

As well as 1960s and 1970s Rock and Pop - It Also Focuses On

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

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"…Jam Tart Lips…"

Featuring the album "Rock On" from 1971

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

"Focus Plays Focus" (1970) and "In And Out Of Focus" (1971 Reissue) by FOCUS (Japan-Only SHM-CD Reissue On Victor with Mini LP Repro Artwork with 2001 Red Bus Remaster) - A Review by Mark Barry...

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Features the 1971 US and UK LP "In And Out Of Focus" on Polydor Records

"...House Of The King..."

Mid 1970 and Dutch Prog-Rockers FOCUS saw their debut album "Focus Plays Focus" released in their native Netherlands on Imperial Records 5C 054-24192 with a seven-track line-up as follows...

Side 1:

1. Focus

2. Why Dream

3. Happy Nightmare

4. Anonymous

Side 2:

1. Black Beauty

2. Sugar Island

3. Focus

They had also released "House Of The King" as a stand-alone 7" single in many European countries in 1970 (Belgium, Spain etc) on Imperial Records too (a non-album A-side at that time). But when it came to re-launching the album in both the UK and the USA in early 1971 - Polydor decided to call it "In And Out Of Focus" - gave it a different gatefold sleeve (the dotted blue one) and added on "House Of The King" as Track 8 in a rejiggered playing order. That eight-track version ran as follows:

Side 1:

1. Focus (Vocal)

2. Black Beauty

3. Sugar Island

4. Anonymous

5. House Of The King

Side 2:

1. Happy Nightmare (Mescaline) [Side 2]

2. Why Dream

3. Focus - Instrumental

This now rare and deleted Japanese SHM-CD reissue from 2009 (using the Red Bus 2001 Remaster) concentrates on that 2nd version - January 1971 in the UK on Polydor 2344 003 and Sire SAS 7404 in the USA. As if to compound the confusion - Britain also had a 'picture of the band' single sleeve sometime in 1971 with the Polydor 2344 003 catalogue number and the USA also had a Sire SAS 7404 with more different artwork.

This Japanese-only 25 February 2009 reissue of "In And Out Of Focus" by FOCUS on Victor VICP-70049 (Barcode 4988002565375) is a SHM-CD (Super High Materials) with a silver Obi housed on the spine of its Mini LP Repro Artwork - the US hard card gatefold. It even repro's the black inner 'Focus' bag that came with original vinyl LPs (total playing time 36:01 minutes). SHM-CDs don’t require a special CD player – they’ll play on all machines. They were developed as a better form of CD and are almost entirely exclusive to Japanese releases – especially reissues – where the new format’s retrieval rates are higher and therefore offer the best sound. Red Bus did the Remaster in 2001 and that's been used for this reissue – and man does it sound good. Nice balance - power when it's needed - a tasty job done...

FOCUS consisted of:

THISJ VAN LEER – Vocals, Keyboards and Flute

JAN AKKERMAN – Guitars

MARTIJN (Martin) DRESDEN - Bass

HANS CLEUVER – Drums

Proceedings kick into gear with "Focus (Vocal)" which runs to 2:44 minutes – opening the album in a mellow Prog mood. It’s a gentle song where the foreign language vocals and keyboard/guitar licks feel almost like a mini hymn. "Black Beauty" introduces their Barclay James Harvest kind of Pop-Rock and I can't say that it's my fave-rave on here. The three-minute hangover from the 60ts bop of "Sugar Island" feels the same - like the band is looking for a hit when they should have been going with their Inner Prog instinct to wig out (nice guitar though from Akkerman and that Tull-like Thijs Van Leer flute solo reminds you of moments from "Stand Up" and "Benefit").

But then things improve immeasurably when the band goes all madrigal at the beginning of the superb "Anonymous" – a near seven-minute instrumental that suddenly feels like 'Focus'. "Anonymous" is a lengthy Prog concoction that's complicated yet still melodic and genuinely impressive after all these decades. The 1970 instrumental "House Of The King" is a winner - a genius 45 that was bound to get the group noticed - even if it does feel just a tad like a Jethro Tull copy in style and composition. But like "Anonymous" - "House Of The King" has that distinctive 'Focus' feel and sound (love that guitar and piano break too).

Side 2 offers us the druggy 'Mescaline' song as our Thijs sings of a sweet life and big pearls in the jaunty "Happy Nightmare". It's an awkwardly upbeat tune for a miserable subject matter with a cleverly placed Mellotron counter-melody to the guitars. Speaking of which - again you notice the sheer virtuosity of Jan Akkerman's axe playing in "Happy Nightmare" – so soulful even in those jazzy passages. It finishes with the nine-minute 'Instrumental' version of "Focus" - another firm fan fave - and with good reason as it feels like the accomplished brilliance of "Moving Waves" and "Focus III" to come.

Their rejiggered debut isn't a masterpiece by any stretch of anyone's imagination - but there's more than enough on here to make it a worthwhile first stop - even for a novice. And with that legendary Japanese presentation quality and added oomph to the Audio - "In And Out Of Focus" is recommended...