Friday, 13 July 2018

"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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"...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)

Tuesday, 10 July 2018

"Thirds" by JAMES GANG [featuring Joe Walsh] (June 2000 MCA CD Reissue - Bill Szymczyk and Ted Jensen Remaster) - A Review by Mark Barry...




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"...Midnight Man..."

It's not a dyed-in-the-wool five-star classic for sure. And yet I've always stroked and petted (with scary regularity) my British Probe Records copy of the 1971 vinyl LP "Thirds" by The James Gang (mottled sleeve and pink label) - gawking at the poor battering thing with undiminished affection.

Of the nine 1971 tracks maybe only four are gems - but on the last album The James Gang did with the future Eagles axeman Joe Walsh – boys-oh-boys what mighty nuggets those forgotten songs are. And it’s the record that also let Drummer Jim Fox and newcomer Bassist Dale Peters shine as songwriters too. Let's go to the midnight men and dig it (y'all)...

US released June 2000 - "Thirds" by JAMES GANG on MCA Records 088 112 022-2 (Barcode 008811202224) is a straightforward 9-track CD Remaster of the original 1971 LP that plays out as follows (36:14 minutes):

1. Walk Away [Side 1]
2. Yadig?
3. Things I Could Be
4. Dreamin' In The Country
5. It's All The Same
6. Midnight Man [Side 2]
7. Again
8. White Man/Black Man
9. Live My Life Again
Tracks 1 to 9 are their 3rd studio album "Thirds" - released April 1971 in the USA on ABC Records ABCX-721 and July 1971 in the UK on Probe Records SPB 1038. Produced by THE JAMES GANG and BILL SZYMCZYK - it was their final album with Joe Walsh and peaked at No. 27 in the US LP charts (didn't chart UK). Tracks 1, 5, 6 and 7 written by Joe Walsh - Tracks 3 and 9 written by Jim Fox - Tracks 4 and 8 written by Dale Peters and Track 2 written by all three members of the band.

JAMES GANG was:
JOE WALSH - Lead Vocals, Lead Guitar, Pedal Steel Guitar and Electric Piano and Violin Arrangements on "Again"
DALE PETERS – Electric Bass on all Tracks except Upright Bass on "Yadig?” - Lead Vocals on "Dreamin' In The Country" and "White Man/Black Man" and Backing Vocals on "Midnight Man”
JIM FOX – Drums on all tracks, Vibes on the instrumental "Yadig?”, Lead, Backing Vocals and Organ on "Things I Could Be", Track Piano on "Dreamin' In The Country" and Pianos on "Live My Life Again"
Guests:
Mary Sterpka (of Lacewing) - Duet Lead Vocals with Joe Walsh on "Midnight Man"
The Sweet Inspirations (of Atlantic Records) - Backing Vocals on "White Man/Black Man"
Tom Baker - Horns Arranged and Played on "It's All The Same” and "Live My Life Again”

The three-way foldout inlay is hardly the stuff of legend - the picture of the three boys that graced the rear sleeve with the track-by-track session details and on the rear that long list of 'thank you' names that graced the inner record bag - everyone from Groucho Marx and W.C. Fields to Wonderdog, James Bond and The Cookie Monster, from J.S. Bach, Jimmy Page, Pete Townshend (a champion of Joe Walsh from the get go - invited on a Who tour as a support act) to Lonnie Mack and Elvis' Back-Up Band. There are some new comments from Dale Peters and Jim Fox (none from Walsh) about the recordings - tracks made with Little Richard that never saw the light of day due to contractual crap - their pride in songs like "Walk Away" and "Midnight Man" - their admiration for Joe's axework and so on.

TED JENSEN and original LP producer BILL SZYMCZYK (later produced Joe Walsh’s solo work and The Eagles) did the Digital Remasters from original tapes at Sterling Sound in New York and it sounds fantastic. Those formerly muddied horns by Tom Baker on "It's All The Same", the Soulful vocals of The Sweet Inspirations on "Midnight Man" and those Jim Fox Vibes on the slinky instrumental "Yadig?" all now in your face and for all the right reasons.

The album opens on a slice of axe-wielding Rock joy and a track Walsh would play regularly as a Solo Artist – the fab riffage of  "Walk Away". Describing himself (wittily) in the track-by-track breakdown as a 'Train Wreck - it featured as the opening song on his April 1976 live set "You Can't Argue With A Sick Mind" with ABC Records UK even putting it on the 99p-selling 4-Track 12" single "Plus Four EP" in July 1977. Like the swagger of "Funk 49" - "Walk Away" is the 'All Right Now' of Joe Walsh's catalogue - dig that soloing as it fades out. There then follows a startling segue moment as we slide slinkily into the Jazz Instrumental "Yadig?" where Drummer Jim Fox plays a blinder on the Vibes as Joe shuffles his electric piano keys and Dale Peters compliments on an upright Bass (towards the end of the track Joe sneaks in a sexy solo too). Diversions done, we're back to Rock with Jim Fox's excellent "Things I Could Be" where he plays Drums, Organ and sings Lead Vocals - but it's Joe's guitar contributions that give it such a great feel. "Dreamin' In The Country" sounds like its title - a rather lame countrified doodle where JW has a go at a Pedal Steel. Way better is the fabulous "It's All The Same" - a Joe Walsh tune lifted up above its lonesome solo piano opening by Tom Baker's Horns that come sailing in and lend the Side 1 closer a truly epic feel. As the years have passed I've grown to adore "It's All The Same" - the Bacharach type brass interludes playing off against those high-strung acoustic guitars (and he mentions 'meadows' which would of course become a hit song for JW in its own right on his second solo LP "The Smoker You Drink, The Player You Get" in 1973).

Side 2 opens with the magisterial "Midnight Man" - a song both Peters and Fox clearly rate as Joe Walsh's finest moment to that point because they both namecheck it in the new liner notes. And his solo too – superb. Band 7 "Again" may be the album's sleeper - another seductive JW melody this time bolstered up with violins (which he arranged) and not brass. Half way through it goes into an America-type shuffle - the remaster bringing out those strums and subtle electric piano notes. But despite my adoration of all things JW - I will openly admit that my heart belongs to Dale Peters on the "Thirds" album because of his magnificent song "White Man/Black Man" tucked away as Track 3 on Side 2. ABC Records in the USA slapped it on the B-side of the more commercial "Midnight Man" in October 1971 (ABC Records 11312) and were rewarded with a minor single hit at No.80. The UK saw never saw that release and so is a bit of a rarity on our side of the pond ("Walk Away" paired with "Yadig?" on the flipside was issued as Blighty's only 45 from the album in April 1971 on Probe Records PRO 533). I used to feature Dale Peters singing "White Man/Black Man" on so many CD-R compilations that I’d made as shuffle plays in Reckless Records in Berwick Street. Not recognising the vocalist but maybe the guitar playing - it was the kind of Soulful slow-marching Rock song that always elicited excited punter enquiries (who is this!) – the gorgeous singing of The Sweet Inspirations (one of Atlantic Records premier backing vocalist groups who had albums in their own right), Joe's fabulous guitar soloing and its racial equality lyrics – all would combine - bringing it on home every time it was played. And the album ends on another JW sleeper – the slow and epic "Live My Life Again" where he employs both The Sweet Inspirations and Tom Baker’s horns to huge effect. A great end to a great but underrated album...

Walsh would jump ship and the James Gang continued with other guitarists – namely Dominic Troiano and of course the mercurial Tommy Bolin. Joe would start his amazing solo career with the fabulous "Barnstorm" in 1972 – an album I might even be buried with. But if you want to know why Pete Townshend raved about him then and Daryl Hall had him over to Daryl’s House for a session now, then check out "Thirds", cheap as chips and sounding just as mouth-watering on this June 2000 CD Remaster.

The James Gang were always a solid little rocking American Band – the kind of group you couldn’t help loving and like The Faces or Humble Pie or Grand Funk Railroad - miss 45 years after the event...

"Performance: Rockin' The Fillmore" by HUMBLE PIE (February 2007 to November 2016 Japan-Only 'SHM-CD' Remaster in Mini LP Artwork) - A Review by Mark Barry...





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"...I'm Ready..."

Like so many British Rock Bands (Zeppelin, Purple, Sabbath, Floyd etc) - Humble Pie knew they had to break America. And after four well received but commercially underwhelming studio albums on two different labels (Immediate and A&M) - they finally hit pay dirt by going back to basics. I can still recall the excitement of hearing this beast for the first time in late 1971 - like a Gladiator unleashed on a baying crowd - the Pie 'rocked' like the proverbial sweaty sandals-and-swords blade-swinger with "Performance..." - and how. But which version to buy...

If I'm honest the best version is Omnivore Recordings 4CD monster "Performance: Rockin' The Fillmore - The Complete Recordings" issued USA and UK in October 2013. The UK version on Omnivore Recordings 3751304 (Barcode 602537513048) captures Remasters of all four shows from 28 and 29 May 1971 at The Fillmore East venue in New York as they were played. Seven of these electric versions then formed the basis for the November 1971 double-album we've all known and loved for over four and half decades. But as many will have noticed, that 2013 multiple-disc limited edition has become rare and very pricey in certain circles.

In the absence of anything else (their catalogue is strangely ignored by British reissue companies) - I would suggest this back-to-basics full double-album onto 1CD reissue from November 2016 in Japan. It can be purchased as new for about £22 to £24 online from several sites including Amazon (sometimes less secondhand) – has a 2007 Remaster, Mini LP Gatefold Repro Artwork and both looks and sounds amazing. Here are the Stone Cold Fevers...

Released 23 November 2016 in Japan - "Performance: Rockin' The Fillmore" by HUMBLE PIE on Universal/A&M Records UICY-77979 (Barcode 4988031188125) is an SHM-CD Reissue (Double-Album onto 1CD) in Mini LP Repro Artwork with a 2007 Remaster that plays out as follows (72:39 minutes):

1. Four Day Creep [Side 1]
2. I'm Ready
3. Stone Cold Fever
4. I Walk On Gilded Splinters [Side 2]
5. Rolling Stone [Side 3]
6. Hallelujah (I Love Her So) [Side 4]
7. I Don't Need No Doctor
Tracks 1 to 7 are the live double-album "Performance: Rockin' The Fillmore" - released November 1971 in the UK on A&M Records AMLH 63506 and November 1971 in the USA on A&M Records SP 3506. Produced by HUMBLE PIE - it peaked at No. 32 in the UK and No. 21 in the USA.

HUMBLE PIE was:
STEVE MARRIOTT – Lead Vocals and Lead Guitar
PETER FRAMPTON – Lead Vocals and Guitar
GREG RIDLEY – Bass
JERRY SHIRLEY – Drums

Fans will know that Japan has had a 'long' history of reissuing Humble Pie – in this case a whopping four times on the SHM-CD format alone. Number one came 14 February 2007 on Universal/A&M Records UICY-93221 (Barcode 4988005459756) - that issue featuring SHM-CD technology and Mini LP Repro Artwork (or Paper Sleeve) and most importantly - a new Remaster by Audio Engineer HIDEAKI NISHIMURA (all reissues since have been based on this variant).

Second was 22 April 2009 on Universal/A&M UICY-94068 (Barcode 4988005555175) – again on SHM-CD and Mini LP Artwork. Third arrived as part of the 'Back To The Rock Years...' reissue series on 10 April 2010 – but this time the SHM-CD Universal/A&M Records UICY-20095 (Barcode 4988005638977) came in a standard jewel case only. 

Which brings us to number four and our chosen poison today - the 23 November 2016 variant - essentially yet another reissue of the 2007 Remaster but one that is still on catalogue (the earlier discs are all deleted). The artwork repros the gatefold colour artwork – but as the original tan label A&M double-albums contained no inserts or booklet – your foldout white paper inlay is a basic job – approximated lyrics in English and Japanese with a history of Humble Pie in Japanese and naught else. But the Hideaki Nishimura Remaster is great...

Right from the off you notice that out of the seven songs – six are covers arranged by the Pie with Side 1’s "Stone Cold Fever" being the only band original. So the double felt new at the time – moulding these fantastic R&B, Blues and Soul songs into their own HP variant of British Blues Rock (much like Zeppelin had done so many times). The British Four-Piece that had produced "Humble Pie" in June 1970 and "Rock On" in March of 1971 were on top form and had gelled as a powerhouse Rock Band – miles away from Marriott’s days with The Small Faces and Frampton’s tint with The Herd.

And it's this hybrid of a great band using great tunes that comes storming out at you with their Ida Cox opener "Four Day Creep" – originally a scratchy 78” from 1939 on Okeh 05298 - the original big mama bemoaning that her man might be an opportunist lover and a low-down thief taboot. As Marriott shouts "...aw right!" twice – they launch into a sexy riff and you can just hear how tight Humble Pie are – those twin guitars delivering huge power – a swagger that bands in the early 70ts seemed to have in spades. Then you notice the other double-whammy – the twin vocals of Marriott and Frampton. As track 2 shuffles into play first Marriott works the crowd into a frenzy with his stop-start guitar-and-vocals intro – are you ready – cause this one is a long one! The audience giggles and as soon as that drum whacking beat hits them they’re clapping and in the mid of a fantastic Humble Pie reworking of the Muddy Waters classic "I'm Ready" – Frampton taking over the vocals half way through. At times you think – it just doesn't get any better than this when it comes to Classic Rock.

"...This is something off our album that we haven't played here awhile..." - Marriott shouts in his fabulous cheeky-chappy London accent introducing their "Stone Cold Fever". And off we go again – another killer twin-guitar riff – the two leads working off each other like Thin Lizzy in absolute go-mode. Even now it's a marvel to hear it and the Remaster is just huge. You might think it too much to have one song take up a whole side - but the 23:27 minutes of Dr. John’s voodoo anthem "I Walk On Gilded Splinters" is broken down in such a way as to make it not just palatable but awesome. Starting out with a lone guitar playing soulfully (check out that broken bottle that hits the floor) - The Pie sound like Led Zeppelin in destroy-all-comers form. And cleverly Marriott introduces the Harmonica half way through to liven up the mix - fabulous stuff.

For Side 3 up jumps another one-sider - the 16:10 minute Blues of Muddy Waters "Rolling Stone" that they covered on the "Rock On" LP in March of 1971. Seriously great Marriott guitar comes 'man' like out of his guitar - a fabulous Blues Rock version - and then 'that voice'. As he warbles the 'say I will' lyrics like Johnny Winter losing it - you can hear the crowd reacting - loving the heavy guitar and soloing (even if we do get that clumsy and prudish edited out curse - a beep). Mama takes him another room and tells our hero of her intentions - none of which are decent (ain't had none for a long time).

They bring the gig home with two upbeat covers - Frampton singing Ray Charles' Atlantic Records hit "Hallelujah (I Love Her So)" - the second half taken over by Marriott, then a rare slot by Bassist Ridley. Continuing on with the Brother Ray connection - finally we a Nicholas Ashford and Valerie Simpson hit they penned for him in 1966 on ABC Records -  "I Don't Need No Doctor". Telling the crowd they're going home on Monday and they've had a gas playing in the States - Marriott leads his rocking troupe in a Soul tune that sounds like they wrote it. The crowd baying, clapping wildly, the twin guitars riffing and soloing - the show is brought to a properly memorable end – prescription filled...

Frampton would soon jump ship for what was to ultimately become a hugely successful solo career - while Humble Pie would return with the excellent but overlooked studio album "Smokin'" in 1972. But after the monster that was "Performance..." - I suppose a single LP in a rather boring sleeve felt like an anti-climax (even if in hindsight – it wasn’t).

I've always loved Humble Pie and many rate this as one of their many highlights and easily up there as one of the all-time great live double-albums – a British/American lightning-in-a-bottle moment that only grows in stature as the years pass.

We would lose Marriott in 1991 aged only 44 from a horrible home-fire accident – robbing the world of one of the great front men and characters in Rock (much like the equally beloved Ronnie Lane). I miss him and them – and this reissue had brought that home with a hammer blow. And isn't that the best compliment of all...

The Japan-Only 23 November 2016 Series of
HUMBLE PIE SHM-CD Reissues in Mini LP Repro Artwork are:

1. "Humble Pie" (July 1970) – Universal/A&M UICY-77977 (Barcode 4988031188101)
2. "Rock On" (March 1971) – Universal/A&M UICY-77978 (Barcode 4988031188118)
3. "Performance: Rockin' The Fillmore” (November 1971, Live 2LP Set onto 1CD) – Universal/A&M UICY-77979 (Barcode 4988031188125)
4. "Smokin'" (March 1972) – Universal/A&M UICY-77980 (Barcode 4988031188132)
5. "Eat It" (April 1973, 2LP Set onto 1CD) – Universal/A&M UICY-77981 (Barcode 4988031188149)
6. "Thunderbox" (February 1974) – Universal/A&M UICY-77982 (Barcode 4988031188095)
7. "Street Rats" (February 1975) – Universal/A&M UICY-77983 (Barcode 4988031188156) – 11 Tracks
8. "Street Rats – UK Version" (February 1975) – Universal/A&M UICY-77984 (Barcode 4988031188163) – 15 Tracks