"Torrid Zone: The Vertigo Recordings 1970-1975" by NUCLEUS and IAN CARR (29 March 2019 UK Esoteric Recordings 6CD Clamshell Box - Paschal Byrne Remasters) - A Review by Mark Barry...

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

"...Labyrinth..."

Including the 1971 Albums "We'll Talk About It Later" and "Solar Plexus" on Vertigo 

Scottish Trumpeter IAN CARR (raised in Newcastle) has deserved this kind of lavish clamshell-dom for some time now. But fans will quickly clock that nine album front covers onto six card sleeves does not artwork go. I say this because on opening this still brilliant Esoteric Recordings mini box set (which the spirit of textured gatefold LP sleeves within me has been looking forward to for some time) - I have to confess to being slightly crest-fallen. Five of the single CD card sleeves reflect the original and cool Roger Dean and Keith Davis artwork for sure (disc three has the October 1972 Ian Car solo album "Belladonna") – but my fave die-cut for their brilliant debut "Elastic Rock" had to be replaced with a period image instead. Boo hoo...

But not to fear my elasticated rocking alley cats – this Jazz Rock Prog-tastic monster hasn’t missed anything else that I can see - all of the original artwork inside and out is repro’d faithfully in the substantially chunky booklet, alongside a whole lot more from magazine and personal archives, most of it seeing the 2019 light of day for the first time in nearly five decades.

But for me, best news is the new Audio - fabulous Paschal Byrne Remasters taken from original Vertigo Records mastertapes, which for my money is one of 'the' reasons for fan purchase. Sweet as a zone that’s torrid (as they say in pre Brexit Brussels). There's a veritable magma flow of solar plexus blowhard horns and synths to wade through, so once more my swirl label devotees unto the die-cut breach...

UK released Friday, 29 March 2019 (5 April 2019 in the USA) - "Torrid Zone: The Vertigo Recordings 1970-1975" by NUCLEUS & IAN CARR on Esoteric Recordings ECLEC 62663 (Barcode 5013929476301) is a 6CD Clamshell Box Set offering 9 albums in full (no other bonuses) and plays out as follows:

Disc 1 (64:42 minutes):

1. 1916 [Side 1]

2. Elastic Rock

3. Striation

4. Taranki

5. Twisted Track

6. Crude Blues (Part One)

7. Crude Blues (Part Two)

8. 1916 - The Battle Of Boogaloo

9. Torrid Zone [Side 2]

10. Stonescape

11. Earth Mother

12. Speaking For Myself, Personally, In My Own Opinion, I Think...

13. Persephones Jive

Tracks 1 to 13 are their debut album "Elastic Rock" [as NUCLEUS] - released June 1970 in the UK on Vertigo 6360 008 (no US issue) - Produced by PETE KING. 

14. Song For The Bearded Lady [Side 1]

15. Sun Child

16. Lullaby For A Lonely Child

17. We'll Talk About It Later

Tracks 14 to 17 are Side 1 of their second album "We'll Talk About It Later" [as NUCLEUS] - released February 1971 in the UK on Vertigo 6360 027 (no US issue) - Produced by PETE KING.

Disc 2 (67:27 minutes):

1. Oasis [Side 2]

2. Ballad Of Joe Pimp

3. Easter 1916

Tracks 1 to 3 are Side 2 of their second album "We'll Talk About It Later" [as NUCLEUS] - released February 1971 in the UK on Vertigo 6360 027 (no US issue) - Produced by PETE KING.

4. Elements I & II [Side 1]

5. Changing Times

6. Bedrock Deadlock

7. Spirit Level

8. Torso [Side 2]

9. Snakehips Dream

Tracks 4 to 9 are their third studio album "Solar Plexus" [as IAN CARR with NUCLEUS] - released June 1971 in the UK on Vertigo 6360 039 (no US issue) - Produced by PETE KING.

IAN CARR - Trumpet and Flugelhorn

BRIAN SMITH - Tenor and Soprano Saxophone and Flute

KARL JENKINS - Baritone Saxophone, Oboe, Piano and Electric Pianos

CHRIS SPEDDING - Guitar

JEFF CLYNE - Bass Guitars

JOHN MARSHALL - Drums and Percussion 

Above line-up for the first two LPs, but for "Solar Plexus", these additional:

Kenny Wheeler and Harry Beckett on Trumpets (Tracks 4, 5, 8 and 9)

Tony Roberts – Tenor Saxophone, Bass and Clarinet

Ron Matthewson – Bass

Keith Winter – VCS3 Synthesiser

Disc 3 (65:56 minutes):

1. Belladonna [Side 1]

2. Summer Rain

3. Remadione [Side 2]

4. May Day

5. Suspension

6. Hector's House

Tracks 1 to 6 are the album "Belladonna" [by IAN CARR] – released October 1972 in the UK on Vertigo 6360 076 (no US issue) – Produced by JON HISEMAN of Colosseum

IAN CARR - Trumpet and Flugelhorn

BRIAN SMITH - Tenor and Soprano Saxophone, Alto and Bamboo Flute

DAVE MacRAE – Fender Electric Piano

ALAN HOLDSWORTH – Guitar

ROY BABBINGTON – Bass Guitar

CHRIS THACKER - Drums

7. Origins [Side 1]

8. Bull Dance

9. Ariadne

10. Arena

Tracks 7 to 10 are Side 1 of the album "Labyrinth" [by IAN CARR with NUCLEUS] – released July 1973 in the UK on Vertigo 6360 091 (no US issue) – Produced by IAN CARR and ROGER WAKE

Disc 4 (73:59 minutes):

1. Arena/Exultation [Side 2]

2. Naxos

Tracks 1 to 2 are Side 2 of the album "Labyrinth" [by IAN CARR with NUCLEUS] – released July 1973 in the UK on Vertigo 6360 091 (no US issue) – Produced by IAN CARR and ROGER WAKE

IAN CARR - Trumpet and Flugelhorn

BRIAN SMITH - Tenor and Soprano Saxophone, Flute

DAVE MacRAE – Fender Electric Piano

ALAN HOLDSWORTH – Guitar

ROY BABBINGTON – Bass Guitar

CHRIS THACKER – Drums

Plus Guests:

Kenny Wheeler – Trumpets and Flugelhorn

Norma Winstone – Vocals

Paddy Kingsland – VCS3 Synthesiser

Trevor Tomkins – Percussion

Tony Levin – Drums

3. Roots [Side 1]

4. Images

5. Caliban

6. Whapatiti [Side 2]

7. Capricorn

8. Odokamona

9. Southern Roots And Celebration

Tracks 3 to 19 are the album "Roots" [by IAN CARR’S NUCLEUS] – released November 1973 in the UK on Vertigo 6360 100 (no US issue) – Produced by FRITZ FRYER

IAN CARR – Trumpet

BRIAN SMITH – Tenor and Soprano Saxophone, Flute and Bamboo Flute

DAVID MacRAE – Electric and Acoustic Piano

JOCELYN PITCHEN – Guitars

ROGER SUTTON – Bass

CLIVE THACKER – Drums (Percussion on "Images")

AUREO de SOUZA – Percussion (Drums on "Images")

JOY YATES - Vocals

10. In Procession [Side 1]

11. The Addison Trip

12. Pastoral Graffiti

13. New Life

14. A Taste Of Sarsaparilla

Tracks 10 to 14 are Side 1 of the album "Under The Sun" [by NUCLEUS] – released October 1974 in the UK on Vertigo 6360 110 (no US issue) - Produced by FRITZ FRYER.

Disc 5 (67:24 minutes):

1. Theme 1 - Sarsaparilla

2. Theme 2 - Feast Alfresco

3. Theme 3 - Rites Of Man

Tracks 1 to 3 are Side 2 of the album "Under The Sun" [by NUCLEUS] – released October 1974 in the UK on Vertigo 6360 110 (no US issue) - Produced by FRITZ FRYER.

IAN CARR – Trumpet and Flugelhorn

BOB BERTIES – Alto and Baritone Saxophone, Bass Clarinet and Flute

GORDON BECK – Electric Piano and Percussion (Solo on "Sarsaparilla")

GEOFF CASTLE – Electric Piano and VCS3 Synthesiser (Piano on "A Taste Of Sarsaparilla")

JOCELYN PITCHEN – Guitars (Solo on "New Life")

KEN SHAW – Guitars (Ring Modulated Piano on "In Procession")

ROGER SUTTON – Bass

BRYAN SPRING – Drums, Tympani and Percussion

Guests:

Keiran White (of Steamhammer) sings Vocals on "The Addison Trip"

4. Rat's Bag [Side 1]

5. Alive And Kicking

6. Rachel's Tune

7. Snakehips Etcetera [Side 2]

8. Pussyfoot

9. Heyday

Tracks 4 to 9 are the album "Snakehips Etcetera" [by NUCLEUS] – released April 1975 in the UK on Vertigo 6360 119 and Sire SASD-7508 in the USA (first album by Nucleus issued in America) - Produced by JON HISEMAN of Colosseum.

Disc 6 (41:22 minutes):

1. Phaideaux Corner [Side 1]

2. Alleycat

3. Splat [Side 2]

4. You Can't Be Sure

5. Nosegay

Tracks 1 to 5 are the album "Alleycat" [by NUCLEUS] – released November 1975 in the UK on Vertigo 6360 124 (no US issue) - Produced by JON HISEMAN of Colosseum.

Line-Up for both "Snakehips Etcetera" and "Alleycat"

IAN CARR – Trumpet, Flugelhorn, Acoustic Piano, Moog, Percussion

BOB BERTIES – Alto, Baritone and Soprano Saxophones, Flute, Voice

KEN SHAW – Guitars and Percussion

GEOFF CASTLE – Keyboards, Moog, Percussion

ROGER SUTTON – Bass

ROGER SELLERS – Drums and Percussion

Guest:

Trevor Tomkins – Percussion on "Phaideaux Corner" and "Alleycat" on the "Alleycat" album

Compiled and co-ordinated by MARK POWELL with full involvement from those still around the band, the 48-page booklet is an impressive affair and very proudly flaunts the boxes of original Vertigo master tapes across its many picture-festooned pages (along with all of that dinky Roger Dean artwork). Noted writer SID SMITH (who did the liner notes for the impressive Panegyric 'Definitive Edition' CD and BLU RAY reissues of YES) digs in deep for a history across nine studio albums beginning with Carr’s career as part of the Don Rendell Quartet (1965 to 1969) on to Best Group awards at The Montreaux Jazz Festival and celebrated dates in the USA. There are promo pages from Phonogram (who distributed Vertigo), a concert poster for the Queen Elizabeth Hall where a program would set you back a frankly extortionate 10p (ten new pence to you mate) and so on. To the music...

I suspect the last time anyone had these albums on CD in their mits was the 2005 Repertoire reissues – here the Audio is not so in-your-face – warmer and fuller. Spedding trades his guitar licks with the horns of Ian Carr and Karl Jenkins on "Taranaki" – a Karl Jenkins mellow instrumental on Side 1 of "Elastic Rock" and two things are apparent – the band has been listening to Miles Davis and his 1969 Columbia/CBS Records output for a entire year and that the Remaster is fantastic. Sure the separation of instruments is a tad harsh but man are they reproduced well in this transfer. Again the Chris Spedding intro to "Earth Mother" over on Side 2 accompanied by some heavy Oboe soloing is clear and present – Jeff Clyne on Bass. Another moment of remaster clarity comes with the drums, guitar and brass unison opening of "Crude Blues (Part Two)" – a short but very cool opening to Side 2 of the album. Many fans rate "Elastic Rock" as a brilliant account-opener and they’d be right – apart from the one and half-minute drum nonsense of "Speaking For Myself..." – there is hardly a wasted moment.

Issued in February 1971, the proper full-on Jazz-Prog-Rock of "Song For The Bearded Lady" from their second album "We'll Talk About It Later" was chosen as the representative track for the "Time Machine" 3CD Box Set covering Vertigo Records in 2005 ("Torrid Zone" from the 1970 debut album is in there too). And frankly it’s easy to hear why – a neck-jerking seven and a half-minute instrumental workout with clever musical breaks and a hat-tip to King Crimson over on Island Records. Spedding gets to wah-wah his gee-tar on the Clyne/Marshall jabber "Sun Child" behind Carr and Jenkins letting it rip. Miles Davis pretty surfaces in the guise of "Lullaby For A Lonely Child", but the echoed vocals of "Easter 1916" Zappa-fy the album finisher too much for me (and not in a good way).

By the time we reach album three, Ian Carr has taken over composition of all tracks. Guests Kenny Wheeler on Flugelhorn and Tony Roberts on Tenor Sax act as the soloists on "Changing Times" – Nucleus getting Funky. Karl Jenkins does the Oboe solo on the sad Tudor soundscape of "Bedrock Deadlock" with Jeff Clyne drawing his bow across large Double Bass strings before the six and half-minute track takes a sudden and unexpected Funky direction change with a treated guitar from Spedding (very clever and sounding spiffing on this transfer). Confirming its rep as a quality Nucleus outing, the album ends on an epic 15-minute slink – "Snakehips’ Dream" – a tribute to a lady dancer Carr once knew called "Snakehips" Johnson. It’s the first time for me that the keyboards/guitar battles get pride of place – and it so works (best track they ever did methinks).

The inevitable Ian Carr solo album arrived in October 1972 in the shape of "Belladonna" – again its six lengthy instrumentals steeped in the smooze of IC’s acknowledged hero – Miles Davis. The transfer on the lovely and nay even sexy "Summer Rain" is so sweet – with newcomer Dave MacRae bringing his keyboard chops to the party. Jon Hiseman’s production certainly amps up the Alan Holdsworth Guitar and Brian Smith Brass blasts on "Hector's Party" – a song that sounds exactly like its hep title.

A muscular loincloth-clad gladiator brute-type manhandles a Minotaur on the front cover of "Labyrinth" – Nucleus commissioned by the Park Lane Group (with Arts Council funding) to create music based on the antiquities myth (Athens vs. Crete etc). They augmented the band with so many musicians that they literally get a credits ‘Plus’ on the front sleeve – amongst the names being Norma Winstone on Vocals with ace sessionman Tony Levin on Drums (years later he would become the defacto kit-man for Peter Gabriel’s touring band). It opens with the suitably ominous danger inherent in the stabby "Origins" only to go all Bullet bass lines chase sequence on the sexy "Bull Dance". Shimmering Greenslade-type electric piano notes open seven minutes of the excellent "Ariadne" with Norma Waterstone’s high-flying vocals singing of seekers and their detractors - while over on Side 2 the two lengthy workouts "Exultation" and "Naxos" bring the ancient tale into serious Prog-Fusion mode.

Highlights from albums five to nine include the first-time-on-CD appearance of the much-sampled "Roots" LP from November 1973 – resplendent here on CD 4 with its fab Keith Davis designed sleeve. Super cool slow-Drums and Brass-jabbing Grooves give the title track the feel of a Seventies Cop TV show where some Superslick Detective falls in love with a babe from the driver’s seat of his cigarettes ‘n’ coffee filthy car (fantastic remaster too). The cool continues with "Images" where Joy Yates Jazz-moans her words as the British lads smooze the backbeat. "Caliban" sees Nucleus once again embrace their inner Billy Cobham by way of Donald Byrd – funky and sounding like a dead ringer for the sequel "Baby Driver 2: Behind The Wheel Again". Keiran White of Steamhammer moans scat vocals on the hipster Jazz-Funk of "The Addison Trip" while Roger Sutton lets rip on a Bass solo.

The "Under The Sun" album is probably the most Jazz of the lot while I’ve always been partial to the Jon Hiseman produced "Snakehips Etcetera" LP with its garish glossy laminate sleeve (fave tracks "Alive And Kicking" and "Pussyfoot"). And on it goes...

For sure listening to nine albums worth of Jazz Rock, Prog Fusion and even Jeff Beck like funkiness may prove too much for the uninitiated – but I’ve loved this vaults trawl. And how good is it to see the missing digital hole of "Roots" finally be filled and in such Audio style too.

As Sid Smith quite rightly points out in his typically excellent liner notes, bands like Chick Corea’s Return To Forever and John McLaughlin’s Mahavishnu Orchestra probably sold more album on Columbia/CBS in a month than poor Ian Carr did across six years in Blighty - even when Prog Rock and Fusion were literally flavour of the year in 1973 and 1974 – regularly nabbing the No. 1 spot on the LP charts for ELP, Yes, Jethro Tull and Top 5 for Genesis.

But spare a moment for the nine-LP Spice Girls of Jazz-Rock – NUCLEUS. They may have only charted their debut album for one miserly week in 1970 (at No. 46) - but their consistent (yet commercially ignored) brilliance is reflected in this jam-packed box. Man, I could even forgive Ian Carr’s seriously garish Tartan trousers on Page 41 of the booklet as he giggles at the advances of a scantily clad lady in hots pants threatening to do things to his improvisational ass with a Bottle of Stout that may have worried those nice people over at the BBC. Them were the days baby. Recommended and well-done to all 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...

"Five Albums On Three Discs" by MIKE COOPER (22 March 2019 Beat Goes On Reissue - 5LPs onto 3CDs Plus Bonuses) - A Review by Mark Barry...

"...Looking Back..."

Including the 1971 album "Places I Know" on Dawn Records (UK)

How here's a treat, and a lot of it too. Hailing out of Reading in Berkshire, our Guitar-playing Harmonica-ingesting British hero MIKE COOPER sees his first five platters between 1969 and 1973 be given the BGO treatment - New Remasters, Digipak presentation and even three bonus tracks – rare stand alone single sides from 1970 and 1972 on Dawn Records.

His musical styles and influences progressed from Roots Blues, Folk and Americana in 1969 (on Pye) through to 1971’s Folk and Country Rock aided and abetted by guest players taken a hiatus from their day jobs as Jazzers in groups like Mike Westbrook’s Quintet, Nucleus and The John Dummer Band. The very Neil Young "Places I Know" set from 1971 is a collaboration album with Michael Gibbs and his next ensemble group 'The Machine Gun Co.' Playing superb 12-string guitar on one of Cooper's 'you never see them' British singles "Your Lovely Ways (Part 1 & 2)" is none other than Chris Spedding (it's the first of three bonus tracks tail-ending on Disc 3). There's a wad of open tunings to wade through, so let’s get at it...

UK released Friday, 22 March 2019 (29 March 2019 in the USA) - "Oh Really?!/Do I Know You?/Trout Steel/Places I Know/The Machine Gun Co. with Mike Cooper/Bonus Tracks" by MIKE COOPER on Beat Goes On BGOCD 1371 (Barcode 5017261213716) offers 'Five Albums On Three Discs' plus Three Bonus Single Sides and plays out as follows:

Disc 1 (73:30 minutes):

1. Death Letter [Side 1]

2. Bad Luck Blues

3. Maggie Campbell

4. Leadhearted Blues

5. Four Ways

6. Poor Little Annie

7. Tadpole Blues [Side 2]

8. Divinity Blues

9. You're Gonna Be Sorry

10. Electric Chair

11. Crow Jane

12. Pepper Rag

13. Saturday Blues

Tracks 1 to 13 are his debut album "Oh Really?!" - released February 1969 in the UK on Pye Records NSPL 18281 in Stereo and in the USA on Janus JLS-3004. Mike Cooper on Vocals and Guitar with Derek Hall on Second Guitar.

14. The Link [Side 1]

15. Journey To The East

16. First Song

17. Theme In C

18. Thinking Back

19. Thinks She Knows Me Now [Side 2]

20. Too Late Now

21. Wish She Was With Me

22. Do I Know You?

23. Start Of A Journey

24. Looking Back

Tracks 14 to 24 are his second studio album "Do I Know You?" - released March 1970 in the UK on Dawn Records DNLS 3005 and 1970 in the USA on Janus JLS-3021. Mike Cooper on Guitar, Vocals and Slide with Harry Miller of The Mike Westbrook Quartet on Double Bass

Disc 2 (70:40 minutes):

1. That's How [Side 1]

2. Sitting Here Watching

3. Goodtimes

4. I've Got Mine

5. A Half Sunday Homage To A Whole Leonardo Da Vinci (Without Words By Richard Brautigan)

6. Don't Talk Too Fast [Side 2]

7. Trout Steel

8. In The Mourning

9. Hope You See

10. Pharaoh's March

11. Weeping Rose

Tracks 1 to 11 are his third album "Trout Steel" - released November 1970 in the UK on Dawn Records DNLS 3011 (no USA issue)

12. Country Water [Side 1]

13. Three-Forty Eight

14. Night Journey

15. Time To Time

Tracks 12 to 15 are Side 1 of his fourth album "Places I Know" credited to Mike Cooper with The Machine Gun Co. and Michael Gibbs - released November 1971 in the UK on Dawn Records DNLS 3026 (no USA issue)

Disc 3 (75:35 minutes):

1. Paper And Smoke [Side 2]

2. Broken Bridges

3. Now I Know

4. Goodbye Blues, Goodbye

5. Places I Know

Tracks 1 to 5 are Side 2 of his fourth album "Places I Know" credited to Mike Cooper with The Machine Gun Co. and Michael Gibbs - released November 1971 in the UK on Dawn Records DNLS 3026 (no USA issue). "Night Journey" and "Paper And Smoke" feature The Machine Gun Company [Co.] - Alan Cook on Piano, Bill Boazman, Geoff Hawkins on Saxophone and Pipes, Jeff Clyne of Nucleus, John Van Derrick, Laurie Alan, Les Calvert on Bass and Tim Richardson on Percussion with Chorus Vocals by Gerald Moore of Reggae Guitars, Jean Oddie and Jazz Vocalist Norma Winstone

6. Song For Abigail [Side 1]

7. The Singing Tree

8. Midnight Words

9. So Glad (That I Found You) [Side 2]

10. Lady Anne

Tracks 6 to 10 are his fifth studio album "The Machine Gun Co. with Mike Cooper" - released November 1972 in the UK on Dawn DNLS 3031 (no USA issue).

BONUS TRACKS:

11. Your Lovely Ways (Part 1 & 2) - UK 1970 7" Maxi EP single on Dawn Records DNX 2501, A-side, Non-Album

12. Time In Hand - UK 1972 7" single on Dawn Records DNS 1022, A-side, Non-Album

13. Schaabisch Hall - UK 1972 7" single on Dawn Records DNS 1022, B-side, Non-Album Instrumental

Tracks 11, 12 and 13 featuring Chris Spedding on 12-String Guitar

As far as I know this is only the second time BGO has used fold-out digipaks (Sonny & Cher was the other in 2018) and I must say I miss the classiness of the outer card slipcase because the four-panel digipak is a bit weedy and although every see-through tray has original artwork beneath it – this is one of those cases where you wish they’d done a Grapefruit Records reissue and stuck three card sleeves in a clamshell box with a bigger booklet. At 24-pages you get all the original artwork and new liner notes from noted writer JOHN O’REAGAN – but I think it ‘feels’ like one of those crappy Universal Deluxe Editions without the plastic titled slipcase.

And in 2006 when Japan reissued his most popular album "Trout Steel" on a SHM-CD with original repro artwork – they included both seven-minute sides of his 1970 Dawn Records single as two Bonus Tracks - "Your Lovely Ways (Part 1 & 2)" with its B-side "Watching you Fall (Part 1 & 2)". I mention this because "Watching you Fall (Part 1 & 2)" is not here – a damn shame because as you can from the total playing time for Disc 2, there was room for one more important inclusion. But these are minor complaints because the real spoils lie in new 2019 ANDREW THOMPSON Remasters that lift up the primarily acoustic-based music beautifully. This threesome sounds gorgeous and the music deserves it too.

The first album is pure Folk Blues – Acoustic one-man renditions by way of Scunthorpe – all songs originals except for the two openers – a cover of the Son House doomy classic "Death Letter" and a Blind Boy Fuller song called (not surprisingly) "Hard Luck Blues". The debut is a beginning and you can hear it – the whole album quietly good, but more functional than inspiring. But when Cooper hit the second platter "Do I Know You?" – it’s like he suddenly found his voice – the songs more distinctively him than copyist styling of some Americana dream. The most immediate comparison is Michael Chapman over on Harvest Records (the playing and voice) – the opening instrumental "The Link" getting a huge acoustic sound (like a 12-string). That promising entrée is followed by an impressive Roy Harper-ish duo of tunes "Journey To The East" and "First Song". Birdies and Froggies chirp and croak for the intro of "Them In C", a Bluesy Slide Acoustic with treated vocals that sound like Ray Dorset discovering the Delta as it segues into "Thinking Back". Other winners include the pretty but painful "Too Late Now", the panned Gallagher & Lyle acoustic guitars of "Wish She Was With Me" and the tidal wash of "Start Of A Journey".

Everything has changed Cooper sings on "That’s How" – another familiar acoustic strummer that opens album number three "Trout Steel". Stefan Grossman and Bill Boazman guest on guitars as do Mike Osbourne, Alan Skidmore and Geoff Hawkins on varying Horns. Very cool acoustic soloing on "Sitting Here Watching" while the run-together title "Goodtimes" feels like jolly Gallagher & Lyle or Ronnie Lane’s Slim Chance rehearsing some slide acoustic melodies. The eleven-minutes-plus of "I’ve Got Mine" feels like experimental John Martyn, a bedroom of acoustic picking jabbed by Jazz musicians who know how to feel out something special – probably the album’s best moment – and something even Prog Folk lovers will crave.

After the acoustic-based Blues and Folk variations of the first three albums, the overtly Country-Rock of "Places I Know" feels like you’ve stumbled on Plainsong making their debut album - only a year earlier. At times "Three-Forty Three" even feels like Neil Young circa 1970 or Lindisfarne contemplating the Fog On The Tyne. While the Bluesy groove of "Night Journey" is uncomfortably close to Dylan and his Blonde On Blonde gem "Pledging My Time" – even the way the sliding guitar strings build. But Roy Harper type greatness comes in the epic 8:30 minutes of the Side 1 finisher "Time To Time" – all strummed acoustics and Alan Cook giving us aching piano echoing in the background only to be joined by gorgeous Norma Winstone and Chorus ooh and aahs as the strum builds – you don’t know, the way she can be from...

The strangely deflated mellow of "Song For Abigail" opens "The Machine Gun Co. with Mike Cooper" album – the whole LP apparently supposed to have been the second half of the double-album "Places I Know". The fourteen-minute John Martyn Guitar and Rock Fusion noodle that is "So Glad (That I Found You)" is either going to test you or thrill you. But as much as I try to like the tunes, few move me and I can’t help thinking this half of the double was canned for a reason. Way prettier and a reminder of his fresh-faced genius is the ultra-rare 1970 single Mike Cooper "Your Lovely Ways (Part 1 & 2)" with Chris Spedding elevating its seven minutes to gorgeousness by way of his 12-string guitar playing – Michael Gibbs directing the cello. Given a picture sleeve (repro’d on Page 16) – it was a Maxi single that played at LP speed and along with "Time In Hand" and its piano-ballad B-side "Schaabisch Hall" end Disc 3 on a high.

For sure not everything here is undiluted Mike Cooper genius (Michael Chapman or Roy Harper would thrash him song-wise any day of the week). But there is also a great deal to love and it’s been decades since I heard it all sound so well. Maybe next time though BGO – go for that clamshell box and some tasty card sleeves...

"Earth Wind And Fire/The Need Of Love" by EARTH, WIND AND FIRE (October 2018 Beat Goes On Reissue - 2LPs Remastered Onto 1CD) - A Review by Mark Barry...

"...Fan The Fire..."

Including two albums "Earth, Wind And Fire" and "The Need Of Love" from 1971 

Most folks know Maurice White's mighty Soul and Funk machine EARTH, WIND & FIRE through their Columbia Records output which almost immediately made huge inroads into the US R&B charts - "Last Days And Time" and "Head To The Sky" hit No. 15 and No 3 in 1973 whilst their 1974 platter "Open Our Eyes" went all the way to number one. Later in 1975, 1977 and 1979 they hit those top slots again and again – massive sales, global hits. You could safely say then that EWF were huge right from the get go...

But spare a thought for their other big label beginnings because that's what you're getting here - their first two American albums on Warners Brothers issued in the spring and winter of 1971 (no UK variants of either). And what utter musical blasts they are – righteous Soul and Funk and Fusion before the big hair, the big offices and the big limos. All this and a killer cover of a Donny Hathaway classic - you could say I'm a convert. Let's get to the 'everything is everything' details...

UK released Friday, 12 October 2018 (19 October 2018 in the USA) - "Earth, Wind And Fire/The Need For Love" by EARTH, WIND AND FIRE on Beat Goes On BGOCD 1358 (Barcode 5017261213587) offers 2LPs Remastered onto 1CD that plays out as follows (61:56 minutes):

1. Help Somebody [Side 1]

2. Moment Of Truth

3. Love Is Life

4. Fan The Fire

5. C'mon Children [Side 2]

6. This World Today

7. Bad Tune

Tracks 1 to 7 are their self-titled debut album in full "Earth, Wind And Fire" - released March 1971 in the USA on Warner Brothers WS 1905 (no UK issue). It peaked on the US R&B LP chart at No. 24 (17 week stay).

8. Energy [Side 1]

9. Beauty

10. I Can Feel It In My Bones [Side 2]

11. I Think About Lovin' You

12. Everything Is Everything

Tracks 8 to 12 are their second studio album "The Need Of Love" - released November 1971 in the USA on Warner Brothers WS 1958 (no UK issue). It peaked at No. 35 in the USA.

You get the usual classy card slipcase (jewel case within), a 20-page booklet that repros all the original artwork and has typically in-depth new liner notes from Mojo Magazine's main Soul and Jazz contributor - CHARLES WARING. The nine-ten piece ensemble are pictured and you get platter-by-platter analysis of their extraordinary career - right up to the sad passing of their Memphis founder Maurice White in 2016 aged 74. But of course the big news for fans is the availability of both albums and presented here in High Def with new Remasters from BGO’s long-standing Audio Engineer ANDREW THOMPSON. This CD sounds fantastic as befits the original Joe Wissert Productions. Let’s get to the flames...

The moment the funky opener "Help Somebody" hits the speakers, I can hear the uplight from the mid Nineties euro CD - the ten-piece bopping and jabbing with real power. "Moments Of Truth" feels like Kool & The Gang giving it some y'all with a James Brown backing beat. Smooch-city comes at ya with "Love Is Life", a tune that feels a tad forced despite its positivity message. "Fan The Flame" features some Isley Brothers wild guitar soloing while "C'mon Children" is full-on Sly & The Family Stone 1971 Funk. "Bad Tune" ends a good opening album gambit well, but there's still a feeling that the group hasn't hit on that winning hook just yet.

Album number two opens with nine-minutes of "Energy" - a very Jazz Fusion number with Oscar Brashear providing the wild Miles Davis trumpeting. For sure it's going to be an acquired taste as a girly voice tells us "...as we float through time as energy, seeking no place, filling all space..." - you may want to light that Joss Stick and slap that Prana slipmat on your Garrard. "Beauty" feels far better - a pretty little blossom of Soul-Funky optimism - nice vocal breaks throughout as the 'open up your heart' choruses build. Harmonica opens "I Can Feel It In My Bones" - the kind of fuzzed-up guitar Funk that shows up on those "Funk Drops" CD compilations where someone smarter than you or I reminds us that we missed a 'What It Is' moment on Earth, Wind & Fire's second album. While the six minutes of "I Think About Lovin' You" benefits from Sherry Scott's lovely vocal turn, the tune feels a little too dangerously close to pastiche and the album is saved by a spirited cover version of that fabulous Donny Hathaway song "Voices Inside (Everything Is Everything)" - here shortened to "Everything Is Everything".

You wouldn't call these two albums masterpieces by any stretch of the imagination - EWF feeling for a direction more than finding one. But there's good to savour on here, and presented in such a classy way and with such top Audio, is going to make fans very happy indeed...