There's Something About 1971...

Welcome to Mark Barry's Review Site for quality CD Reissues and Exceptional Remasters. This Blog String deals with 1971 - see also my separate Blog for 1970 reissues. Genres include Rock and Pop, Soul, Funk and Jazz Fusion, Blues, Rhythm 'n' Blues, Doo Wop and Vocal Groups, Prog, Psych, Reggae, Punk/Garage and New Wave. I also extensively review Blu Ray issues for Modern and Classic Movies. CROSS-REFERENCED INDEX AT THE END OF THE BLOG. Rants, Raves and High Geekery...

Monday, 3 April 2017

"Straight Up" by BADFINGER [feat Todd Rundgren and George Harrison] (October 2010 Apple 'Expanded Edition' CD – Guy Massey, Steve Rookes, Sam Okell and Simon Gibson Remasters) - A Review by Mark Barry...

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"...A Game We've Been Playing For So Long..."

Monday 25 October 2010 in the UK saw 14 of the 'Apple' label Sixties and Seventies albums remastered and reissued (see list below) - alongside a first-time-ever label 'Best Of' compilation CD not surprisingly called "Come And Get It" (named after a huge BADFINGER hit penned by Paul McCartney specifically for the band). This zippy little expanded CD reissue of their 3rd album "Straight Up" is one of them.

UK released October 2010 - "Straight Up" by BADFINGER on Apple 5099964244020 (Barcode is the same) is an 'Expanded Edition' CD Remaster with Six Bonus Tracks that breaks down as follows (61:50 minutes):

1. Take It All

2. Baby Blue

3. Money

4. Flying

5. I'd Die Babe

6. Name Of The Game

7. Suitcase

8. Sweet Tuesday Morning

9. Day After Day

10. Sometimes

11. Perfection

12. It's Over

Tracks 1 to 12 are the Stereo LP "Straight Up" released late December 1971 in the USA on Apple SW-3387 and 4 February 1972 on Apple SAPCOR 19 in the UK (it reached number 31 on the American Billboard Top 100).

BONUS TRACKS:

Tracks 13 to 18 are bonus tracks exclusive to this 2010 CD reissue:

13. "I'll Be The One" is a band composition that was once muted as a possible UK Apple single (no number allocated), but never released

14. "Name Of The Game" (a Pete Ham song) was also considered for a single (Apple 35), but again never issued

15. "Baby Blue" (a Pete Ham song) was also considered for a UK single (Apple 42), but again withdrawn. It was, however, released in the USA on Apple 1844 in April 1972 and rose to number 14 on the Billboard charts. With added reverb on the drums, it's presented here as the `US Single Mix' - its B-side is the album track "Flying"

16. "Baby Please" (Pete Ham/Joey Molland/Mike Gibbins song) is previously unreleased

17. "No Good At All" (Tom Evans song) is previously unreleased

18. "Sing For The Song" (Tom Evans song) is previously unreleased

Requiring extra payment, there are also 7 more tracks available via Digital Download from iTunes or Amazon - "Money (Earlier Version)", "Flying (Earlier Version)", "Perfection (Earlier Version)", "Suitcase (Earlier Version)", "Sweet Tuesday Morning (Earlier Version)", "Mean Mean Jemima" and "Loving You" (see either site for cost details).

BOOKLET/PACKAGING:

The front & rear of the original vinyl LP sleeve is reproduced on the gatefold card sleeve, while noted writer and music lover ANDY DAVIS does the new liner notes for the booklet (they're all a disappointingly weedy 12 pages long - EMI pushes the boat out again people). But with what little text he has been afforded, Davis does at least fill it with properly informative details - and there are black & white studio shots of the band - PETE HAM, TOM EVANS, JOEY MOLLAND and MIKE GIBBINS. It's cute, but you do wish there was more...

PLAYERS/CONTENT:

Studio wizard TODD RUNDGEN famously produced the album except for "I'd Die, Babe", "Name Of The Game" and "Suitcase" - these had GEORGE HARRISON at the controls (he also played Guitar on "I'd Die, Babe"). The `bonus tracks' were produced by GEOFF EMERICK of Beatles/Abbey Road fame - except for "Baby Blue (US Single Mix)" which was Rundgren.

SOUND:

The same team that handled the much-praised 09/09/09 Beatles remasters has done this too - GUY MASSEY, STEVE ROOKES, SAM OKELL and SIMON GIBSON. The audio quality is BEAUTIFUL - a massive improvement - makes you reassess a lot of the songs.

Their 2nd album "No Dice" from 1970 is a gem, but Badfinger surpassed even that with "Straight Up" - leagues ahead of their patchy 1969 debut both in terms of songwriting quality and sheer polish. This is immediately evident on the two Pete Ham openers - "Take It All" and "Baby Blue" - the Todd Rundgren production values on the guitars and drums now so clear. "Money" with its "buys you freedom" lyrics has great chunky guitars and harmony vocals, while "Flying," sounds not unlike 10cc circa "The Original Soundtrack". The liner notes tell us that Beatle George was literally dancing in the studio during the recording of "I'd Die, Babe" - it's easy to hear why - it's a catchy little ditty and similar to own songwriting style.

Joey Molland's keyboard funk of "Suitcase" opened Side 2 of the original album and talks of the weariness of being on the road forever without too much success (lyrics above). The lovely America-type acoustic tune "Sweet Tuesday Morning" follows - it was the B-side to the only single issued off the album in the UK ("Day After Day" - 7 January 1972 on APPLE 42). But then you're hit with a triple-whammy of Badfinger songwriting excellence - "Day After Day", "Sometimes" and "Perfection". All three offer up different facets of the band's capabilities - the lovely "Day After Day" is essentially a mid-tempo ballad from Pete Ham and that it wasn't a huge UK chart hit is sort of inexplicable, "Sometimes" is a Joey Molland rocking gem that sounds like The James Gang on a roll, while the thinking man's strum of "Perfection" comes closest to that Big Star comparison of out-and-out genius. As if that isn't enough, you get superb guitar playing on the Tom Evans album finisher "It's Over" - it's all so shockingly good, it really is. And like almost all of the releases in this series, the bonus tracks are impressive too rather than being superfluous. Very, very good indeed...

Niggles - in order to give a fuller review, I paid for the extra 7 download alternate versions - and typically their quality is superb - must haves. I burned them onto a CD-R and they clocked in at 23:59 minutes - when you add that onto 61:50, you see that they could all have easily fitted onto 1CD. I've Bear Family titles that regularly push past 85 minutes with no deterioration in sound, so it's a crappy scam to have us fork out seven more pounds for versions EMI know fans will want - and badly. The gatefold card sleeve is nice to look at for sure, but the booklet and overall packaging feel lightweight (what EMI could get away with). The CD should also have one of those gauze inner bags to protect it - a problem that no record company seems to want to acknowledge (scuffing and damage). The packaging issues are minor points I know, but this otherwise brilliant reissue is docked a star for creaming fans on the download front.

One Star or Five - Badfinger have always divided people - many calling them one of the great overlooked bands of the period - others calling them lightweight (most of the first album and bits of the second). You will not call them the latter after hearing "Straight Up" - it's a crafted gem.

To sum up - recommended - especially given the brilliance of the album itself, the massive improvement in sound quality and those shockingly good bonus tracks. Shame about those downloads though...

The October 2011 Apple CD Remasters are (I've reviewed most):

1. Magic Christian Music - BADFINGER (January 1970)

2. No Dice - BADFINGER (November 1970)

3. Straight Up - BADFINGER (1972)

4. Ass - BADFINGER (1974)

5. Postcard - MARY HOPKIN (1969)

6. Earth Song - Ocean Song - MARY HOPKIN (1971)

7. Is That What You Want? - JACKIE LOMAX (1969)

8. Under The Jasmine Tree / Space - THE MODERN JAZZ QUARTET (1968 and 1969 - 2LPs on 1CD)

9. That's The Way God Planned It - BILLY PRESTON (1969)

10. Encouraging Words - BILLY PRESTON (1970)

11. The Radha Krishna Temple - THE RADHA KRISHNA TEMPLE (1971)

12. The Whale / Celtic Requiem - JOHN TAVENOR (1970 and 1971 - 2LPs on 1CD)

13. James Taylor - JAMES TAYLOR (1968)

14. Doris Troy - DORIS TROY (1970)

"Headless Heroes Of The Apocalypse" by EUGENE McDANIELS feat Miroslav Vitous and Alphonse Mouzon (2001 Label M 'Classic Albums' CD Reissue and Remaster) - A Review by Mark Barry...

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"...Jagger The Dagger..."

Weird and wonderful and compared to what indeed! It's amazing now to think that this obscure, right-on, very American and at times 'difficult' Funk-Fusion LP from 1971 got issued in the UK at all. I mean who was buying Eugene McDaniels back then?

As one of the principal buyers in Reckless Records, London buying across the counter and visiting people's homes all over the city and elsewhere - I can recall maybe two occasions seeing this album in someone's collection - and I'm talking about buying vinyl LPs for nearly 20 years. The Voices Of East Harlem's "Right On" LP on Elektra Records from 1970 was/is the same (another hugely sought after piece from the time). "Headless Heroes Of The Apocalypse" on (Plum Label) Atlantic Records 2400 163 must have sold jack on release.

But of course times change and across the 90s and 00s – a steady stream of Rare Groove CD compilations and Box Sets from the massive WEA Archives have seen Soul and Funk fans rediscover the pioneers, innovators and nutjobs of those halcyon years.

Nick-named 'Elephant Ears' by Mile Davis and Cannonball Adderley when he backed up their live shows in the Sixties - at the time of this second Atlantic Records album (“Outlaw” was his first for Atlantic and had been issued in 1970) – The Reverend Mc. D was most well known for writing "Compared To What" for fellow Atlantic Records Jazz Keyboard whizz and Vocalist Les McCann. McCann and Saxophonist Eddie Harris had charted their duel-credited "Swiss Movement" LP in December 1969 on Atlantic SD 1537 - seeing it and the funky "Compared To What" track peak at No. 2 on the US R&B LP charts. In fact going much further back - Gene McDaniels the Soul Boy had a career with Liberty Records in the first half of the Sixties where he worked his way through an impressive eight rapidly released LPs (1960 to 1963) including popular titles like "Tower Of Strength" and "100 LBs of Clay!"

But then the mid to late Sixties happened and social change/revolution grabbed every African American artist by the short and curlies and suddenly the crooners of old were now storming, funking slices of anger and righteousness. Apparently on hearing the condemning and savage lyrics in the album's title track - even Richard Nixon's administration (itself embroiled in justifying the ludicrous and callous Vietnam War) reputedly called up Atlantic's Promotions department demanding to know what the Hell they were playing at? How could they and their 'uninformed' artist be so unpatriotic as to suggest in his lyrics that 'powers in the master game' saw Americans and The Vietnamese as the same - '...basically cannon fodder...' for the '...player who controls the board...' McDaniels was of course right and Nixon would go on to infamy for all manner of dodgy 'I'm not a crook' reasons.

Heady stuff indeed - 'deep lyrics in deep grooves' as the rather brilliant and insightful liner notes from $mall $hange inform us. And that’s where this fab little CD reissue from New York’s 'Label M' comes in – here are the dagger details...

US released 19 November 2001 - "Headless Heroes Of The Apocalypse" by EUGENE McDANIELS on Label M 495733 (Barcode 644949573326) is a straightforward CD Reissue and Remaster in their ‘Album Classics’ Series (manufactured by Rhino) that breaks down as follows (38:34 minutes):

1. The Lord Is Back [Side 1]

2. Jagger The Dagger

3. Lovin' Man

4. Headless Heroes

5. Susan Jane

6. Freedom Death Dance [Side 2]

7. Supermarket Blues

8. The Parasite (For Buffy)

Tracks 1 to 8 are the album "Headless Heroes Of The Apocalypse" - released May 1971 in the USA on Atlantic Records SD 8281 and July 1971 in the UK on Atlantic Records 2400 163. Credited to EUGENE Mc DANIELS The Left Rev. Mc D - and Produced by JOEL DORN - it didn't chart in either country. All tracks are written by Eugene McDaniels with "The Lord Is Back" co-written with Dwight Singleton.

Musicians:

EUGENE McDANIELS – Vocals

CARLA CARGILL and THE WELFARE CITY CHOIR – Vocals

RICHIE RESNIKOFF – Guitars

HARRY WHITAKER – Piano

GARY KING – Electric Bass

MIROSLAV VITOUS – Acoustic Bass

ALPHONSE MOUZON – Drums

KEVIN CALABRO and $mall $hange produced the CD Reissue – a gatefold card digipak with see-through tray and a 12-page booklet. The liner notes are all typed in over-sized letters (a tad pretentious actually) - but the content and insight is superb. GENE PAUL and JENNIFER MUNSON did the Mastering at DB Plus Digital Services in New York and the Audio is fabulous - full of presence and oomph where needed. This really is a lovely sounding reissue.

The album opens with "The Lord Is Back" - telling us that the divine one is black, riding the subways in the rain and here to make a few corrections on our self-inflicted road to mass destruction. It's hard-hitting guitar funk feels like Sly Stone just had a baby with Funkadelic - those Mouzon drums whacking your speakers as McDaniels echoed-vocals warn and scorn (dig that slinky keyboard slide in too). Mick Jagger of The Rolling Stones doing the Devil Dance comes in for some stick in "Jagger The Dagger" - Carlo Cargill duetting with the Mc D on vocals. The very cool rare groove of "Lovin' Man" turned up on a 1996 Japan-Only CD I had called "Free Soul River" - while the aforementioned political dynamite of "Headless Heroes" were found on the CD Compilation "Right On!" Volume 1 of Break Beats And Grooves From The Atlantic & Warner Vaults in 1999 and also on the stunning "What It Is!" Rhino 4CD Box Set in 2006. The Acoustic "Susan Jane" feels like the album's first ballad even if it is about a bum-wiggling, sugar-cane-eating hippy that likes to make love barefoot in the muddy road (yeah baby).

Keeping with mellow - the beautifully transferred shuffle of the Bass (Miroslav Vitous of Weather Report) and the Drums on "Freedom Death Dance" opens Side 2 with a winner. It's a fantastic groove that's both mellow and funky at the same time - and the lyrics wax lyrical about needing justice and equality and not more pointless political dancing from Capitol Hill types who don't care (lovely licks on the guitar too). Trading a can of peas for a lousy loaf of bread becomes an incident in "Supermarket Blues" where a cop joins in the fracas by threatening the man on the floor with some lead - while a white woman calls him a Communist (God damn!). The album ends with the near ten-minutes of "The Parasite (For Buffy)" - a tale of forked tongues and religion and liquor and guns screwing up the native Indian population. At times it feels like Gil Scott-Heron circa 1971's "Small Talk At 125th And Lennox" - letting rip on a subject that appals him. It over extends its welcome and goes musically mental in the last minute - like Zappa and the Mothers having a guitar wig out.

Hard in ways to categorise or pigeonhole - "Headless Heroes Of The Apocalypse" is nevertheless a quietly magnificent album that thoroughly deserves its underground status. It's not all genius for sure and his vocal mannerisms I know can irritate some - but man that good stuff.

And as I look at that dedication on the rear sleeve "...we have killed the very earth beneath our feet...yet we still kill each other and speak of the future..." - I think other words come to mind - like real, timely and right on...

Sunday, 2 April 2017

"Fuchsia" by FUCHSIA (November 2015 Esoteric Recordings CD - Paschal Byrne Remaster) - A Review by Mark Barry...

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"…A Song To The Moon…"

Released on the then obscure Pegasus Records label in England in November 1971 – Fuchsia's lone Acid-Folk Prog-Rock LP had gorgeous artwork courtesy of Anne Marie Anderson, dense and impressive layers and trippy Acoustic based music that felt genuinely magical at times - but typically - garnished bugger all sales on its initial release.

The band were to tour the complex largely acoustic-based arrangements in December of that year but the tour never materialised – and with only a shared advert in the Melody Maker alongside the likes of UK rockers Nazareth and British folkies Shirley Collins and the Fairport Convention offshoot The Albion Band – "Fuchsia" received no other promotion - and so like much on the B&C Records label imprint - Pegasus PEG 8 sank without a trace. Cue a decade later and Prog aficionados go all Mellow Candle on its rarity ass and start forking out serious money on the very hard-to-find vinyl LP (listed at £250 but often sells for much more). So Mark Powell's Esoteric Recordings (part of Cherry Red) seems determined to rescue this lovely obscurity from the grips of bootleggers and give the album the release and remaster it deserves. And indeed they have. Here are the scented and flowery details…

UK released 27 November 2015 (December 2015 in the USA) – "Fuchsia" by FUCHSIA on Esoteric Recordings ECLEC 2518 (Barcode 5013929461840) is a straightforward CD transfer of the November 1971 LP on Pegasus Records PEG 8 and plays out as follows (40:56 minutes):

1. Gone With The Mouse

2. A Tiny Book

3. Another Nail

4. Shoes And Ships [Side 2]

5. The Nothing Song

6. Me And My Kite

7. Just Anyone

Tracks 1, 2, 4, 5 and 7 written by Tony Durant – Track 3 written by Tony Durant and Robert Chudley – Track 6 written by Robert Chudley

FUCHSIA was:

TONY DURANT – Acoustic Guitar, Electric Guitar and Lead Vocals

MADELINE BLAND – Cello, Piano, Harmonium and Backing Vocals

JANET ROGERS – Violin and Backing Vocals

VANESSA HALL-SMITH – Violin and Backing Vocals

MICHAEL DAY – Bass

MICHAEL GREGORY – Drums and Percussion

The 16-page booklet featured reminiscences by principal songwriter Tony Durant on the formation of the band, the making of the album and the disappointing aftermath of no sales and no tours – as well as lyrics and a photo of the six-piece ensemble - three of whom were ladies and their violins. The famed Decca/Deram Producer DAVID HITCHCOCK did the original Producer honours at the console - giving the whole album a real polished feel (his work from the period 1968 to 1975 includes Caravan, Camel, East Of Eden, Genesis, The Pink Fairies, Curved Air and not surprisingly Mellow Candle). PASCHAL BYRNE – a name that’s graced oodles of these classy reissues – has handled the exclusively licensed Remaster – and the audio on songs like "Shoes And Ships" and "Just Anyone" can only be described as wonderful – clean, warm and expressive. This is a beautiful sounding CD reissue...

The opening cut "Gone With A Mouse" feels like the more Acoustic and ambitious sections of 1971's "Foxtrot" by Genesis (which David Hitchcock produced) – the remaster allowing the complicated breaks and changes to spread across the speakers with real power and impressive finesse. Durant's obsession with all things plucked-Acoustic comes shining through the violins and clashing cymbals on the delicately lovely "A Tiny Book". The seven-minute "Another Nail" has the three ladies opening with suitably 'scratching' sounds on their ELO-type strings before Michael Day and Michael Gregory gets all Horslips Bass and Drums on the trippy violin song (shades of East Of Eden's "Mercator Projected" and "Snafu").

Time to get really impressed. There are parts in the gorgeous six-minutes-plus of "Shoes And Ships" that feel like Nick Drake at his Spanish Acoustic Guitar best – mixed in with Durant's Duncan Browne sounding Lead Vocals – all topped off with the sheer prettiness of the string arrangements featured on Fotheringay's self-titled 1970 debut LP and Mellow Candle's magnificent 1972 "Swaddling Songs" album (very impressive stuff). "The Nothing Song" is a bit too Prog for me and the harmonium hippy "Me And My Kite" is lovely too – ending on the winner that is "Just Anyone".

Tony Durant later spent time with Punchin' Judy who managed one self-titled album on Transatlantic Records in 1973 – joined the reggae band Greyhound for a while before immigrating to Australia where he became a successful jingles writer. A full 35-years after the initial non-event Durant returned in 2013 with the CD "Fuchsia 2: From Psychedelia To A Distant Place" and even toured with a Folk-Prog band from Sweden called "Me And My Kites" named in tribute after the track on the album.

You wouldn't say "Fuchsia" is the champ-like obscure-monster of say "Mellow Candle" from April 1972 that regularly sells for £3000 and more and is worth the money (see separate review) – but there is so much to love on this forgotten gem. And typically - Esoteric Recordings have done the album and its legacy proud. Dig in and mucho enjoy…

Saturday, 1 April 2017

"Tir na n'Og" by TIR na N’OG [feat Sonny Condell and Leo O'Kelly] (November 2012 Esoteric Recordings 'Expanded Edition' CD Remaster with Bonus Tracks) - A Review by Mark Barry...

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"...The Land Is Misty...My Eyes Are Too…"

Being a Dubliner I instantly knew what "Tir na n'Og" referred to – translated, it's Gaelic for "Land Of The Young" (locally pronounced Tier Nah Nogue). We had the stories rammed down our willing throats in History class in school. It comes from the ancient Irish tales of warrior king Ossian (or Oisin in Gaelic).

I've had this Prog-Folk duo's debut album on vinyl for decades (as well as the other two they did for Chrysalis - "A Tear And A Smile" from 1972 and "Strong In The Sun" in 1973) and loved them all to bits. In truth though - some of the hippy-dippy fay lyrics ("Aberdeen Angus") might make even the strongest constitution cringe 40 years on. So why bother? Because in-between all that mythology are strangely beautiful melodies and tunes wrapped up in strings and acoustic guitars that are fabulous - as sophisticated as Roy Harper on Harvest and just as cleverly constructed. In fact in places they sound like Tyrannosaurus Rex and what they might have become if Bolan hadn't gone completely Rock - or even the acoustic side of early Seventies Jethro Tull with a little Nick Drake string arrangements thrown in for colour. Guitarists and singers Sonny Condell and Leo O'Kelly made a lovely racket. Here are the mushroom and fairy details...

UK released November 2012 - "Tir na n'Og" by TIR na N'OG on Esoteric Records ECLEC2357 (Barcode 5013929435742) is an 'Expanded Edition' CD Remaster that runs to 51:54 minutes and breaks down as follows.

1. Time Is Like A Promise

2. Mariner Blues

3. Daisy Lady

4. Tir Na Nog

5. Aberdeen Angus

6. Looking Up

7. Boat Song

8. Our Love Will Not Decay

9. Hey Friend

10. Dance Of Years

11. Live A Day

12. Piccadilly

13. Dante

Tracks 1 to 13 are the album "Tir na n'Og" UK released May 1971 on Chrysalis/Island ILPS 9153. Tracks 14 and 15 are bonus tracks - "I'm Happy To Be (On This Mountain) and "Let My Love Grow" - a UK 7" single on Chrysalis/Island WIP 6090 issued in 1970 (both non-album tracks at the time). The 16-page booklet features liner notes by noted writer TREVOR BOYD and reproduces the lovely gatefold sleeve of the original LP, pictures that rare 7" picture sleeve (out of Europe) - features music mag reviews and even sheet music.

A word about the sound - the remaster handled by MARK POWELL and PASCHAL BYRNE is truly gorgeous - clear instruments, warmth on every track with the top quality original production values of Bill Leader now fully on display. It really is a fantastic job done. I've done tags on both of these guys before (pictorial lists of their work).

SONNY CONDELL plays Guitar, Mandolin, Moroccan Pottery, Drums, Tabla, Jews Harp and sings while LEO O'KELLY plays Guitar, Electric Bass, Dulcimer, Tin Whistle and alternates lead vocals with Condell. All songs excepting "Hey Friend" (by Dolan) are original compositions.

It opens with the mid Sixties Simon & Garfunkel folk of "Time Is Like A Promise" (features ANNIE CROZIER on Psaltry) and progresses very nicely into "Mariner Blues" which is where Condell's quirky chord changes first come into focus. The title track even has UK Folk hero BARRY DRANSFIELD on Fiddle. "Looking Up" is superb because it leaves much of the mythology behind and becomes sophisticated Acoustic Rock. But Side 2 opens with probably the most haunting song on the album - O'Kelly's "The Boat Song". It sounds beautiful with its Nick Drake string arrangements (done by Nick Harrison who later did work on The Rolling Stones "Angie") and stories about leaving (lyrics from it title this review). Harrison's work also turns up on the pretty "Piccadilly". The album finisher is another wonderfully off-the-cuff Condell melody "Dante". But you can see why the A of the single failed (nice to finally see it on CD). But its B-side is a gem - a lovely air by Condell called "Let My Love Grow".

They morphed in the late Seventies in the affectionately remembered three-piece SCULLION (Sonny Condell, Philip King and Greg Boland] who made 5 albums in Ireland (none are on CD to my knowledge) including the fab "Balance And Control" in 1980 produced by the mighty JOHN MARTYN. Condell even made a CD album in 2013.

TIR NA NOG would definitely be an acquired taste for some. But for me there was always something magical in those hooks and songs - and now their albums have the properly beautiful sounding remasters their catalogue has always deserved.

"Dandelion Albums And BBC Collection" by BRIDGET ST. JOHN [feat John Martyn, Ric Sanders and John Peel] (2015 Cherry Red 4CD Box of Remasters) - A Review by Mark Barry...

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Features the 1971 Album "Songs For The Gentle Man" on Dandelion Records

"…The Lady And The Gentle Man…"

Despite its flaws - I'm already thinking this is an early contender for Reissue Of The Year, 2015.

UK folky Bridget St. John made three albums for John Peel's Dandelion Records while only in her early twenties with one further record on Chrysalis in 1974 ("Jumble Queen"). This gorgeous little 5" square box set from Cherry Red of the UK offers up those the three Dandelion albums - "Ask Me No Questions" (1969), "Songs For The Gentle Man" (1971) and "Thank You For..." (1972) - with "Ask" and "Thank You" in expanded form ("Song" is just the 12-track album).

There's also a fourth 19-track CD called "Live At The BBC (1968-1972)" (released I believe in 2010) which is in rough shape in some places it has to be said. The studio albums also include John Martyn, Andy Roberts, members of Quiver, Fairport Convention and The Occasional Word Ensemble. The BBC disc has three Kevin Ayers live duets - albeit in very crude form...

Eagle-eyed collectors will notice that these three albums have already been reissued by Cherry Red Records in late 2005 (so those remasters are used here) and the BBC disc (copyrighted 2010) is new. Cherry Red has simply put the albums into three single card sleeve Repros covers (no gatefolds unfortunately but lovely to look at nonetheless) sided with the BBC live disc (itself in unique card artwork). They've all been given a fact-filled/picture-strewn 12-paged booklet to round it all off. It's a properly lovely thing to behold and especially to listen to. And a nice touch is that each of the CDs reflects the differing label designs on the original LPs for the period while the BBC CD looks like a Tape Box. Here are the Folky shaggy dog details...

UK released February 2015 (March 2015 in the USA) - "Dandelion Albums And BBC Collection" by BRIDGET ST. JOHN on Cherry Red CRCDMBOX17 (Barcode 5013929101708) is a 4CD Mini Box Set with Card Repro Sleeves & Booklet that breaks down as follows:

Disc 1 - "Ask Me No Questions" (51:52 minutes):

1. To B Without A Hitch

2. Autumn Lullaby

3. Curl Your Toes

4. Like Never Before

5. The Curious Crystals Of Unusual Purity

6. Barefoot And Hot Pavements

7. I Like To Be With You In The Sun [Side 2]

8. Lizard-Long-Tongue Boy

9. Hello Again (Of Course)

10. Many Happy Returns

11. Broken Faith

12. Ask Me No Questions

Tracks 1 to 12 are her debut album "Ask Me No Questions" - Produced by JOHN PEEL - it was released September 1969 in the UK on Dandelion Records S 63750 and in the USA on Elektra D9-101. John Martyn plays Second Guitar on both "Curl You Toes" and "Ask Me No Questions" - Ric Sanders of The Occasional Word Ensemble (and later Fairport Convention) plays Second Guitar on both "Lizard-Long-Tongue Boy" and "Many Happy Returns". All songs are Bridget St. John originals.

BONUS TRACKS:

13. Suzanne

14. The Road Was Lonely

Track 13 is a non-album track cover version of the Leonard Cohen classic. It's the first B-side to "There's A Place I Know" - a 1972 UK 3-track Maxi 7" Single on Dandelion/Polydor 2001 280. The second B-side is "Passin' Thru" - both it and the A-side are bonus tracks on the "Thank You For..." expanded CD.

Track 14 is a non-album B-side to "Passin' Thru" - released 1973 in the UK as a 7" single on MCA Records MUS 1203

Disc 2 - "Songs For The Gentle Man" (36:13 minutes):

1. A Day A Way

2. City-Crazy

3. Early-Morning Song

4. Back To Stay

5. Seagull-Sunday

6. If You'd Been There

7. Song For The Laird Of Connaught Hall Part 2 [Side 2]

8. Making Losing Better

9. The Lady And The Gentle Man

10. Downderry Daze

11. The Pebble And The Man

12. It Seems Very Strange

Tracks 1 to 12 are her second album "Songs For The Gentle Man" - Produced by RON GEESIN (of Pink Floyd fame) - it was released in the UK February 1971 on Dandelion Records S DAN 8007 and in the USA on Elektra EKS-74104. "Back To Stay" and "The Pebble And The Man" are John Martyn and Donovan cover versions respectively - "Seagull-Sunday" is co-written with Nigel Beresford - all other songs are Bridget St. John originals.

Disc 3 - "Thank You For..." (76:15 minutes):

1. Nice

2. Thank You For...

3. Lazarus

4. Good Baby Goodbye

5. Love Minus Zero, No Limit

6. Silver Coin

7. Happy day

8. Fly High

9. To Leave Your Cover

10. Every Day

11. A Song Is As Long As It Wants To Be

Tracks 1 to 11 are her 3rd album "Thank You For..." - Produced by JERRY BOYS - it was released June 1972 in the UK on Dandelion/Polydor 2310 193 (No US release). "Lazarus" is a Traditional arranged by St. John, "Goodbye Baby Goodbye" is written by Nick Beresford, "Love Minus Zero, No Limit" is a Bob Dylan cover, "Every Day" is a Buddy Holly cover, "Silver Coin" is written by Terry Hiscock of Hunter Muskett - all others are Bridget St. John originals.

BONUS TRACKS:

12. Passin' Thru

13. There's A Place I Know

14. Nice (Live)

15. Silver Coin (Live)

16. Fly High (Live)

17. Lazarus (Live)

18. The River (Live)

19. Thank You For... (Live)

20. Ask Me No Questions (Live)

21. If You've Got Money (Live)

Disc 4 - "Bridget St. John At The BBC/Live At The BBC (1968-1972)" (59:42 minutes):

NIGHT RIDE SESSION, recorded and broadcast 28 August 1968

1. To B Without A Hitch

2. Ask me No Questions

3. Many Happy Returns

4. Hello Again (Of Course)

5. Rochefort

6. Lizard-Long-Tongue Boy

TOP GEAR SESSION, recorded and broadcast 24 August 1969

7. The River

8. Song To Keep You Company

9. Night In The City

10. Lazarus

PETER SARSTEAD SESSION, 1969

11. Curl Your Toes

BOB HARRIS SESSION, recorded and broadcast 25 April 1972

12. Thank You For...

IN CONCERT, recorded 31 January 1972

13. Leaves Of Lime

14. City Crazy

15. The Pebble And The Man

16. Back To Stay

17. Song For The Laird Of Connaught Hall Part Two

18. Jolie Madame

19. The Spider And The Fly

Musically - her gut-string guitar-picking sounds like Nick Drake on his debut "Five Leaves Left" and her voice is deep and dark like a more sombre version of Sandy Denny. Most of the arrangements are just St. John and her guitar - very quiet, pretty folk songs. The mood isn't dark either, more reflective than that - the songs often sound like the countryside although she's from a capitol city. If I were to nitpick, I'd say the lyrics are sometimes weighed down with too many hippy-dippy ponderings about nature and 'buttercup sandwiches' that may sound twee to some ears now...others, however, will feel they are very much part of the music's charm.

Two notable contributors on the debut are JOHN MARTYN on "Curl Your Toes" and the stunning album title track "Ask Me No Questions" where he plays second guitar on both (no vocals unfortunately). There's also second guitar from Ric Sanders on "Lizard-Long-Tongue Boy" and "Many Happy Returns" (on which he also plays some wonderful Bottleneck Guitar).

Highlights include the forgiving relationship song "Broken Faith" (lyrics are the title of this review), the sweet "Barefeet And Hot Pavements" and Martyn's subtle backing on "Curl Your Toes". But the best is kept until last - the near eight-minute folk work out that is the album's title track - "Ask Me No Questions". The song's lovely guitar refrain fades into bird song and bells about three minutes in - only to come back again to the lilting music to great effect. It's still moving - 40 years after the event.

Recorded in December 1970 - the second album was released in February 1971 and saw a massive improvement in Production values courtesy of Ron Geesin fresh from knob twiddling on Pink Floyd's "Atom Heart Mother" in 1970. It also saw St. John settle down into an English pastoral vibe that suited her and her plaintive songs completely. If you take a tune as simple as "If You'd Been There" which is just her voice and guitars - it's gorgeous - a beautifully delicate and simple song given the audio quality it deserves. The two-minute "Early-Morning Song" is the same - exquisite in its simplicity with cleverly treated guitar sounds swirling in and out of the mix (what a sweetheart of a tune). Her cover of John Martyn's "Back To Stay" (from his October 1967 "London Conversation" album on Island Records) is the same - beautifully soulful Folk in that Nick Drake English countryside/pastoral Nico kind of way. And the "ba rump pa bum bum" vocal gymnastics on the Donovan cover "The Pebble And The Man" by a group of choral singers is genius and a very clever reworking of the song.

Album three has a lot of outside musician involvement - her cover of Dylan's "Love Minus Zero, No Limit" features Tim Renwick of Quiver on Guitar with Dave Mattacks of Fairport Convention on Drums. In fact Renwick along with other Quiver members - Bruce Thomas on Bass and Willie John Wilson on Drums - also turn up on the gorgeous "Happy Day" (an album highlight) and an ill-advised cover of Buddy Holly's "Every Day" that just doesn't work. Another absolute highlight is her very John Martyn influenced "To Leave Your Cover" which features Andy Roberts on String Organ. The mighty Scot (John Martyn) plays his trademark treated electric guitar on the single "Fly High" while the pretty piano on "Goodbaby Goodbye" makes for a nice change from the guitars (Electric Bass by Ian Whiteman). It ends on the short 1:11 minutes of "A Song Is As Long As It Wants To Go On" - her voice sounding like she's moved in permanently with Nico and family.

The live stuff on Disc 3 is excellent - introduced by a Frenchman trying his utmost to convince a meek Folk crowd (in both French and English intros) that they should listen up because our Bridget is Joan Baez and Joni Mitchell combined. But as she launches into an acoustic "Nice" and a delicate version of the Hunter Muskett song "Silver Coin" - she again sounds like a female Leonard Cohen (in a good way). The audio quality is uniformly superb throughout - real clarity on "Fly High" - and by the time she gets to the John Martyn cover of "The River" - she's won the day and the audience.

The BBC stuff is a very mixed bag indeed - not from a song-quality point of view - but from the audio front. The liner notes admit that the tapes have long since disappeared into history and the tracks are 'dubbed from best available sources'. In the case of "The Pebble And The Man" - if this is their 'best source' - I'd hate to hear a bad one. Covered in crackle and hiss - it resembles a passable bootleg at best. The first six are the same unfortunately and it's not until you get to "The River" (the Top Gear Session from 24 August 1969) do you get great sound quality. Her cover of Joni Mitchell's "Night In The City" is a definite highlight - lovely acoustic work and echoed vocals - eerily good. The rest of it is again merely bootleg and in the case of the final three - "Song For The Laird Of Connaught Hall Part Two", "Jolie Madame" and "The Spider And The Fly" - which excitingly have KEVIN AYERS on duet vocals and guitars - they're barely listenable but included for historic reasons.

So there you have it - three superb albums (number two a stone masterpiece) - with nice extras - and a curio BBC disc tagged on for good measure. Despite the let down of those flawed transfers on Disc 4 - it still feels to me like a huge release and one that deserves your attention.

As lovely as English Folk gets - Bridget St. John is a discovery you want to make. Well done to all involved at Cherry Red for getting this out there...