"Osibisa/Woyaya" by OSIBISA – April 1971 and January 1972 UK Debut and Second Studio Albums on MCA Records – June 1971 and February 1972 in the USA on Decca (November 2004 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters – Reissued December 2012) - A Review by Mark Barry...

https://www.amazon.co.uk/Osibisa-Woyaya/dp/B0002U4EMI?crid=3PJ9L3ZSB1ADK&dib=eyJ2IjoiMSJ9.cpfQb4MPKaugqm9mX_mhQw.akvzoCijOOR6hpe_2PUvauVWqALvSBrlc-Hjzdafln4&dib_tag=se&keywords=5017261206466&qid=1713277528&sprefix=5017261206466%2Caps%2C78&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=d76b152a157a6bd14ba22ca7d9d9d7ce&language=en_GB&ref_=as_li_ss_tl

RATINGS: 

**** Material

***** Remasters

**** Presentation

"…The Beautiful Seven…"

Afro Rock, Afro Beat and Afro Funk owes a huge debt to the seven-piece OSIBISA – a band who followed in the Latin Rock footsteps of America's Santana in bringing another genre to the World Music stage in the early Seventies.

Three from Ghana and one each from Grenada, Antigua, Trinidad, and Nigeria – the beautiful seven (as they liked to call themselves) and their lengthy drums, brass, and funky rhythms songs (some with positive messages when they weren't making African noises) captivated audiences with their infectious sound. And resplendent in gorgeous ROGER DEAN gatefold artwork paintings and with Tull/Traffic-like Flute passages amidst the relentless Funky whacking of Tom Toms and Tablas - they also captured the eyes of Prog Rock fans too. OSIBISA kept going for over 40 years in one form or another but in truth are largely forgotten here in 2024. 

Even though MCA Records in those early Seventies years was more about Budgie, Wishbone Ash and bands like The Who - both Osibisa Afro-Rock albums charted well in the USA (No.55 and No.66 on Decca) whilst doing even better in a mucho-toured Blighty (No.11 in both cases, 1971 and 1972). 

This superb-sounding BGO Twofer 2CD Compilation therefore compiles both Osibisa's first two studio efforts and was first issued November 2004, then reissued December 2012 and seems to have been kept on catalogue ever since. To the beautiful seven details…

UK released 19 November 2004 (reissued 17 December 2012) - "Osibisa/Woyaya" by OSIBISA on Beats Goes On Records BGOCD646 (Barcode 5017261206466) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows (song playing times from the CDs):

CD1 (41:07 minutes):

1. The Dawn (7:02 minutes) [Side 1]

2. Music For Gong Gong (5:29 minutes)

3. Ayiko Bia (7:52 minutes)

4. Akwaaba (4:19 minutes) [Side 2]

5. Oranges (4:40 minutes)

6. Phallus C (7:13 minutes)

7. Think About The People (4:26 minutes)

Tracks 1 to 7 are their debut album "Osibisa" – released April 1971 in the UK on MCA Records MDKS 8001 and June 1971 in the USA on Decca Records DL 75285. Produced by TONY VISCONTI (Engineered by Martin Rushent) – it peaked at No. 11 on the UK Rock LP charts (No. 55 in the USA on Billboard). 

CD2 (40:54 minutes):

1. Beautiful Seven (6:42 minutes) [Side 1] 

2. Y Sharp (6:20 minutes)

3. Spirits Up Above (7:18 minutes)

4. Survival (5:40 minutes) [Side 2]

5. Move On (5:08 minutes)

6. Rabiatu (5:07 minutes)

7. Woyaya (4:28 minutes)

Tracks 1 to 7 are their second studio album "Woyaya" – released January 1972 in the UK on MCA Records MDKS and February 1972 in the USA on Decca Records DL 75327. Produced by TONY VISCONTI (Engineered by John Punter) – it peaked at No. 11 on the UK Rock LP charts (No. 66 in the USA on Billboard).

OSIBISA:

TEDDY OSEI (from Ghana) – Tenor Sax, Flute, African Drums and Vocals on Tracks 1 to 3 on CD1

SOL AMARFIO (from Ghana) – Drummer

MAC TONTOH (From Ghana) – Trumpet, Flugel Horn and Kabasa

SPARTACUS R (from Grenada) – Bass Guitar and Assorted Percussion

WENDELL RICHARDSON (from Antigua) – Lead Guitar & Vocals on Track 7 on CD1

ROBERT BAILEY (from Trinidad) – Organ, Piano  & Timbales

LOUGHTY LASISI AMAO (from Nigeria) – Tenor Sax, Baritone & Congas

The outer card slipcase lends the release a classy feel, but you would have to say that despite photos of the inner gatefolds and the Richard Williams liner notes to "Woyaya" reproduced on the inner page spread – the August 2004 8-page liner notes from ALAN ROBINSON feel a tad slight. The band photos and credits make their way into the booklet, onto the rear inlay beneath the 2CD see-through tray and so on – but why don’t we get the obvious – the two gatefold spreads showing the amazing ROGER DEAN artwork which when I was a teen back in the day was ALL YOU SAW. They are of course on the card sleeve and the opening page of the booklet – but it still feels like a trick was missed here. 

Robinson sets the World Music Scene explosion before Osibisa – The Beatles and Indian instruments on "Revolver" and "Sgt. Peppers" – Santana and its Latin grooves in 1969 and 1970 – and of course Africa and its influence in rhythms and tones - Brian Jones of The Rolling Stones and The Pipes of Pan at Joujouka (which would be released on Rolling Stones Records in 1973). Robinson explains how Jazz boys Teddy Osei, Sol Amarfio and Mac Tontoh joined forces in England to create the high life very dance-orientated African/Caribbean sound of Osibisa. It’s well written but as I say, I would have liked more, and the booklet has never been updated, despite reissues.

But what BGO did get right is the Audio - Remasters by ANDREW THOMPSON from original MCA Recordings tapes. As all the music is Drums and Bass and Brass punching through the relentless rhythms – clarity is of the Funky essence – and that’s what you get on every number. When the Guitar Afro Funk of "Ayiko Bia" kicks in – you feel it. Over on CD2 is the same – the superbly musical "Y Sharp" feeling like a revelation you needed reacquaintance with. To the musical love…

In a nutshell – for me the "Osibisa" debut is good to very good – but the follow-up "Woyaya" shows a maturity and brilliance that has lasted far better than its predecessor. The opening track has Teddy explaining (talking against crickets and morning sounds) that Osibisa soundscapes are "…criss-cross rhythms that explode with happiness…" as the opening number "The Dawn" works its way across your speakers for a leisurely seven minutes. An instrument showcase, "The Dawn" pushes out Bass, Percussion, and strummed guitars at first – but then spacey flute passages soon kick in after which comes killer Brass and Organ that suddenly makes it feel Earth, Wind & Fire had a baby with The Graham Bond Organization. As it fades out, Teddy does that breathy thing Ian Anderson does when he’s playing Flute for Jethro Tull. 

At a relatively short five-minutes-plus and with its Brass-friendly upbeat groove, "Music For Gong Gong" was an obvious album sampler so it got released in Germany as a 45-single from the album in that eye-catching Roger Dean artwork. The first British 45 wouldn’t arrive until January 1972 when MCA put "Music For Gong Gong" on the A-side with "Woyaya" on the flip (MCA Records MKS 5079) – clearly an error as the US 45 gets it right with "Woyaya" on the A-side (Decca 32920). African rhythms and vocals kick in for "Ayiko Bia" as does Wendell Richardson giving it some very Santana-like guitar soloing – sounds great. I remember when we played this at Reckless Records in Soho – its hybrid Jazz meets Africa meets Funk meets Drums and Whistles fest getting punters to the counter demanding to know what 80ts African album this was. 1971 mate! There you go!

Side 2 gets all happy with "Akwaaba" – a sexily commercial brass and pumping Bass dancer – like Greenslade getting down with its inner Todd Rundgren. Keeping on with commercial – the almost piano-poppy "Oranges" feels like it might have dropped in from another recording session. Panning the brass across the speakers dates the instrumental a tad but there is some lovely Herb Alpert-type trumpet fills. Thinking you are better than me obsesses the vocals of "Phallus C" – a play on words. And again – great Afro Funk passages if you isolate them. A mellow almost Donny Hathaway meets Santana moment finishes the debut – Guitarist Wendall Richardson asking us to stop and think about the world and pollution and the system and their combined effect on people - "Think About The People". 

"Woyaya" was a huge leap for the band - a maturity in songs and approach. Bowie's main man Producer TONY VISCONTI once again helmed recordings and as you can hear from the crystal clear opening minute and half of "Beautiful Seven" - where rain, lightning, bass, piano, flute and guitar all melt into one lovely slow sexy groove - Visconti had their vibe down. As the drums and voices float around your speakers - the message of positivity is sounded large. "Y Sharp" sports a lovely melodious opening brass arrangement and tinkers along like that (can't help thinking an edit of its six minutes) might have made an interesting instrumental 45). Soulful and Bluesy organ opens "Spirits Up Above" where it feels like Billy Preston has joined Malo for a chill-out. Gorgeous tune and cool audio too. 

Side 2 opens with banter between the band and producer before they start African cat calls and a pulsating drum beat that feels like someone is going to be roasted over a bonfire in a Ray Harryhausen Lost World movie. But then something brill happens - at almost two minutes in "Survival" suddenly goes into a fantastic Brass and Funk and Voices groove. You can't help thinking that an edit-out of the superfluous beginning would have served the song better - maybe have been a single Pans People could have hot-pants'd to on Top Of The Pops - Sax solo at the close too. "Move On" indulges in an 'Osibisa' chant up to about 45-seconds to once again go into a African meets West funk - lyrics about progressing but getting nowhere. "Rabiatu" opens with clear Bass notes only to be quickly joined by a nice Brass and Drums dancer that feels like Santana living in Ghana. And it all comes to a close with the vocals of "Woyaya" - a song someone thought would make a single because of its happy-upbeat message (heaven knows how we will get there). A sweet end to a highly stylised listen - but revelatory for it too. 

For further investigation of OSIBISA, Beat Goes On (BGO) of the UK also reissued studio album number three - "Heads" – originally released September 1972 in the UK on MCA Records MDKS 8007 (October 1972 in the USA on Decca DL 75368). That Remaster issued 15 November 2005 on Beat Goes On Records BGOCD690 (Barcode 5017261206909) is also still widely available.

African Funk Beat purveyors OSIBISA are a forgotten musical phenomenon in 2024 – their self-titled debut from the spring of 1971 now closing in on 55-years ago. But like Santana, Earth, Wind & Fire, Malo, War and even Blaxploitation Soundtracks – the Funky earthy positive-vibe cocktail stills draws music lovers in like moths to a rhythm flame. 

Resplendent in its card slipcase and sporting Spirits Up Above audio – BGOCD646 is a 2CD twofer you might want to seek out and then buy-in ice-packs for your aching limbs. Enjoy…

"Night Fades Away/Wonderland" by NILS LOFGREN – September 1981 and August 1983 US Albums on Backstreet Records - Featured Guests include Guitarists Jeff Baxter (Steely Dan and The Doobie Brothers) and Elliott Randall (guested on Steely Dan albums), Pianist Nicky Hopkins, Keyboardists Greg Mathieson and Robbie Kondor, Trumpet by Chuck Findley, Drummers Richie Hayward of Little Feat, Jeff Porcaro of Toto and Andy Newmark, Bassists Neil Jason, David Hungate (of Toto) and Kevin McCormick with Singers Del Shannon, Louise Goffin, Edgar Winter and Carly Simon (March 2024 UK Beat Goes On Records (BGO) Compilation – 2LPs onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

https://www.amazon.co.uk/Night-Fades-Away-Wonderland-Lofgren/dp/B0CQ4R4PJG?crid=1EVCXBQ2IWOOO&dib=eyJ2IjoiMSJ9.1ZLYSW4NUj5m-3rzdht21g.8C7YTSOWLlbxdPEyj4-OXoalOhvmQo3tgKE8LC_PoM8&dib_tag=se&keywords=5017261215123&qid=1713188143&sprefix=5017261215123%2Caps%2C75&sr=8-1&linkCode=ll1&tag=mabasreofcdbl-21&linkId=cdcba5eefcb15d9fdf51c01bf27379e8&language=en_GB&ref_=as_li_ss_tl

RATINGS: *** Material **** Remasters ***** Presentation

"…Feel This Explosion…"

This is the second release for England's Beat Goes On Records (aka BGO) of Nils Lofgren back catalogue that's been in collaboration with the artist. 

25 February 2022 saw his legendary live-double from October 1977 "Night After Night" be given a classy Remaster on the 2CD set Beat Goes On BGOCD1473 (Barcode 5017261214737) and here in March 2024, we get slot number two in what we must presume will be an on-going reissue series.

This time around we stretch into the Eighties after Lofgren and A&M Records parted company post the "Nils" album in June 1979. Backstreet Records (who were part of MCA) had signed Tom Petty & The Heartbreakers so Lofgren and his explosive guitar Rock must have seemed like a good fit. Big things were expected. But – and this is a big but for me with this reissue – when I worked at Reckless Records in Soho both these 80ts albums were strictly pound-fodder and for good reason (they remain so in 2024). "Night Fades Away" is mired in iffy sub-par material and dreadful bombastic Eighties production values into the bargain - while the saving grace for this twofer compilation is "Wonderland" – a criminally overlooked 1983 studio set that saw him return to the live simplicity of his former bandmates (Andy Newmark from the A&M days) so that when NL went into record – his playing was on fire and more important - the songs were far better. 

Long-term fans and Nils-nerds like me will welcome this great sounding and properly presented British 2CD reissue, but I would advise any newcomers to get a listen first. To the details…

UK released Friday, 1 March 2024 (17 March 2024 in the USA) - "Night Fades Away/Wonderland" by NILS LOFGREN on Beats Goes On Records BGOCD1512 (Barcode 5017261215123) offers 2LPs Remastered onto 2CDs (no Bonus tracks) that plays out as follows:

CD1 (37:27 minutes):

1. Night Fades Away [Side 1]

2. I Go To Pieces

3. Empty Heart

4. Don't Touch Me

5. Dirty Money

6. Sailor Boy [Side 2]

7. Anytime At All

8. Ancient History

9. Streets Again

10. In Motion

Tracks 1 to 10 are his fifth solo studio album (sixth overall) "Night Fades Away" – released September 1981 in the USA on Backstreet Records BSR-5251 and in the UK on MCA Records MCF 3121. Produced by JEFFREY BAXTER (and dedicated to Vietnam Veterans) - it peaked at No. 99 on the US Billboard Rock LP charts and at No. 50 in the UK. All songs written by NL except two co-writes with Jeff Baxter on "Streets Again" and "In Motion" and two cover versions - "I Go To Pieces" by Del Shannon and "Anytime At All" by The Beatles.

BAND and GUESTS:

NILS LOFGREN – Guitars, Accordion, Synths and all Lead Vocals

JEFF BAXTER of Steely Dan and The Doobie Brothers on Guitar, Guitar Synth and all Production

ELLIOTT RANDALL on Electric Guitar for "I Go To Pieces", "Sailor Boy" and "Anytime At All"

TREVOR VEITCH on Acoustic Guitar for "I Go To Pieces" and "Anytime At All"

NICKY HOPKINS on Acoustic and Tack Piano for "Streets Again" and Fender Rhodes Electric Piano on "Night Fades Away"

GREG MATHIESON – Fender Rhodes Electric Piano on "I Go To Pieces", "Sailor Boy" and "Anytime At All"

ED GREENE – Drums 

JEFF PORCARO of Toto on Drums for "Sailor Boy" and "Anytime At All" 

RICHARD HAYWARD of Little Feat on Drums for "Empty Heart", "Dirty Money", "Streets Again" and "In Motion"

NEIL JASON on Bass Guitar for all tracks except NEIL STUBENHAUS on "I Go To Pieces" and "Anytime At All" and DAVID HUNGATE (of Toto) on Bass for "Sailor Boy"

DEL SHANNON – Vocals on "I Go To Pieces"

CHUCK FINDLEY – Trumpet on "In Motion"

JERRY PETERSON – Saxophone on "Don't Touch Me"

CD2 (40:37 minutes):

1. Across The Tracks [Side 1] 

2. Into The Night

3. It's All Over Now

4. I Wait For You

5. Daddy Dream

6. Wonderland [Side 2]

7. Room Without Love

8. Confident Girl

9. Lonesome Ranger

10. Everybody Wants

11. Deadline

Tracks 1 to 11 are his sixth studio album (seventh overall) "Wonderland" – released August 1983 in the USA on Backstreet Records BSR-5421 and in the UK on MCA/Backstreet Records MCF 3182. Produced by NILS LOFGREN, KEVIN McCORMICK and ANDY NEWMARK and dedicated to James Honeyman Scott and Pete Fardon of The Pretenders – it didn’t chart in either country. All songs written by NL except "It's All Over Now" which is a Bobby Womack cover version done by The Rolling Stones also in the Sixties

BAND:

NILS LOFGREN - Lead Vocals, Lead Guitar, Keyboards

ROBBIE KONDOR – Synthesisers

KEVIN McCORMICK – Bass Guitar and Background Vocals

ANDY NEWMARK – Drums with JIM MAELEN on Percussion

GUESTS:

LOUISE GOFFIN sings on "Wonderland" and "Everybody Wants"

CARLY SIMON sings on "Lonesome Ranger"

EDGAR WINTER sings on "Across The Tracks"

The outer card slipcase and substantial 20-page booklet with new liner notes from CHARLES WARING via new interviews with Lofgren give this 2CD Reissue a look and feel of class (let alone artist endorsement). The artwork front and rear for both LPs is here as are other photos (the sweaty teeshirt shot taken by Annie Leibovitz – his small band for album number two sat on steps). Instead of dry facts, Lofgren talks of leaving A&M after four studio albums and one hugely popular live double, his new signing to Backstreet Records (a subsidiary of MCA) and the high hopes both albums had that did not translate into public interest. 

Nils give a song-by-song insight – ex Steely Dan and Doobie Brothers stalwart Jeff Baxter is given real praise – a man who had worked with Nazareth and understood Rawk (he and Nils did pre-production work for weeks at 'Skunk' Baxter's place in Laurel Canyon). The "Night Fades Away" title track was flipped with "Ancient History" as a US 45-single which led the charge in October 1981 (Backstreet BSR-51191) - but it did little business. Released in September 1981, the album stalled on the US LP-charts at No. 99 but did much better in the UK at No. 50. The liner notes recall the great axeman's heyday and how he morphed into the Boss's sideman (Lofgren has been a permanent member of Bruce Springsteen's E-Street Band since 1984 – an astonishing 40 years burning down that code of the road whilst maintaining a Solo Career on the side). The new BGO Records Remasters are by ANDREW THOMPSON from Universal-licensed original tapes and both shine as much as original techniques will allow (2024 ears will have to adjust to that bombastic 80ts sheen production values they had back then - especially on the "Night Fades Away" album which of the two fares worse in my books). You can't make a purse out of...but what is here is very clear and well done. To the music...

As upbeat as "Night Fades Away" is an opening salvo, there is a crass feel to "Don't Touch Me" and the dismissive anger in "Dirty Money" feels forced too. "Sailor Boy" is a bopper opening Side 2 that does little to help the feeling that there are no tunes - while an ill-advised cover of The Beatles "Anytime At All" feels like Southside Johnny doing a filler song. The flipside of the album’s only single, "Ancient History" is for me the best dead-aim song on a patchy album – the treated guitars, piano and vocals doing the business. His fifth studio album "Night Fades Away" rolls home using two co-writes with Jeff Baxter – the decidedly un-pc lyrics to "Streets Again" making for a weird and uncomfortable listen – the Side 2 finisher "In Motion" with its striking and daring Chuck Findley Trumpet solo being so much better. In his fabulous Great Rock Discography books, music chronicler Martin Strong awards the "Night Fades Away" album a stingy 4-stars out of ten (worst in his catalogue) but I have to say, I unfortunately agree with him. Strong then gives "Wonderland" (next up) 6-stars and again – right about that too.

In the liner notes, Lofgren explains that his band had been jamming and rehearsing and gelling for months prior to the recording of "Wonderland" in 1983 – a back to basics approach - and man does it show. After the almost sedate playing displayed on "Night Fades Away" - it is like Lofgren went mad with his solos on "Wonderland" because they are incendiary. He was clearly excited about the material (10 originals and one cover that suited), his tight unit of a band – the no-nonsense production achieved by all three principal players in his group. Almost Rolling Stones in its down-to-business sound and wild playing - "Across The Tracks" opens proceedings with a kicker – a song about a boy and a girl from different sides of the social divide – Daddy with his shotgun by the railings should young lips touch. "Into The Night" is a typically excellent Lofgren song, simple yet touching, melodic yet softly rocking in its own way.

Things return to Rawk with the only cover on the LP – a hard-hitting very Chuck Berry chugging go at the Bobby Womack song "It's All Over Now" – Nils building the menacing guitar chords to a great solo (breakfast in bed, ease my aching head). The next offers huge guitar pings as an opening where "I Wait For You" later goes into echoed guitar soloing. There's a cool chord chug to "Daddy Dream" that might have made a good double with "Wonderland" as a US 45 (Louise Goffin, daughter of Jerry Goffin, sings on both "Wonderland" and "Everybody Wants"). "Room Without Love" feels like a Ry Cooder ballad – a room without hope where our Nils has been pining for a lady gone to greener pastures. No less than Bob Dylan told Nils in a corridor quick-chat that he loved "Confident Girl" – sound and changes – not bad. The island-beach-sand shuffle of "Lonesome Stranger" features a subtle backing vocal on the chorus from Carly Simon – sweet support that works. The LP romps home with the slight reggae-feel of "Everyday Wants" while his trademark guitar-led rocking bricks "Deadline". 

"Night Fades Away" did OK but despite his high hopes, "Wonderland" the LP didn't chart and was largely ignored. Why - truth be told – neither album is a blinder and it's easy to hear why less than a dollar or a pound will secure either vinyl LP a full forty-years after the events. 

But Nils Lofgren fans will also know that outside of expensive and now deleted Box Sets these hard-to-find platters are new to standalone CD and accompanied as they are with quality Remasters and great presentation – you have to say that England's BGO Records have done it again - and how. Wallet ahoy daddy-o, Nils won't go, but you may have too...

"We Have Met Together" by MICK MALONEY – February 1973 UK Debut Solo Album [ex The Johnstons] on Transatlantic Records (August 2023 UK Beat Goes On (BGO) Records Reissue onto CD with Andrew Thompson Remasters) - A Review by Mark Barry...

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"…Molloy's Favourite And The Earl's Chair…"

Limerickman, Banjo and Mandolin playing Folky Mick Maloney had already done his Irish Traditional Music time with The Johnstons between 1966 and 1972 – a very fondly remembered Folk/Folk Rock act on Transatlantic Records. Apart from lead vocalist Adrienne Johnston, Mick Maloney and the American Chris McCloud - The Johnstons were also the six-album home to one of Ireland's truly great songwriters - Paul Brady. 

Time to go solo - and for his Transatlantic Records debut in early 1973 - Maloney ditched that old crew and roped in a six-piece outfit of International players – Friedemann Witecka from Germany on Guitar, Dave O'Docherty from Dublin on Flute and Whistles, Dave Moses and Mal White from England on Bass Guitar, Recorder and Bodhran respectively with Ian (Jan) Inge Rasmussen from Norway on Guitar and Second Vocals and Scotsman Aly Bain from the Shetland Islands on Fiddle. Maloney played Tenor Banjo, Mandolin and Guitar and sang Lead Vocals on eight of its seventeen tunes. Adam Skeaping (one of the Engineers on the album) plays Synthesiser on the final lament to eerie effect on Side 2. Beat Goes On Records of England (commonly known as BGO Records) has also managed a first time on CD for this forgotten rarity with both beautiful Presentation and clear Audio. Here are the heady traditional details…

UK released Friday, 4 August 2023 (18 August 2023 in the USA) - "We Have Met Together" by MICK MALONEY on Beat Goes On Records BGOCD1498 (Barcode 5017261214980) Remasters his 1973 debut solo album onto CD and plays out as follows (45:51 minutes):

1. Two Jigs [Side 1]

2. The Invisible Man

3. The Pipe On The Hob

4. Belfast Town

5. Bodhrán Solo

6. Don't Cry In Your Sleep

7. Reel On Mandolin

8. Farewell To The Rhondda

9. Vi Skal Ikkje Sova Burt Sumar Natta

10. Bean Pháidín [Side 2]

11. Bodhrán Solo

12. Molloy's Favourite And The Earl's Chair

13. Avondale

14. The Leitrim Fancy

15. An Gaoth Andheas

16. Flute Solo

17. The Fields Of Vietnam

Tracks 1 to 17 are his debut solo LP "We Have Met Together" – released February 1973 in the UK on Transatlantic Records TRA 263. Produced by MICK MALONEY – it is first time on CD

NOTES: 

"The Invisible Man" is a Leon Rosselson song and features Friedemann Witecka on Second Guitar with Dave Moses on Bass

"Belfast Town" features Ian Inge Rasmussen on Second Guitar

Mal White plays the Bodhran on "Bodhrán Solo"

"Bean Pháidín" is Irish for Paddy's Wife

"Don't Cry In Your Sleep" features Ian Inge Rasmussen on Second Guitar and Vocal with Dave O'Docherty on Flute

"Reel On Mandolin" features Ian Inge Rasmussen duetting on Guitar

"Farewell To Rhondda" is a Frank Hennessy song about the Welsh mining strikes in 1972 and features Friedemann Witecka and Ian Inge Rasmussen on Guitars with Dave Moses on Bass

"Vi Skal Ikkje Sova Burt Sumar Natta" is a 1960s Norwegian Song (and not Traditional Folk as misdescribed in the original LP liner notes) and features Friedemann Witecka on Second Guitar with Dave Moses on Bass and Recorder

"Molloy's Favourite And The Earl's Chair" features Ian Inge Rasmussen on Guitar with Dave O'Docherty on Flute and Mal White on Bodhrán (the Molloy in the title refers to Irish Flutist legend Matt Malloy of Planxty and The Bothy Band)

"Avondale" is a Dominic Behan song about Charles Stewart Parnell and features Second Guitar by Friedemann Witecka and Dave Moses on Bass

"An Gaoth Andheas" translates as The South Wind and features Aly Bain on Fiddle (Late with The Boys of the Lough)

"Flute Solo" features Dave O'Docherty on Flute only

"The Fields Of Vietnam" is a Ewan MacColl song with Adam Skeaping on Synthesiser

Quite apart from the lovely card slipcase that lends these stand-alone album reissues a real sense of visual class – the 20-page accompanying booklet with new JOHN O'REGAN liner notes goes deep on Maloney’s history with Folk, the album and beyond. Many Net sources are quoted – the original LP's liner notes are reproduced as is its artwork. O'Regan and Musician friends of Maloney note how he made the layout of the album tracks something of a template for future releases – Irish, English, Scottish, Welsh, Euro and American Roots tunes sat alongside instrumentals on the Bodhrán, Flute or Banjo. 

Subject matters included the dread emigration, labour woes once in cheap work, unemployment hunger once out of casual jobs, occupying armies and alienation at home and all roads to and from similar socially aware themes. Maloney sings with his very nasal Tĩr na n'Óg vocals on eight songs (all others are instrumentals) – Tracks 2, 4, 6, 8, 9, 10, 13 and 17. Audio is a New Remaster by ANDREW THOMPSON and it is clean, warm and a lovely listen – the real simple instruments given space to shine.

Some will find the barricades and gelignite lyrics in "Belfast Town" an open-wound – a brave and horribly realistic song about the Northern Ireland troubles – its author wanting to remain anonymous in 1973 no doubt fearing reprisals from both side of the paramilitary divide. The same anchor's away to a better place doom permeates "Don't Cry In Your Sleep" while a jolly-roger lilt fills the colliery pit-men song "Farewell To The Rhondda" – the mines all closing and the population falling – all heading towards the big smoke of London to get work. Side 1 ends with a 60ts Norwegian song sung in the native tongue – it's pretty and features floating recorder, accented Bass and lovely acoustic soloing from guest Guitarist Friedemann Witecka. It's contemporary Folk and not Traditional at all.

A Traditional does open Side 2 – sung in Gaelic, "Bean Pháidín" is Irish for Paddy's Wife and Maloney makes light-work of the speedily sung impenetrable lyrics as the Mandolin and Acoustics strum and pick. After a short Bodhrán solo, the band gets to show its instrumental chops on "Molloy's Favourite And The Earl's Chair" – a Banjo, Whistle and Bodhrán tapping set of reels learned from Flutist Matt Molloy. Things return to plaintive ballad with the lovely "Avondale" – Dominic Behan singing of tall trees and ancient glory in the vales – Maloney sounding completely at home with the lead only to be joined on the second chorus by the other lads (very nicely done, Parnell would have approved). 

Two instrumentals highlight Acoustic Guitars, Banjo, Fiddle and Flute whilst "An Gaoth Andheas" is about a Southern Winter where Aly Bain of Boys of the Lough plays a binder on plaintive fiddle. The album ends of probably its best shot at greatness – a cover of the Ewan MacColl political ballad "The Fields Of Vietnam". It opens with lonesome solo vocals but is soon joined by an ominous synth drone (Adam Skeaping) – the Vietnamese taken on by the invading armies of the French and the Americans – none of them succeeding. "The Fields Of Vietnam" brings to an end a strong debut – not a masterpiece by any means – but superbly presented here for those who have waited decades for it to show on decent digital.

Having toured since the Sixties and been involved in nearly forty albums – Mick Maloney made the USA his home and sadly passed in July 2022 aged 77 – a lifetime given over to all forms of Folk music and its rich history, academia and philanthropy. Although his name may not reverberate around the annals of Music Fame outside of the Traditional genres – inside it – Maloney was beloved and spread the gospel far and wide – some saying he chronicled and championed all forms of Roots Music with a passion and warmth that was infectious. Much like this rather lovely CD Reissue and Remaster…

"Tempest/Living In Fear plus Bonus Tracks" by TEMPEST – February 1973 UK Debut Album and April 1974 UK Second and Last Studio Album on Bronze Records featuring Paul Williams, Alan Holdsworth, Ollie Halsall, Mark Clarke and Jon Hiseman (October 2023 UK Beat Goes On Records Compilation – 2LPs Plus Two Bonus Tracks onto 2CDs – Andrew Thompson Remasters) - A Review by Mark Barry...

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RATING: *** (Content), ***** (Presentation and Audio)

 

"...Waiting For A Miracle..."

 

In some respects, 1973 was a strange year for Rock. On the one hand, you had extraordinary releases from Bowie, Oldfield, Pink Floyd, Yes, Marvin Gaye, Paul McCartney, 10cc, Cockney Rebel, The Who, Elton John, John Martyn, Curtis Mayfield, Bobby Womack, Donny Hathaway and Stevie Wonder – all chockers with innovation and musical excellence – and loads more like them across Pop, Prog, Folk and even Reggae. And on the other hand, you had all these bands arising out of the ashes of old – in particular 1970, 1971 and 1972 line-ups – hustling for what should have been a glorious new beginning and eventual global domination followed quickly by concert teeshirt worship.

 

The short-lived TEMPEST was such a British group. Lead Singer and Front Man Paul Williams had come up through the ranks of Zoot Money and the heyday of Juicy Lucy, Lead Guitarist Alan Holdsworth had graced the doors of the one-album Decca Records cult band Igginbottom while Bassist Mark Clarke and Drummer Jon Hiseman were ex Uriah Heep and Colosseum respectively. In fact Hiseman saw Tempest as a vehicle to tackle a more Hard Rock approach as opposed to the Fusion Prog of Colosseum and Holdsworth could play to beat the band while ballsy/bluesy vocalist Paul Williams could dominate a microphone. Both Williams and Holdsworth jumped ship for the second LP only to be replaced with another ace-axeman – Ollie Halsall. So all in all – with their pair of studio LPs originally on the much-liked Bronze Records - Tempest sported righteous omens and pedigree call sheets - on paper. 

 

But that's were the good news ends - because 50-years on Tempest so often elicit the venomous ire of derision – a band obviously lacking in tunes. Their music was sort of Rock and sort of Prog - but despite gimmicky sleeves bound to engender cult collecting – were not particularly sexy pants as a band on either front.

 

Well, Beat Goes On Records of the UK have said damn the accusational torpedoes ye heathens of yore and reissued both albums with two appropriate bonuses in tow in one of those natty card slipcases they do so well. Stick that in your high-pressure front, you aging man-children of Gorgon. To the wet and windy details...

 

UK released Friday, 6 October 2023 - "Tempest/Living In Fear plus Bonus Tracks" by TEMPEST on Beats Goes On Records BGOCD1502 (Barcode 5017261215024) offers Two Albums from 1973 and 1974 Remastered onto Two CDs with Two Bonus Tracks and plays out as follows:

 

CD1 (35:40 minutes):

1. Gorgon [Side 1]

2. Foyers Of Fun

3. Dark House

4. Brothers

5. Up And On [Side 2]

6. Grey And Black

7. Strangeher

8. Upon Tomorrow

Tracks 1 to 8 are the debut album "Tempest" – released February 1973 in the UK on Bronze ILPS 9220 and Warner Brothers BS 2682 in the USA. Produced by JON HISEMAN – it didn’t chart in either country

 

TEMPEST line-up for the debut "Tempest"

PAUL WILLIAMS (ex Zoot Money and Juicy Lucy) – Vocals, Keyboards, Acoustic Guitar

ALAN HOLDSWORTH (ex ‘Igginbottom) – Lead Guitar and Violin

MARK CLARKE (ex Uriah Heep) – Bass, Keyboards and Vocals on "Grey And Black"

JON HISEMAN (ex Colosseum) – Drums and Percussion

 

CD2 (47:06 minutes):

1. Funeral Pyre [Side 1]

2. Paperback Writer

3. Stargazer

4. Dance To My Time

5. Living In Fear [Side 2]

6. Yeah Yeah Yeah

7. Waiting For A Miracle

8. Turn Around

Tracks 1 to 8 are their second and last studio album "Living in Fear" – released April 1974 in the UK on Bronze ILPS 9267 (no US release). Produced by GERRY BRON – it didn’t chart

 

TEMPEST line-up for "Living In Fear"

OLLIE HALSALL – Guitar, Keyboards and Vocals

MARK CLARKE – Bass and Vocals ("Stargazer" only)

JON HISEMAN – Drums and Percussion

 

BONUS TRACKS

9. You And Your Love

10. Dream Train

 

The card-slipcase is cool, the 20-page booklet reproducing the album artwork and lyrics (debut only) and photos from that elaborate artwork. Valiant new liner notes from CHARLES WARING explain the Colosseum connection and give a song-by-song breakdown – but despite his usual thoughtful and fact-filled assessment – it is for me all in vain because the music just does not warrant it. You cannot accuse this twofer however of not sounding kick-ass – the ANDREW THOMPSON Remasters storming out of your speakers with great power and separation.

 

It begins with a promising fade-in of acoustic guitars, treated mysterious vocals and swirling high-hat soundscapes – but then descends into plodding riffage and horrible lyrics about girlies studying evil all the time. If ever there was a template for Spinal Tap – this is it. Poor Paul Williams tries to passion his way into the guitars with lyrics that do him no favours. Writers Hiseman, Holdsworth and Clarke continue with the Cream-out-of-time heavy handedness of "Foyers Of Fun" and "Dark House" – Williams and his strained vocals sounding so out of place that it's obvious he's the wrong man for the job. Clever guitar parts hold together the Side 2 opener "Up And On" – soloing ahoy in the second half of the song.

 

A welcome melodic keyboard refrain opens "Grey And Black" but Clarke doesn't have the strongest voice in the world and so it feels like sub-standard Greenslade. At least the oddly spelt "Strangeher" feels like some half-decent Rock and Roll meets twin-guitar Wishbone Ash type sounds. A beautifully recorded Violin and Keyboard plink opens the decidedly jazzy-Prog final track on the debut "Upon Tomorrow" – the drum flourishes of Hiseman and the Weather Report bass notes of Clarke rattling around your speakers with wonderful clarity. But of course, come two minutes in – we get the sudden riffage that doesn't really excite. But at least Williams sounds more convincing – making "Upon Tomorrow" probably the best cut on a patchy debut album.

 

Both Singer/Keyboardist Paul Williams with Guitarist Alan Holdsworth jumped ship after the debut where Tempest effectively became a trio for the 1974 set "Living In Fear" – Ollie Halsall joining as Guitarist and Singer. But therein for me lies the problem with platter number two – Halsall can play and is famous for being a wiz on the fretboard – but again his voice is grating and not enticing you in. The band didn't seem to have learned the mistakes of the debut. And you wouldn’t mind if the songs had improved – no such luck.

 

Gerry Bron of Bronze Records produced and it feels a tad amateur despite Halsall going all wobbly guitar notes on the opener "Funeral Empire". A very clever and welcome cover gives them a chance to Rock – "Paperback Writer" getting grunged with guitars and layered vocals. But it only serves to remind that Tempest could never write something this brilliant – only that they can heavy-hand the song which they do. We get a tad Juicy Lucy with "Stargazer" where Mark Clarke takes lead vocals and at least it feels like a tune albeit in a Man kind of way. There then follows a line of hammy songs the best of which is the mildly guitar-jaunty “Yeah Yeah Yeah". Both "Waiting For A Miracle" and the decidedly guitar-whig-out finisher "Turn Around" try hard enough but lack any real kind of hook. The bonus tracks are only OK – the poppy "Dream Train" sounding dangerously close to bad Sparks.

 

You have to admire BGO of England for giving these 1973 and 1974 Tempest rarities a digital go-round and any fans out there are really going to love the classy presentation and massively upgraded sound. But I would advise a listen first for anyone else...

"Paladin/Charge!" by PALADIN – May 1971 UK Debut Album and April 1972 Second and Final Studio Album on Bronze Records – featuring Lu Stonebridge, Peter Solley, Derek Foley, Pete Beckett and Keith Webb (October 2023 UK Beat Goes On Records Compilation – 2LPs onto 2CDs with One Bonus Track – Andrew Thompson Remasters) - A Review by Mark Barry...

 

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RATING: **** 

SOUND: *****

PRESENTATION: *****

 

"...Mix Your Mind With The Moonbeams..."

 

In the liner notes of this excellent but ever so slightly flawed BGO twofer CD reissue from October 2023 – Keyboard Player, Lead Vocalist and founder member of Paladin Lou Stonebridge describes the sexy Prog-Rock meets Funk rhythms of the short lived Paladin as "...a cross between Santana and Osibisa". Well, I'd throw in War too. And frankly anyone else on Vertigo Spiral with Hippity-Hoppity ants in their Rock Lead pants.

 

Although often described as Prog Rock – much of the time the Paladin sound comes at you like a drum-based funky-rhythms five-piece virtuoso hybrid that squeezes in guitar passages and keyboard flourishes aplenty. Imagine Zeppelin's "Moby Dick" drum solo from their epic October 1969 "II" album attached to cool War-like grooves and lyrics by way of hip-shaker crossover acts like say Malo or Mother's Finest or even The Mahavishnu Orchestra - and you get the sonic picture. These guys could play to beat the band (the first album was laid down during power-cuts) – while the second LP is seen by some as a fusion-of-styles masterpiece with definite Progressive leanings. In fact for their 24 November 2023 Bob Stanley and Pete Wiggs compilation "Incident At A Free Festival" for Ace Records (part of a long running themed series of compilations – see separate review) – those two manly purveyors of all things eclectic, forgotten and yet tasteful used the very War-sounding "Third World" by Paladin as a highlight on that CD/2LP comp. 

 

But back to what we got - unfortunately, Beat Goes On of the UK (BGO) have left off one crucial song that appeared on the American variant of the debut album and would for me have given this fab reissue a straight five-stars (hence the four rating - see NOTES re the track line-up under the CD1 listing below). Still, there is so much to love here – to the moonbeams and charging horse dreams...in short, details...

 

UK released Friday, 13 October 2023 - "Paladin/Charge!" by PALADIN on Beat Goes On Records BGOCD1501 (Barcode 5017261215017) offers their two studio albums from 1971 and 1972 Remastered onto Two CDs with One Non-LP 45-Single Bonus Track on CD2. They plays out as follows:

 

CD1 "Paladin" (37:34 minutes):

1. Bad Times [Side 1 UK – see Notes]

2. Carry Me Home

3. Dance Of The Cobra

4. Third World [Side 2 – see Notes]

5. Fill Up Your Heart

6. Flying High

7. The Fakir

Tracks 1 to 7 are the British LP Version of their debut album "Paladin" – released May 1971 in the UK on Bronze Records ILPS 9150 and Epic E 31137 in the USA.

NOTES: The US LP had eight tracks and not seven – two of which were not on the UK debut. "Giving All My Love" at 2:29 minutes began Side 1 whilst the song "Anyway" at 4:18 minutes replaced "Third World" (3:51 minutes) as the opener on Side 2. The US Epic Records single sleeve LP also had photo artwork on both back and front (the five snaps used on the inner gatefold of the British LP) unlike the plain black sleeve gatefold of the UK version. The song "Giving All My Love" was also the B-side of "Anyway" - their first UK 45-single issued July 1971 on Bronze Records WIP 6108. While "Anyway" is on the "Charge!" album (CD2), unfortunately "Giving All My Love" has not been included on this reissue so you cannot sequence the American LP from this release.

 

CD2 "Charge!" (44:15 minutes):

1. Give Me Your Hand (7:49 minutes) [Side 1]

2. Well We Might (6:02 minutes)

3. Get One Together (2:36 minutes)

4. Anyway (4:17 minutes)

5. Good Lord (6:45 minutes) [Side 2]

6, Mix Your Mind With The Moonbeams (6:00 minutes)

7. Watching The World Pass By (9:33 minutes)

Tracks 1 to 7 are their second and final album "Charge!" – released April 1972 in the UK on Bronze Records ILPS 9190 (no US issue). Some early copies of the British LP had a sticker advising that the song "Anyway" (which had been on the US debut) is an addition to the second British LP at the end of Side 1. For instance even though the German LP on Island Records 86 097 IT has gatefold Roger Dean artwork like the British issue - the song "Anyway" is on the vinyl and Side 1 label as Track 4, but it is not mentioned on the track list of the inner gatefold – so a late addition it was.

 

BONUS TRACK:

8. Sweet Sweet Music

Tracks 8 was the Non-LP stand-alone A-side of a September 1972 UK 45-Single on Bronze Records BRO 3 with "Get One Together" from the "Charge!" LP as its B-side. "Sweet Sweet Music" was also issued in Germany, Spain and France as 45s in picture sleeves - all of which are repro’d on Page 10 of the booklet.

 

PALADIN was (for both albums):

LOU STONEBRIDGE – Lead Vocalist and Electric Piano

PETER SOLLEY – Second Vocalist, Hammond Organ, Piano and Violin

DEREK FOLEY – Lead Guitar and Vocals

PETE BECKETT – Bass and Vocals

KEITH WEBB – Drums and Percussion

 

The card slipcase and 20-page booklet are up to the usual classy Beat Goes On standards – artwork reproduced – new liner notes by MICHAEL HEATLEY that includes interviews with Lou Stonebridge and even Tom McGuinness – McGuinness Flint being the band that Stonebridge migrated too after Paladin imploded. Stonebridge for instance went on to session with many Rock luminaries like the David Byron of Uriah Heep solo LP "Take No Prisoners". Bassist Pete Beckett became a songwriter - went to the States and formed Player who had a huge Yacht Rock No.1 hit with "Baby Come Back" on RSO Records in 1977/1978. Peter Solley made his way into Procol Harum for a while via Blues rockers Snafu and so on. All of these details and more are explored in the booklet. The five photos of the boys that adorned the inner-gatefold of the UK debut and were used as the front cover artwork for the American LP is on Page 2 – pictures of Euro 45s etc.

 

The Audio is from ANDREW THOMPSON – new 2023 Remasters done at Sound Performance and these CDs rock! There is fantastic clarity and power on these albums especially when your speakers are rattling with Osibisa rhythm sections being topped off by impressive keyboard soloing via fusion flourishes close to say Colosseum. To the tunes...

 

From the opening Bass and Cowbell rhythm followed by very Graham Bon Organization organ – the Audio feels great – nice separation of instruments. The first of four Peter Solley compositions on the "Paladin" debut - "Bad Times" warns how easily the good life slips into something less free and far darker. Dig that great guitar break and the speeding up of the keyboards and rhythm section – so "Singing Winds, Crying Beasts" by Santana – the "Abraxsas" album by them from September 1970 having taken the world by storm. From this great Funky-Rock opening, you can only imagine what a fabulous live act Paladin must have been. Lou Stonebridge and Pete Beckett provide "Carry Me Home" – a boozy piano-driven Blues shuffle where the boys beg someone (anyone) to take them away from the sorrow of today. Side 1 ends with a beast of varying colours – cool rhythms, warbling electric piano notes and Funky Osibisa guitar flicks introducing the very War-vibe of "Dance Of The Cobra" by drummer Keith Webb. Soon the chugging Funk is joined by treated Sly Stone guitar where Derek Foley is determined to show everyone he knows a thing or two about the dots on his fretboard. But being the Drummers song – come four minutes in comes the big kit solo by way of "Moby Dick".

 

Side 2 of the "Paladin" debut comes on like Gil Scott Heron with a Funky rhythm behind him as year dates are talked about and predicted – a rant called "Third World". There is even Punk daring and attitude in the highly politicized Pete Solley lyrics and talk of dodgy religious indoctrination being overthrown. By the time the singer gets to 1979 and his boys go "Whoa!" (as they did after year is mentioned) – a Funky Piano solo sexy-shimmies the song to its end lifting "Third World" up into genius Soul-Rock territory. Solley provides tune Number Four with the deeply Funky Rhythms of "Fill Up Your Heart" – a so-Santana groove that it hurts (great guitar work too as they let rip). Solley offers his fourth and final with "Flying High" – a mellow keyboard shimmering love song where some lady is weaving her magical spell around our hapless hero. The only cover on the album ends the LP – a take on a Lalo Schifrin instrumental called "The Fakir" where an Eastern Bizarre complete with baskets of snakes meets with London Prog Rock and Osibisa rhythms. And again, another seriously impressive performance that only grows and grows after repeated listens – much like the whole album. It's such a damn shame BGO didn't include both "Giving All My Love" and "Anyway" as Bonus Tracks so that fans could sequence the 8-track US version of the debut from CD1 (docked a star for that oversight).

 

Although their second album "Charge!" never received a release on Epic in the States – in Blighty and beyond – the second Paladin album holds a High Table placing. Some have called it a masterpiece of Prog Rock meets Fusion meets War meets Osibisa and so on. It was even given the accolade of a gatefold Roger Dean cover (actually one of my favourite futuristic paintings outside Yes and Badger and Budgie). So I might just agree with such lofty aspirations. The Bass line throughout the Peter Solley opener "Give Me Your Hand" anchors another groovy guitar/keyboard funky workout. Slide guitar via Snafu and some kind of Fumble Rock and Roll fills the rollicking "Well We Might" with a simple boogie-joy. It's a smart mood change that makes the music feel more multi-faceted (must have torn up the aisles in a live setting).

 

Drummer Keith Webb brings it back to Funky Prog with the Wah-Wah vs. Hammond "Get One Together" – and again one thinks of Santana having a yeah-yeah lets boogie on the rugs moment as the band cooks. Audio-wise "Get One Together" rocks, those keyboard solos tearing out of your speakers. Many copies of UK and German LPs did not have the Solley-penned "Anyway" listed on the sleeve (but it was on the LP and label) so some copies came with a sticker explaining that it was a late addition. You can hear when it comes to its melodious chorus why someone thought it might stand a chance as a single. Side 2 continues the Funk-a-thon with "Good Lord" written by Foley, Stonebridge and Beckett. A very cool guitar and rhythm-intro builds and builds until it just lets-rip into a full on race. Engines cool down again when the singing starts – but it remains a Funk-Rock-meets-Soul nugget on an LP that shows how the band had progressed so much between records (dig that subtle vibe-sounding keyboard solo - brilliant).

 

Peter Solley throws the wonderfully titled "Mix Your Mind With The Moonbeams" into the stew – a contemplative trippy keyboard soundscape that quickly goes Yes as fast as it can – the kind of 1972 tune that would make Rick Wakeman smile. Stonebridge brings the album to a close with "Watching The World Pass By" – its mellow sixties Harmonica opening sounding like Midnight Cowboy has snook in via the back door. But soon (at 1:25 minutes) it's Family Stone Funking and Uriah Heep Rocking and Greenslade Church-Organ Progging like a goodun and pleasing us aging hippies come. CD2 is tail-ended by their second and last stand-alone 45 - "Sweet Sweet Music" - an obvious Funk-Rock groover akin to say Blackfoot Sue or Jo Jo Gunne or even Grand Funk Railroad. "Sweet Sweet Music" is a damn good groove and surprising its radio-friendly commercialism didn't see it chart big for them.

 

A superb Beat Goes On reissue then for me with great 2023 audio, curvaceous presentation and the feeling of a genuine blast from the past come a knock-knock-knocking on your stereo door (shame about that missing song though). 

 

The two Paladin albums go for money and on the evidence presented here – it's easy to hear why. Invest in this cracking 2CD Remaster from BGO and lose pounds as you dance the cobra, charge the Zimmer-frame and give it some moonbeams en route...(where's my Afro-wig when I need it)...