"Solo (Live)" by DON McLEAN (1994 and 2008 Beat Goes On - 2LP set Remastered onto 2CDs) - A Review by Mark Barry...

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"…I Was Coming Back Anyway!"

After five studio albums covering the varying styles of Folk, Rock, Country, Dixieland and even Old Timey Music Hall - it was time for Don McLean to strip away all the studio gadgets - get back to basics and literally go 'Solo' on stage. Originally released in late 1976 as a vinyl double-album - "Solo" does what it says on the tin - it's just Don McLean and his guitar or his banjo or his voice ("Geordie Has Lost His Penker" is Acapella). With songs covering love, heartbreak, painters, hobos, poverty and lots of laughter and Americana inbetween - the crowd is swept along with his sincerity, his warmth and crafted performance skills.

So back in 1994 - Britain's Beat Goes On remastered much of his United Artists album catalogue from the Seventies - and this 2CD offering is one of those hidden nuggets. Here are the details...

Originally released November 1994 (reissued in December 2008) – "Solo (Live)" by DON McLEAN on Beat Goes On BGOCD 300 (Barcode 5017261203007) is a straightforward 2CD transfer of the vinyl double-album "Solo" originally released September 1976 in the USA on United Artists UA-LA652-H2 and in the UK on United Artists UAD 60139. It breaks down as follows...

Disc 1 (53:50 minutes):

1. Magdalene Lane

2. Masters Of War

3. Wonderful Baby

4. Where Were You Baby

5. Empty Chairs

6. Geordie's Lost His Penker

7. Babylon

8. And I Love You So [Side 2]

9. Mactavish Is Dead

10. Cripple Creek/Muleskinner Blues

11. Great Big man

12. Bronco Bill's Lament

13. Happy Trails

14. Circus Song

15. Birthday Song

16. On The Amazon

Disc 2 (50:48 minutes):

1. American Pie [Side 3]

2. Over The Waterfall/Arkansas Traveller

3. Homeless Brother

4. Castles In The Air/Three Flights Up

5. Lovesick Blues [Side 4]

6. Winter Has Me In Its Grip

7. The Legend Of Andrew McCrew

8. Dreidel

9. Vincent

10. Till Tomorrow

The 12-page booklet has typically excellent liner notes by JOHN TOBLER (dated 1994) with gatefold artwork on the inner pages. Tobler details much of McLean's career up to 1976 (Perry Como and Presley covering the gorgeous "And I Love You So" - the story of the black cripple and pauper Andrew McCrew finally getting a headstone because of McLean's song - and so on). The remaster was done at Sound Mastering (then in Cambridge) and is clean with only minor hiss issues on the very quietest of songs (doesn't say who did what). But it should be added that as this is a live set clearly from different audiences - the audio ping-pongs about a bit - but mostly it's a top-notch transfer and hugely evocative. Mostly you're too immersed in the storytelling to notice...

Amongst my favourites is "Winter Has Me In Its Grip" - originally on 1974's "Homeless Brother" - a typically simple song that slays you. The audience almost sings along to "And I Love You So" while the trio of "American Pie", "Vincent" and the lovely "Till Tomorrow" elicit just that - crowd sing-alongs ("Empty Chairs" is fabulous too). But the album belongs to "Babylon" where he splits the audience up into groups and has them singing various parts - each harmonising - it's frankly magical. McLean has always been a great songwriter - but this lovely BGO 2CD reissue shows what an amazing performer he is too into the bargain.

As he comes back out on stage to perform "Till Tomorrow" as an encore (ending Side 4) - he jokes - "I was coming back anyway!" I suspect that after you succumb to this reissue’s many charms - you'll find yourself doing exactly that...

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"Homeless Brother" by DON McLEAN (1994 and 2008 Beat Goes On CD Remaster) - A Review by Mark Barry...

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"…I'm Too Young To Feel This Old…" 

Don McLean albums are often hit and miss affairs ("Homeless Brother" is no different). But possessed of a way with melody that few artists have – when New York State Don hits that sweet spot - the results are gorgeous and often impossibly moving.

Back in 1994 Britain’s Beat Goes On remastered much of his United Artists album catalogue from the Seventies - and this 1974 offering is one of those hidden nuggets. Here are the details…

Originally released November 1994 (reissued in December 2008) – "Homeless Brother" by DON McLEAN on Beat Goes On BGOCD 247 (Barcode 5017261202475) is a straightforward transfer of his 5th album released November 1974 in the USA on United Artists UA-LA315-G and also November 1974 in the UK on United Artists UAG 29646 (38:26 minutes):

1. Winter Has Me In Its Grip

2. La La Love You

3. Homeless Brother

4. Sunshine Life For Me (Sail Away Raymond)

5. The Legend Of Andrew McCrew

6. Wonderful Baby

7. You Have Lived

8. Great Big Man

9. Tangled (Like A Spider In Her Hair)

10. Crying In The Chapel

11. Did You Know

The 12-page booklet has typically excellent liner notes by JOHN TOBLER (dated 1994) followed by song lyrics and musician credits. The remaster was done at Sound Mastering (then in Cambridge) and is beautifully clean with only minor hiss issues on the very quietest of songs (doesn’t say who did what). It’s a top-notch transfer.

McLean is a fantastic lyricist - painting images that are so vivid. In "Lonesome Brother" we get "...it was just a drunken hobo...dancin' circles in the night...pourin’ whisky on the headstones in the blue moonlight…" and in "You Have Lived" he admires a social outcast "...confined by fashion and peer…I love you for your courage in this frighten atmosphere…" Inspired by Fred Astaire and dedicated to him – McLean’s "Wonderful Baby" would eventually be recorded by the master dancer himself in 1976 on Astaire's "Attitude Dancing" album (United Artists UK put McLean's song out as a 45 in January 1975 on UP 35764 with "Homeless Brother" on the flip). The upbeat and decidedly fruity "La La Love You" has Don pleading with his lady to "...just let me ride your box car…and I'll hobo with you…" - naughty boy.

One of the huge songs on the album even made the news in the USA and changed a forgotten soul’s final fate. “The Legend Of Andrew McGrew” tells the story of a tramp’s body sat prostate in a straw chair – his mummified remains peddled for decades as a travelling-show exhibit. Highlighting McGrew’s horrible treatment - the song finally saw the lost man be given a decent burial. The lovely ballad “Tangled (Like A Spider In her Hair)” sees him sing and play acoustic guitar with only the faintest of percussion from Ralph McDonald. He then shares an Acapella rendition of The Orioles 1953 Vocal Group hit on Jubilee “Crying In The Chapel” with The Persuasions – the lack of instruments give it a Fifties feel and make it all the more striking (the song was also covered memorably by Elvis in 1965 on RCA).

One of my favourites is the gentle opener “ Winter Has Me In Its Grip” – a typically simple song that slays you. Yusef Lateef provides Flute as McLean does a truly gorgeous backing vocal duet with Kenny Vance (lyrics from it title this review). The album ends on one of the album’s prettier songs “Did You Know” – again just McLean and acoustic guitar with a Willis Jackson Tenor Saxophone towards the end.

It's not "American Pie" (1971) or "Playing Favourites" (1973) - but those "Homeless Brother" moments are right up there. A lovely reissue…

"Stoneground/Stoneground 3" by STONEGROUND (2017 Beat Goes On Reissue - 2LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...

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"...Looking For You..." 

California's STONEGROUND - a San Francisco 10-piece hippy ensemble fronted by ex Beau Brummel's guitarist Sal Valentino and no less than six other lead singers four of whom were ladies (see list below) - released three albums on Warner Brothers in rapid succession in the early Seventies and thereafter commercially disappeared into unfair obscurity and local legend (their live shows were a cause celeb of the day).

At times Stoneground comes on like a more rocking version of Leon Russell and his Shelter People (Valentino's voice is similar) with traces of Little Feat Rock-Funk, first album Ry Cooder and because of the raspy ladies - early Fanny. Their sound and style is a mash up of Sixties R&B, Gospel, Sunshine Pop and CSNY influences – with a trace of The Doors thrown in for good measure. Sounds good doesn't it - they were.

Their wonderful debut "Stoneground" hit the shops in April 1971 on Warner Brothers WS 1895 - the half-live/half-studio 2LP-set "Family Album" followed in December 1971 on Warner Brothers 2ZS 1956 - ending their initial tenure on the label with December 1972's "Stoneground 3" on Warner Brothers BS 2645. Those of us who have trawled secondhand record stores down through the decades will have seen their tan-label original vinyl LPs in their droves - cheap as chips and easily attainable. Pretty much an American-only phenomenon - none of their rather excellent albums ever bothered the charts on either side of the pond (their debut received a UK release but the following two didn’t) - and in hindsight that was a bit of a mistake on the part of a Joe Public seriously spoilt for choice in 1971 and 1972. Which brings us to this stunning-sounding 2017 reissue...

Beat Goes On of the UK put out their second platter "Family Album" in November 2016 on BGOCD 1263 (Barcode 5017261212634) as a 2CD set (see separate review). This new February 2017 2CD Reissue gathers up albums Number 1 and 3 and offers them up in a truly fabulous new remaster. There is a ton of detail to wade through - so once more unto the sand dunes and rainy day details...

UK released February 2017 - "Stoneground/Stoneground 3" by STONEGROUND on Beat Goes On BGOCD 1270 (Barcode 5017261212702) offers 2LPs Newly Remastered onto 2CDs and plays out as follows:

Disc 1 "Stoneground" (37:24 minutes):

1. Looking For You [Lead Vocals, Sal Valentino]

2. Great Change Since I've Been Born [Lead Vocals, Lynne Hughes]

3. Rainy Day In June [Lead Vocals, Sal Valentino]

4. Added Attraction (Come And See Me) [Lead Vocals, Deirdre La Porte]

5. Dreaming Man [Lead Vocals, Tim Barnes]

6. Stroke Stand [Lead Vocals, Sal Valentino] - Side 2

7. Bad News [Lead Vocals, Lydia Phillips]

8. Don't Waste My Time [Lead Vocals, Luther Bildt]

9. Colonel Chicken Fry [Lead Vocals, Sal Valentino]

10. Brand New Start [Lead Vocals, Annie Simpson]

Tracks 1 to 10 are their debut album "Stoneground" - released April 1971 in the USA on Warner Brothers WS 1895 and in the UK on Warner Brothers K 46087. Tracks 1, 4, 5, 6, and 9 are Sal Valentino originals – Track 2 is a Reverend Gary Davis cover - Track 3 is a Ray Davies song, a Kinks cover - Track 7 is a JD Loudermilk song, a Leadbelly cover - Track 8 is a John Mayall cover and Track 10 is a Jackie De Shannon cover (a Tom Donahue and John Blakely song).

For the debut STONEGROUND was:

SAL VALENTINO - Lead Vocals, Electric & Acoustic Guitars and Percussion

LYNNE HUGHES – Lead Vocals

DEIRDRE LA PORTE – Lead Vocals

ANNIE SIMPSON – Lead Vocals

LYDIA PHILLIPS – Lead Vocals

TIM BARNES - Lead Guitar, Bottleneck, Lead and Backing Vocals

LUTHER BILDT – Guitar, Lead and Backing Vocals

JOHN BLAKELEY – Rhythm Guitar and Bass Guitar

PETE SEARS – Bass Guitar and Keyboards

MICHAEL MAU – Drums

Guest:

RON NAGEL – Keyboards and Percussion

Disc 2 "Stoneground 3" (43:14 minutes):

1. Dancin'

2. On My Own

3. You Better Come Through

4. Ajax

5. Down To The Bottom

6. From A Sad Man Into A Deep Blue Sea

7. From Me - Side 2

8. Lovin' Fallin'

9. Butterfly

10. Gettin' Over You

11. Heads Up

12. Everybody's Happy

Tracks 1 to 12 are their 3rd and final album for Warner Brothers - "Stoneground 3" - released December 1972 in the USA on Warner Brothers BS 2645. Tracks 1, 5, 6, 7, 8 and 11 are Sal Valentino originals - Track 2 is by Lynne Hughes - Track 3 by Tim Barnes - Track 4 by Deirdre La Porte - Track 9 by Cory Lerios - Track 10 by Annie Sampson and Track 12 by Cory Lerios and David Jenkins.

For the third album STONEGROUND was:

SAL VALENTINO - Lead Vocals, Electric & Acoustic Guitars and Percussion

LYNNE HUGHES – Lead Vocals

DEIRDRE LA PORTE – Lead Vocals

ANNIE SIMPSON – Lead Vocals

LYDIA MORENO – Lead Vocals

TIM BARNES - Lead Guitar, Lead and Backing Vocals

JOHN BLAKELEY – Rhythm Guitar and Bass Guitar

TERENCE V. CLEMENTS – Horns

CORY LERIOS – Keyboards and Vocals

DAVID McCULLOUGH – Bass

STEVE PRICE – Drums

The card slipcase that now comes as standard with all BGO releases adds the whole shebang a classy feel - while the 14-page booklet uses new JOHN TOBLER liner notes to unravel the huge ensemble’s tangled history (three members of the group would go on to be in Pablo Cruise and finally achieve chart success). The liner notes for the original debut are here as are the lyrics to "Stoneground 3" along with some black and white live shots of the band and a tasty centre-page photo that has the group pushed to 11 members. Tobler describes their roots in the 'Medicine Ball Caravan' show that crossed America in 1970 and eventually became a movie in 1971 (several members of the band featured in it). The arrival of a songwriter like Sal Valentino (ex Beau Brummels) changed everything for Stoneground and got them the WB contract (Tobler discusses the BB's a lot) and we learn that Lydia Moreno and Annie Simpson had been in the cast of the hugely popular Rock Musical "Hair".

But the big news here is a truly gorgeous High Definition 2CD Remaster by tape supremo ANDREW THOMPSON – the Audio Engineer BGO has been using for decades. These CDs have been out before on Collectables – but the Audio here is way better. I’ve never heard the first LP sound so beautiful – all those great vocalists and funky guitar breaks. Let's get to the music...

Their April 1971 debut album "Stoneground" opens with a winner - the very languid Doors-sounding "Looking For You" - a cool little sucker if ever there was one. Lynne Hughes makes her considerable set if pipes known on the cover version of a Rev. Gary Davis Blues number called "Great Change Since I've Been Born". A member of a short-lived Bay Area group called 'Tongue & Groove' - she clearly identifies with the holy-roller lyrics "...songs I used to sing...I won't sing no more..." In fact the splitting of male and female voices as leads on each track works - but I would also imagine that it also made their sound and style hard to nail down (a PR problem no doubt). Valentino does a very Soulful Leon Russell take on the Kinks 'Face To Face' album track "Rainy Day In June" - the ladies giving it some great backing vocals I think Ray Davies would approve of. Deirdre La Porte gives it some Janis Ian meets Melanie Lead Vocals on "Added Attraction..." while Sal duets with her on some lines. "Dreaming Man" is pretty builder of a ballad that has an ever-present hiss in the background at the beginning - but thankfully gets drowned out by guitars and keyboards. Other album highlights include a clever slide-Blues take on Leadbelly's "Bad News" that feels amazingly modern in its instrument arrangement and a storming cover of John Mayall's "Don't Waste My Time" from his 1969 LP set "Empty Rooms" - a song Sal Valentino clearly has the hits for. Can’t say I dig "Colonel Chicken Fry" while the final cut "Brand New Start" is a hurter sung with real pain by Annie Simpson – a song you can’t help feel Bonnie Raitt should pay attention to as a potential monster cover.

Produced by Sal Valentino - the 3rd album saw the band ditch all cover versions and opt for 12 originals. Kitted out with a staggeringly unoriginal album name and artwork taboot – Funk-Rock seemed to be the order of the day. And again it's a mixture of the good and the ordinary - "Dancin'" opening proceedings strongly only to be followed by the neither-here-nor-there "On My Own". Barnes offers "You Better Come Through" again trying hard in a Delaney & Bonnie way to be great but never quite getting there. "Ajax" is beautifully produced - like Maria Muldaur meets Allen Toussaint. Valentino's "Down In The Bottom" feels like Robert Palmer circa "Sneakin' Sally Through The Alley" - a slick little Funk-Rock groove that hooks in and doesn't let go. He ends Side 1 with the excellent "From A Sad Man Into A Deep Blue Sea" - the remaster shining like never before as shimmering Dobro notes flick and clang in your speakers (what a stunning transfer). Other highlights include the cool Clapton-like slides of "From Me" and the Eagles/Little Feat feel to "Heads Up".

Piano player Pete Sears who played on their debut would later feature in Hot Tuna and Jefferson Starship and along with Ian McLagan became a member of the house band that played on Rod Stewart's mighty trio of classic albums - "Gasoline Alley", "Every Picture Tells A Story" and "Never A Dull Moment". Cory Lerios, Steve Price and David Jenkins would form Pablo Cruise and sign to A&M Records for major chart success in the Seventies. Stoneground went on make more albums that no one remembers - even returning to Warner Brothers in 1978 for the "Hearts Of Stone" LP in 1978. There's a website to the band that tells you bugger all info about them...

Neither album is a masterpiece by any stretch of the imagination - but those forgotten nuggets in-between the lesser stuff will have Seventies Rock fans turning heads in shock and pleasant surprise. Probably victims of too many faces, too many voices and too many forces trying to get noticed - Stoneground ended having the general buying public not noticing them at all. But as I re-listen to the Little Feat-ish Funk Rock of "Looking For You" or "Heads Up" or the stunning whiteboy Blues of "From A Sad Man Into A Deep Blue Sea" - and in this truly great Audio - I'm thinking some of us missed a trick here.

Stoneground are worth a punt - and this superb-sounding twofer CD set is a great place to start your lines in the sand...

PS: the Barcode 5017261212702 on this 2017 BGO 2CD Reissue seems to be wrongly linked to a 2009 single disc reissue by Collectables for just the first album. So check with your supplier on what issue you're buying until Amazon and Beat Goes On sort out this error/anomaly...

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"Greenhouse" by LEO KOTTKE (1990, 1997 and 2008 Beat Goes On CD Remaster) - A Review by Mark Barry...

"...A Tiny Island Floating In The Sea..."

I always find it astonishing that Leo Kottke's fifth album "Greenhouse" from the spring of 1972 is not lauded from on high nor held in as much reverence as its predecessors by critics - because the ace guitarist dares to 'sing' on some tracks.

Frankly I find all-instrumental LPs hard work at the best of times - but with 1972's "Greenhouse" - the virtuoso picker waxes lyrical on four of the tunes while the other seven are 6 and 12-string acoustic instrumentals. And for my money I can't get enough of his deep toned voice. I've got the magical live album follow up "My Feet Are Smiling" from 1973 and "Mudlark" that preceded them in 1971 - but its the gorgeous studio set "Greenhouse" that I return to most - an 'overlooked album' masterpiece if ever there was one. 

OK - titles like "From The Cradle To The Grave" and "You Don't Have To Need Me" may not indicate a '...I'd like to buy the world a Coke and sing in perfect harmony...' cheery-man's persona - but there is undeniable beauty in these Kottke songs. And this is before we even get to how ridiculously good his fingerpicking is - his slide work up and down those acoustic necks that would make Bert Jansch and Jimmy Page nervous. Throw in the warmth of his melodies - even when he's doing someone else's song (his beautiful cover of Paul Siebel's "Louise") – the overall impact is one of 'musical peace' if that makes any sense. Here are the 'don't throw stones' details...

UK released October 1990 (reissued September 1997 and December 2008) - "Greenhouse" by LEO KOTTKE on Beat Goes On BGOCD 50 (Barcode 5017261200501) is a straightforward CD Remaster of the 11-track 1972 LP and plays out as follows (36:39 minutes)

1. Bean Time

2. Tiny Island

3. The Song Of The Swamp

4. In Christ There Is No East Or West

5. Last Steam Engine Train

6. From The Cradle To The Grave

7. Louise [Side 2]

8. The Spanish Entomologist

9. Owls

10. You Don't Have To Need Me

11. Lost John

Tracks 1 to 11 are his 5th studio album "Greenhouse" - released February 1972 in the USA on Capitol ST-11000 and delayed to March 1973 in the UK on Capitol E-ST 11000. Produced by DENNY BRUCE - the LP peaked at No. 127 on the US LP charts (didn't chart UK).

"Tiny Island", "Louise", "From The Cradle To The Grave" and "You Don't Have To Need Me" are the four vocal songs on the LP sung by Kottke - the other seven are instrumentals. "Louise" is a Paul Siebel cover, "In Christ There Is No East Or West" and "Last Steam Engine Train" are John Fahey covers and "Tiny Island" is by Al Gaylor. "From The Cradle To The Grave" has music by Kottke and lyrics by Ron Nagle - "Lost John" is a Traditional adapted from a version by Doc Watson - all others are Kottke originals. Leo plays all 6 and 12-string Acoustic guitars on every track except "Lost John" where he's joined by Steve Gammell on second guitar.

England's Beat Goes On Records have had a 'thing' for LEO KOTTKE from the beginning of their near 30-year reissue service (see list below). CD number 50 in their back catalogue first appeared in October 1990 - was reissued September 1997 with the 1990 CD inside even though it has a 1997 copyright date on the artwork (new JOHN TOBLER liner notes in 1997) - and remains reissued on their catalogue since December 2008 (with the 1990 CD inside). In short this CD transfer and remaster has been on their books 26 years - hell I've a son that's almost that old. But why fix what isn't broken. The audio on this CD transfer is gorgeous to my ears - beautifully crisp and clean. Sound engineer SHORTY MARTINSON who did the original Acoustic recordings at Sound Eighty Studios in Minneapolis caught his performances so sweetly. Except to say that BGO licensed this from 'EMI Records Ltd' at the time - it doesn't say who remastered this or where - but I'm not fussing because the Audio is wonderful.

The 8-page inlay with John Tobler liner notes give a potted history of his 20 or so albums to the late Nineties - his enigma even to his fans - his staggering playing skills – and despite the wildly un-commercial nature of his music – how he charted 9 albums in the USA over the years. But you do wish he'd have elaborated more on the actual "Greenhouse" album that gets a bunch of sentences that are over too soon.

Born in Athens, Georgia in September 1945 (REM's spiritual home) - Kottke once cheerfully describing his singing voice as "...geese farts on a muggy day..." I think he's playing down his talents way too much - a cross between the nasal whine of Michael Chapman but the warmth of say Don McLean - I find his rich deep voice incredibly welcoming. That's what makes "Greenhouse" such a great LP. It opens with "Bean Time" - written for his grandfather who got him his first job doing the dread 'bean picking' out in the hot fields - "Bean Time" is a typical speedy instrumental where he attacks those frets like a wasp homing in its prey. Portland's Al Gaylor wrote the lovely "Tiny Island" and is the first of four vocals on the album (lyrics from it title this review). It's just Kottke and Guitar - a simple song filled with deep longing for peace - and it fits in with that image of him on the back cover of the LP - his head just visible - bobbing - peeping up just above the foliage in the greenhouse.

We then get his staggering combination of melody and playing technique in "The Song Of The Swamp" - a slide acoustic instrumental that wows even now on several fronts (beautiful transfer on CD too) that he describes in his original LP liner notes as 'a slithery tune concerning the pitfalls of real estate'. Two John Fahey covers follow - the instrumental spiritual "In Christ There Is No East Or West" and the 'catch that mother' pace of "Last Steam Engine Train" where you can see that loco puffing down the line like a giddy child. "...Running for my life at every moment...never having time to catch my breath..." he sings on Ron Nagle's cheery life assessment "From The Cradle To The Grave".

He wowed the live audience with his playing on the "My Feet Are Smiling" album in 1973 - but of the two tracks he featured from "Greenhouse" (the other was the instrumental "Bean Time") - it was Paul Siebel's lament for "Louise" - a lady of the night who died in a hotel room - that moved the audience. And it's easy to hear why - the beauty of the song having been picked up since by Bonnie Raitt, Linda Ronstadt and Willy DeVille. "The Spanish Entomologist" is a combo of his favourite childhood melodies done on rapid slide (you'll hear 'Jambalaya' and 'Tumbling Tumbleweeds' in their amongst others). But that leads into my crave - the five minutes of "Owls" - a simply beautiful acoustic instrumental that speeds then slows then speeds again - his playing sublime - a sort of bluegrass ballad that oozes beauty - I love it to bits. "...I can't take all your love...while you take none of mine..." he pines on the downbeat "You Don't Have To Need Me" - but things cheer up on the unbelievable slide 12-string madness that is "Lost John". Apparently Kottke based his interpretation on Doc Watson's harmonica solo in his Country version of the Traditional.

Unique - majestical – at peace with itself. 

"Greenhouse" is the bomb and damn the torpedoes but keep on singing Leo...

Beat Goes On CD Remasters for LEO KOTTKE

1. Mudlark (1971) - Beat Goes On BGOCD 101

2. Greenhouse (1972) - Beat Goes On BGOCD 50

3. My Feet Are Smiling (Live, 1973) - Beat Goes On BGOCD 134

4. Ice Water (1974) - Beat Goes On BGOCD 146

5. Dreams And All That Stuff (1974) - Beat Goes On BGOCD 132

6. Chewing Pine (1975) - Beat Goes On BGOCD 148

7. Leo Kottke (1977) - Beat Goes On BGOCD 257

8. Burnt Lips (1978) - Beat Goes On BGOCD 259

9. Balance (1979) - Beat Goes On BGOCD 263

10. Live In Europe (1980) - Beat Goes On BGOCD 265

11. Guitar Music (1981) - Beat Goes On BGOCD 261

12. Time Step (1983) - Beat Goes On BGOCD 255
13. Leo Kottke 1971-1976 (1977 compilation) - Beat Goes On BGOCD 362

"Grave New World" by STRAWBS (1998 A&M Remaster Pieces 'Expanded Edition' CD) - A Review by Mark Barry...

This Review Along With 500 Others Is Available In My

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"...Heavy Disguises..."

After clocking up four albums between May 1969's debut "Strawbs" and July 1971's "Witchwood" (two with Yes Keyboardist Rick Wakeman on board) - the STRAWBS (shortened from Strawberry Hill Boys) finally rewarded the patience of A&M Records A&R men with a big fat hit album - the fondly remembered "Grave New World" from February 1972.

Even without a single to plug it - but armed with a tri-gatefold sleeve and natty booklet within original copies - "Grave New World" climbed up to No. 11 in the UK LP charts and lay the ground for their 'Rock' record breakthrough - "Bursting At The Seams" in February 1973 which went all the way to No. 2.

"Grave New World" is seen as their last overtly 'Folk Rock' LP and features what many feel was the classic Strawbs line-up. Here are the grim (slightly new) details...

UK released July 1998 - "Grave New World" by STRAWBS on A&M Records 540 934-2 (Barcode 731454093422) is an 'Expanded Edition' CD Remaster with Two Bonus Tracks and plays out as follows (42:39 minutes):

1. Benedictus

2. Hey, Little Man...Thursday's Child

3. Queen Of Dreams

4. Heavy Disguise

5. New World

6. Hey Little Man...Wednesday's Child

7. The Flower And The Young Man [Side 2]

8. Tomorrow

9. On Growing Older

10. Ah Me, Ah My

11. Is It Today, Lord?

12. The Journey's End

Tracks 1 to 12 are their 5th album "Grave New World" - released February 1972 in the UK on A&M Records AMLH 68078 and in the USA on A&M Records SP-4344. Produced by The Strawbs - all songs written by Dave Cousins except "Heavy Disguise" by John Ford. "Ah Me, Ah my" by Tony Hopper and "Is It Today Lord" by Richard Hudson.

BONUS TRACKS:

13. Here It Comes - non-album track released as a UK-only 7" single April 1972 on A&M Records AMS 7002 with the album cut "Tomorrow" as its B-side

14. I'm Going Home - a Strawbs track issued in the UK as a DAVE COUSINS solo 7" single in September 1972 on A&M Records AMS 7032 with "Ways And Means" on the B-side. Both songs turned up on the September 1972 first solo LP by Cousins called "Two Weeks Last Summer" on A&M Records AMLS 68118. Neither the single nor the album received US release.

STRAWBS was:

DAVE COUSINS – Lead Vocals, Acoustic and 12-String Guitar, Electric Guitar, Electric-Acoustic Dulcimer, Recorders

TONY HOPPER – Lead Vocals, Acoustic Guitar and Auto Harp

BLUE WEAVER – Organ, Piano, Harmonium, Mellotron and Clavioline

JOHN FORD – Vocals and Bass

RICHARD HUDSON – Vocals, Drums, Percussion, Tablas and Sitar on "Is It Today, Lord?"

GUESTS:

Trevor Lucas and Anne Collins sing backing vocals on "Benedictus"

Robert Kirby Silver Band on "Heavy Disguise"

Tony Visconti Arranged and Provided 'Chorus' Vocals for "Ah Me, Ah My"

The 12-page booklet has typically in-depth liner notes from a great chronicler of music - JOHN TOBLER (with thanks to Dave Cousins) and the centre pages are the 'Paper Tiger' painting that graced the inner tri-gatefold (William Blake's painting is on the front cover and his verse on the last page). Recorded at Morgan Studios in November 1971 with some further work at Island Studios - the tapes are clearly in great shape because the PETER WAKE Remaster (done at Bourbery-Wake Studios) is gorgeous to listen too - all that great original production shining through. But notable and sloppy omissions include "Queen Of Dreams" (track 3) and "On Growing Older" (track 9) - both are missing entirely from the track-by-track session notes on Page 10 (who played what on what) and it appears the booklet has never been corrected.

Supposedly the story of one man's life from cradle to the grave - the album opens with Cousins getting all hymn-like on "Benedictus" - three of the band's vocals joined by Fairport's Trevor Lucas and British Contralto singer Anne Collin. With a heavy-on-the-organ intro and strummed dulcimer strings rattling around the speakers – the songs feels very English Folk-Rock (in a good way). In direct contrast we then get Cousins on his own with his Acoustic Guitar for the one-minute of "Hey Little Man...Thursday's Child" - the kind of pretty ditty that enthrals even after all these years (beautifully produced too).

Things take a decidedly trippy turn with the backwards guitars, dulcimers and Mellotron of "Queen Of Dreams" - while John Ford gets his first look in on the excellent "Heavy Disguise" - a track many fans would have easily issued as a winning 45 (he would of course form Hudson-Ford after they both left the Strawbs in the mid 70ts). But the Mellotron melodrama of "New World" feels leaden and tired – like bad Procol Harum. Thankfully Side 1 ends on the second short but very pretty Cousins melody - "Hey Little Man...Wednesday's Child" – as sweet as first part.

Side 2 opens with echoed Acapella vocals before "The Flower And The Young Man" settles into a sort of Incredible String Band power ballad - Ford's Bass incredibly clear in the mix. "Tomorrow" is another Prog plodder I'm afraid that irritates instead of lifts - far better is the superb "On Growing Older" - a beautifully melodic piece and one of the album's highlights. The 'cor blimey mate' days gone by of "Ah Me, Ah My" (sung by Tony Hopper and originally produced by Gus Dudgeon) is the kind of song they obviously thought was funny and it isn't. But things return to Strawbs form with the finisher "Is It Today, Lord?" - Richard Hudson doing a blinder on the Sitar and tables acting like he's just discovered ISB's "Wee Tam And The Big Huge"...

The two UK 7" single Bonus Tracks turn out to just that - actual bonuses - in fact I'd argue that "Here It Comes" is better than some of the lesser tunes on the GNW LP.

So not all genius - but so much worthy of your hard earned post-Brexit pound. And "Bursting At The Seams" from 1973 was even better in my book...

PS: see also my review for the hugely underrated "Dragonfly" from 1970 by STRAWBS

"Tim Rose/Through Rose Colored Glasses" by TIM ROSE (1997 Beat Goes On '2LPs on 1CD' Remaster) - A Review by Mark Barry...

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"...You Done Me Wrong..."

Tim Rose's November 1967 self-titled debut album "Tim Rose" did bugger all business chart-wise - but cast a huge shadow then and ever since.

Propelled by his gritty strangulated 'I gargle gravel for breakfast' vocals - (he sounds like the love child of John Kay from Steppenwolf and David Clayton-Thomas from Blood, Sweat & Tears) - the pre-LP 7" single "Hey Joe (You Shot Your Woman Down)" from June 1966 clocked up covers by Love, The Byrds and of course most famously by Jimi Hendrix - the song practically launching his career. "Morning Dew" (written by Canadian Folk singer Bonnie Dobson) from February 1967 would be covered by artists as diverse as Lee Hazelwood and England's Nazareth - but again was made famous by Jeff Beck's supergroup for the "Truth" LP which featured the then relatively unknown Rod Stewart on Vocals.

More shadows came from the single released the same month as the album - November 1967 for "Come Away, Melinda" - an Anti-Vietnam War anthem written by Fred Hellerman of The Weavers with Francis Minkoff. In a very Phil Spector-sounding production - Rose caresses the song at first - but a minute or so into it and he starts to let rip with the rage of a generation done wrong (it was a rendition that tapped into the national zeitgeist). In fact Rose and his music is like this - slightly angry - slightly macho - engaged yet still cool and aloof - like a man with a grudge against the world and its two-timing daughter. 

Hell even Australia's Nick Cave has name-checked him as an influence and covered the 'Hey Joe' sounding murder song "Long Time Man" on his 1986 LP with The Bad Seeds "Your Funeral...My Trial" And yet despite all this peripheral activity and chart action for other people (as well as positive reviews) - "Tim Rose" steadfastly refused to ignite as a seller. Which brings us to this rather cool 'twofer' CD reissue. Here are the 'shot my woman down' details...

UK released November 1997 - "Tim Rose/Through Rose Colored Glasses" by TIM ROSE on Beat Goes On BGOCD 378 (Barcode 5017261203786) offers 2LPs Remastered onto 1CD and plays out as follows (72:48 minutes):

1. I Got A Loneliness

2. I'm Gonna Be Strong

3. I Gotta Do Things My Way

4. Fare Thee Well

5. Eat, Drink And Be Merry (For Tomorrow You'll Cry)

6. Hey Joe (You Shot Your Woman Down) [Side 2]

7. Morning Dew

8. Where Was I?

9. You're Slipping Away From Me

10. Long Time Man

11. Come Away, Melinda

12. King Lonely The Blue

Tracks 1 to 12 are his debut LP "Tim Rose" - released November 1967 in the USA on Columbia CL 2777 (Mono) and Columbia CS 9577 (Stereo) and February 1968 in the UK on CBS Records S BPG 63168 (Mono) and CBS Records S BPG 63168 (Stereo) - the STEREO Mix is used for this CD. Produced by DAVID RUBINSON - it failed to chart in either country.

13. The Days Back When

14. Roanoke

15. Hello Sunshine

16. When I Was A Young Man

17. What'cha Gonna Do

18. Maman

19. Let There Be Love [Side 2]

20. Baby Do You Turn Me On?

21. Apple Truck Swamper

22. Angela

23. You'd Laugh

24. You Ain't My Girl No More

Tracks 13 to 24 are his 2nd studio album "Through Rose Colored Glasses" - released July 1969 in the USA on Columbia CS 9772 (Stereo) and in the UK on CBS Records S CBS 63636. Produced by JACK TRACY - it didn't chart in either country.

There's no card slipcase and the 8-page inlay has informative liner notes from noted writer JOHN TOBLER and Musician Credits for the "Tim Rose" LP but none for the follow-up (it came with no credits and no one seems to know who played on what?). There are no mastering/transfer credits - but the Audio is amazing – clear as bell and very powerful. Always a bit of a Phil Spector-ish belter - songs on the "Tim Rose" LP swoop up with huge brass and string flourishes then mellow down into Spanish Acoustic guitar plucks - and back again. This BGO CD sounds brill – a really clean and well-transferred set of albums. Engineered by Sy Mitchell and Jerry Hochman - the seconds sound even better (although the music leaves summit to be desired).

The 12-track debut features the 10-sides of five 45s Rose put out prior to the album - so much of the material was known to Radio. Six are Tim Rose originals - "I Got A Loneliness", "Fare Thee Well", "You're Slipping Away From Me" and "Long Time Man" with "I Gotta Do Things My Way" a co-write between Rose and the Bassist Richard Hussan. Written by the songwriting duo Barry Mann and Cynthia Weil - the cover "I'm Gonna Be Strong" was a hit for Gene Pitney in 1965 while "Morning Dew" is by Bonnie Dobson (despite Rose' duo songwriting credit which would cause legal consternation for decades to follow). The legendary Doc Pomus co-wrote "King Lonely The Blue" with Bobby Andriani and it was issued by the Bitter End Singers in August 1965 on Emerald 72469 (called The Emeralds in the UK) - while "Eat, Drink And Be Merry..." is written by Celia and Sandra Ferguson and made a Country hit by Porter Wagoner. I don't know who 'N. Martin' is – the writer of  "Where Was I?" - but it's a gorgeous song and the audio on it is fabulous.

The 2nd album comes in for serious stick and after the eclectic and creative high of the debut - it's easy to hear why. Although most are Rose originals and songs like "Roanoke" is very Blood, Sweat & Tears circa the 2nd album - his cover of "Maman" is a big mistake. Penned by Edward Thomas and Martin Charnin in 1967 - it's a spoken poem said by the character 'The Young Soldier' in the musical "Mata Hari". Rose has rattling drums like a death march behind his strained vocals but instead of sounding contemporary or hip - it's sounds dated and preachy even. His cover of The Bee Gees "Let There Be Love" just doesn't suit him while convenience rhymes in lyrics like "...Angela called me last night...she wanted me to hold her tight...we made love for hours...then went walking in the flowers..." are just plum awful. Better is his quirky and even commercial cover of "You'd Laugh" - a song put out by French crooner Gilbert Becaud in 1965 called "Je T'aime (You'd Laugh)". It’s about a man pinning to touch a woman he worships but he’s terrified of her response – and Rose milks its angst as he rasps out the pain –very 60ts but also very cool. Along with "When I Was A Young Man" and the decidedly Tom Waits odd/violent "Apple Truck Swamper" (written by William Henderson) - they just about salvage the album from total reviewer savagery.

Very much a disc of two halves - a genius and exciting debut album "Tim Rose" - followed by a strange damp squid two years later - "Through Rose Colored Glasses". Yet despite the let down of LP Number Two – there's that amazing and influential debut which in 2016 still sounds so 'out there' still.

I've always thought Tim Rose to be impossibly special and just a little acid-dingbat in the cranial area. But I like my heroes that way – nuts - but in a good way...

"Sweet Harmony/Southern Winds/Open Your Eyes" by MARIA MULDAUR (2016 Beat Goes On 2CD Remasters) - A Review by Mark Barry...

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"...Make Love To The Music..."

Giving you her three forgotten Yacht Rock albums from the mid to late 70ts - "Sweet Harmony" (March 1976), "Southern Winds" (April 1978) and "Open Your Eyes" (August 1979) - this gorgeous-sounding Beat Goes On 2CD reissue remasters those three albums to absolute high-definition perfection.

This is one of the most accomplished CD transfers I've heard in years (another swelligant effort from BGO’s resident Audio wizard Andrew Thompson). But apart from the first album and bits of the second and some heavy-hitter musical contributions from the likes of Linda Ronstadt, Leon Russell, Michael McDonald, Patrick Henderson of The Doobie Brothers, Bill Payne of Little Feat, Motown’s Stevie Wonder and Jr. Walker and even the 'never guests on anything' guitarist J.J. Cale - you just wish the material (especially the later stuff) as well as the sound deserved such trouser-expanding excitement. But for me there's still enough to warrant purchase - so here are the breezy details anyway...

UK released Friday, 27 May 2016 (June 2016 in the USA) - "Sweet Harmony/Southern Winds/Open Your Eyes" by MARIA MULDAUR on Beat Goes On BGOCD 1232 (Barcode 5017261212320) offers up three full albums remastered onto two CDs and plays out as follows:

Disc 1 (57:23 minutes):

1. Sweet Harmony

2. Sad Eyes

3. Lying Song

4. Rockin' Chair

5. I Can't Stand It

6. We Just Couldn't Say Goodbye [Side 2]

7. Back By Fall

8. Jon The Generator

9. Wild Bird

10. As The Eagle Stirreth In Her Nest

Tracks 1 to 10 are her third studio album "Sweet Harmony" - released February 1976 in the USA on Reprise Records MS 2235 and in the UK on Reprise K 54059. Produced by LENNY WARONKER and JOE BOYD and Engineered by LEE HERSCHBERG - it peaked at No. 54 on the LP charts.

11. Make Love To The Music

12. Say You Will

13. I'll Keep My Light In My Window

14. I Got A Man

15. Cajun Moon

Tracks 11 to 15 are Side 1 of her fourth studio album "Southern Winds" - released April 1978 in the USA on Warner Brothers BSK 3162 and may 1978 in the UK on Warner Brothers K 56463. Produced by CHRISTOPHER BOND and Engineered by JOHN MILLS.

Disc 2 (59:57 minutes):

1. I Can't Say No

2. Here Is Where Your Love Belongs

3. That's The Way Love Is

4. Joyful Noise

5. My Sisters And Brothers

Tracks 1 to 5 are Side 2 of her fourth studio album "Southern Winds" - released April 1978 in the USA on Warner Brothers BSK 3162 and may 1978 in the UK on Warner Brothers K 56463.

6. Fall In Love Again

7. Finally Made Love To A Man

8. Birds Fly South (When Winter Comes)

9. Heart Of Fire

10. Lover Man (Oh Where Can You Be)

11. Open Your Eyes [Side 2]

12. (No More) Dancin' In The Street

13. Elona

14. Clean Up Woman

15. Love Is Everything

Tracks 6 to 15 are her fifth studio album "Open Your Eyes" - released August 1979 in the USA on Warner Brothers BSK 3305 and in the UK on Warner Brothers K 56634. Produced by PATRICK HENDERSON (of The Doobie Brothers) and DAVID NICHTERN (writer of "Midnight At The Oasis").

Housed in their now standard card-slipcase (renders the release a classy feel) - there's a packed 20-page booklet with hugely in-depth JOHN TOBLER liner notes that start on her Folk Days in the early sixties with The Even Dozen Jug Band (see my review for the 5CD set "The Greenwich Village Folk Scene - Original Album Series") and progress onto the three albums concerned. With every song being written by someone else and so many guest contributions - as you can imagine the factoids come fast and furious. There are full album credits and a few repro photos of the artwork.

But the big news is new 2016 High Definition Remasters by ANDREW THOMPSON from Original Master tapes licensed from parent company WEA. The moment you play "Sweet Harmony" for instance which is heavy on harmonising voices - the Audio is truly fab - beautifully clean. The Remasters effortlessly bring out the amazing original Production values of LENNY WARONKER (Randy Newman, James Taylor, Ry Cooder, Gordon Lightfoot, Rickie Lee Jones etc) and England's Island Records in-house Engineer JOE BOYD (Incredible String Band, Nick Drake, Fairport Convention, John Martyn etc). For the 3rd album CHRISTOPHER BOND of Hall & Oates fame (RCA period) was brought in - and again the results are pure audio dynamite. But let's get to the music...

The Gospel feel to "Sweet Harmony" makes for a very tasty album opener. Written by Motown's Smokey Robinson and with Strings arranged by Nick DeCaro - the Muldaur band consists of ace guitarists Amos Garrett and David Wilcox putting in licks as the voices swirl around them urging peace on the planet. "Sad Eyes" is a Neil Sedaka cover that is given a real boost by the Electric Guitar presence of J.J. Cale not to mention that West Coast mafia sessionmen - Waddy Watchel on Guitar, Willie Weeks on Bass and Russ Kunkel on Drums (because they've been on so many albums they're often referred to as 'The Section'). Kate and Annie McGarrigle provided the Country-ish "Lying Song" - while Hoagy Carmichael's "Rockin' Chair" and Harry Wood's "We Just Couldn't Say Goodbye" (a Harry Bennett and His Seven Aces song from 1933) are two of the old-timer Swing Jazz tunes.

Muldaur's association with songwriter Wendy Waldman would be long and production - she provides the pretty "Back By Fall" and "Wild Bird". Amongst my faves are two old Spirituals - "Jon The Generator" which is Blind Willy Johnson's "John The Revelator" under another name (Muldaur uses a brassed-up version of the John Herald adaption). Leaning in with a Pops Staples guitar tremble - her cover of Reverend William H. Brewster's "As An Eagle Stirreth In Her Nest" goes the route of those Staple Singers Epic LPs in the mid Sixties - loads of voices sanctifying while your neck jerks to that great guitar back beat. Even Arthur Adams gets an uncredited duet vocal on her Blues Brothers funky cover of The Soul Sisters 1964 Sue 45 "I Can't Stand It" - a dancing winner penned way back by Smokey McAllister.

Yacht Rock lovers will adore the downright sexy "Make Love To The Music" - the first of three songs Leon Russell contributed to the "Southern Winds" album. Clearly trying to ape the seductive success of "Midnight At The Oasis" (a song so pelvicly rhythmic that its apparently resulted in gazillions of Seventies pregnancies - like Santana's "Samba Pa Ti") - its harmony is the closest the LP gets to genuine magic. "Say You Will" is a co-write between Leon Russell and Gary Ogan of Elektra's 'Portland' while Rory Block wrote "I Got A Man". Not quite as good (or radical) as Herbie Mann's cool instrumental cover of J.J Cale's "Cajun Moon" (from his 1974 LP "Okie") - Muldaur's take is nonetheless a genuine highlight on an album that feels like its entering the area of diminishing returns - despite its polished production and player pedigree (slide guitar from Les Dudek).

Produced by Patrick Henderson of The Doobie Brothers and David Nichtern (the man who wrote her huge 1974 hit "Midnight At The Oasis") - the final offering is the least convincing of the three records despite some huge names guesting and providing songs. Michael McDonald fans will know that his "Open Your Eyes" (co-written with Patrick Henderson and Lester Abrams) on their magnificent December 1978 "Minute By Minute" album is an audio and musical joy - here it merely seems good rather than great. Stevie Wonder's trademark high-note harmonica tries to amplify David Nichtern's "Birds Fly South (When Winter Comes)" and Jr. Walker gives it some blasting Saxophone on "Heart Of Fire" - but both feel workmanlike rather than inspired. Her covers of John Hiatt's "(No More) Dancin' In The Street" and an ill-advised version of Betty Wright's 1971 Alston Records Funk classic "Clean Up Woman" do little to better the originals. Best is the confessional sexy love song "Finally Made Love To A Man" (something I've yet to do myself).

Re-listening to these three overlooked Maria Muldaur albums has been a fun and frustrating experience. There's magic in them dar well-produced hills - but there's also a fair share of fool's gold. Absolutely worth the punt - and fans will have to own this for that fabulous Audio...