Put together by the uber-knowledgeable and Baby Driver with-it JOHN REED – his equally sexy co-compiler DAVID WELLS pours on the facts in the multitudinous 40-page booklet – each artist and song given a full appraisal usually sided by period photos, ticket stubs, flyers, trade adverts and those impossibly rare single and LPs pictured throughout. Take the Steve Tilston entry for his 'All In A Dream' song on Disc 3. It advises that in late 1972 after the album's release in May, Steve did an interview with Zig Zag magazine ruminating on how fame and fortune might affect his songwriting. None other than John Lennon replied in writing (to his worries) and that was the basis for the rather insipid Al Pacino film vehicle 'Danny Collins' – or that Prelude who had a huge hit with their truly gorgeous Acapella version of Neil Young's 'After The Gold Rush' sang backing vocals on another huge Folk-ish hit - 'Streets Of London' by Ralph McTell. I didn’t know either of those things and I dare say, neither did you. Each entry is full of great name-checks like that. Beautifully laid out and aimed at collectors and novices alike – when I think of the recent miserable 8-page inlay given to Fleetwood Mac and their supposed '50 Years – Don’t Stop' 3CD celebration, it really does show how independents light the way, when the majors seem content with what they can get away with.
Across 60 tracks there are those fabulous discoveries - the debut Unicorn LP on Transatlantic Records where the chosen debut album song 'I Loved Her So Long' is the link between Matthews Southern Comfort and Plainsong (much of their better material in the mid 70ts on Harvest Records had the same hooky gorgeous melodies) - the beautiful ethereal harmony vocals of Fairport Convention's Judy Dyble and Them's Jackie McAuley in their Trader Horne incarnation for 'Here Comes The Rain' (see my separate review of that album reissued by Earth Records on CD). Some of it (as already mentioned) is unfortunately ropey Audio wise - the hissy Billy Fay demo and The Woods Band is disappointingly muddied but on the other hand Dave Cartwright's McGuinness Flint-sounding 'My Delicate Skin', Michael Chapman's box-set title song 'Stranger In A Room' (see my review for Light In The Attic's stunning reissue of his second album 'Fully Qualified Survivor' and Storyteller's early Genesis-like 'Morning Glow' all sound superlative - huge acoustic guitars, voices and clever string arrangements. Only winners are the fabulous Folk-meets-Pastoral union in Dando Shaft's flute-and-acoustic shuffle 'Riverboat' - the jolly acoustic jostle of my 'Lady Of St. Clair' by the staggeringly collectable Daylight - and even if Jeremy Harmer's self-recorded 'People Smile With Ghosts In The Land Of Make-Believe' gives us some 'ships in squalls that change to gurgling laughter' might be a hippy lyric too far - the 99-only copies LP contained David Costa from Trees with their singer Celia Humphris' sister Sue doing harmony vocals (just about as cultish and collectable as it can get). Paul Brady and Paddy Maloney newly attached to The Johnstons transform the Ewan MacColl song 'Jesus Was A Carpenter' into a 'Woodstock' beautiful moment while Mick Softley gets fully-fledged Audio quality on his impressive 'Time Machine' where he sings 'who will they be in 5000 AD' - indeed – a star tripper maybe. Speaking of that famous Joni song, I love the 8-Track Tape Version of the Matthews Southern Comfort UK No.
1 - it's a version that unlike the single has the acoustic and pedal steel guitars much more to the fore. And although it doesn't say it anywhere in the box, I think it's the version that turned up on the 'Three's A Charm' privately-pressed CD from Iain Matthews in 1999 for his fans – the mix that was remastered by Bradley Kopp in Boulder, Colorado and is featured in his forthcoming 'Orphans And Outcasts' 4CD Box Set. Anyway – it's a keeper, much like this fabulously inventive little box set. I've had a few Music On CD reissues before (Joan Armatrading's 'To The Limit' and John Renbourn's 'Faro Annie' to be precise) and they come as is - a gatefold slip of paper for an inlay and in this case - an SACD-type jewel case. And while you really do miss a booklet and some decent background details on this 'huge' album (a second US No. 1 for BST) – you do at least get the ‘original album artwork’ inner gatefold that came with 1970 Vinyl originals (not that you can actually read any of the miniaturised wording).
What you don't notice is the Audio. I mention this because I'd swear this is the SACD Remaster done by Mobile Fidelity Sound Lab in 2003 – even if it doesn’t mention Remasters or indeed mastering anywhere on the packaging.
I could be wrong of course - but I guess what I’m saying is that without costing a small part of your already heavily taxed anatomy - this unassuming and relatively cheap little CD reissue 'sounds damn good' and is only docked a star because of the lazy inlay. Here is the Audio Hi-De-Ho (Lucretia). Their fabulous April 1968 US debut LP 'Child Is Father To The Man' (when Al Kooper was with the band) had been a slow burner – peaking at No. 47 in the States but doing seven better at No.
40 in the UK when released there in July 1968 (on CBS Records). No such dithering with the New York band's second platter - the self-titled 'Blood, Sweat & Tears' released in January 1969 that went all the way to No. 1 on the Billboard Rock Albums chart and a healthy No. 15 in the UK (released in Blighty in April 1969). The Jazz-Rock/Blues-Rock band simply compounded that roaring second success with another in 1970 – the third album launched in July with the superbly catchy 'Hi-De-Ho' 45 on Columbia Records 45204 (CBS Records 5137 in the UK in August 1970). 'Hi-De-Ho' broke the Top Twenty in America peaking at No. 14, and in both countries came with 'The Battle' from Side 1 of the LP as its B-side.
October 1970 saw the album’s other obvious hooky little winner 'Lucretia Mac Evil' get a 7' single release with (not surprisingly) 'Lucretia's Reprise' on the flipside. And although Columbia Records 45235 only made No. 29 in the USA – it kept the album in the public's ears and hearts, eventually lasting a whopping 41 weeks on the US Billboard charts. Three had its fair share of choice cover versions - Laura Nyro's 'He's A Runner' sits alongside James Taylor's 'Fire And Rain while Richard Manuel's 'Lonesome Suzie' from The Band's 1968 debut LP 'Music From Big Pink' rubs up against Traffic's Steve Winwood-penned '40,000 Headmen'. And of course The Rolling Stones' 'Sympathy For The Devil' (one of the Sympathy songs on Side 2 - the other with the same name being by BST's Dick Halligan) dominates much of Side 2.
The other nods to quality songwriters comes in the shape of two obscure B-sides - the first is the renamed 'Hi-De-Ho' - a Jerry Goffin and Carole King composition given to Dusty Springfield in 1969 - the flip to her cover of Tony Joe White's 'Willie And Laura Mae Jones' - called (just to be confusing) 'That Old Sweet Roll (Hi-De-Ho)'. Blood, Sweat & Tears just kept it simple and renamed it 'Hi-De-Ho'. The second nod was the B-side to Joe Cocker's 1968 single 'With A Little Help From My Friends' on Regal Zonophone Records - a tune called 'Somethin' Comin' On' penned by Chris Stainton and Joe Cocker. The rest of the album is original material provided by Steve Katz, David Clayton-Thomas, Fred Lipsius and Dick Halligan. Right from the get-go you’re blasted with the huge audio and even if it is 1970, the music sounds so hip and happening even in 2019 – almost fifty years after the event. Like so many other bands, BST discovered something Soulful in the music of James Taylor and indeed in Carole King – songs like 'Hi-De-Ho' and 'Fire And Rain'. That’s not to say that guttural vocalist David Clayton-Thomas and his 'Lucretia Mac Evil' contribution isn’t in fact one of the best songs on here.
The near eight minutes of the double-named 'Sympathy For The Devil' Suite over on Side 2 can (it has to be said) test your patience in the stop-start world of 2019, but all that brass and fantastic arrangements by Halligan is still thrilling. And that trio of choice-covers only serve to bring home an already great LP. Like most fans of San Francisco's all-partying, all rocking, all greasy FLAMIN GROOVIES – I've had the 2009 Rev-Ola CD that offered up their kicking third and fourth albums on Kama Sutra Records - 'Flamenco' from June 1970 and 'Teenage Head' from March 1971. They’ve been snottily leaping around my mancave shuffle plays for years now. And before that - the double-album you used to pick up in secondhand record shops in the late 1970s that paired those two crackers together for our voracious vinyl consumption and my Dustbuster battered Garrard SP25 turntable.
DAVID WELLS provides the superb October 2018 liner notes in the new and chunky 24-page booklet. Even though its not part of the remit for this set - the notes explain how the band's self-made 1968 'Sneakers' debut on their own Snazz Records came about - a 7-Track 10' Mini LP of 4500 copies they sold themselves in Tower Records (pressed up in three batches of fifteen hundred).
Its artwork (front and rear) is pictured on Page 5. There are trade adverts, a Billboard piece from November 1970, publicity and live photos, rare single artwork and a line of those Epic and Kama Sutra singles (including Promo copies). Interviews with band members Roy Loney and Cyril Jordan are included illuminating the hectic 1969 to 1971 period. Experienced and dedicated names like DAVID WELLS and JOHN REED collated and organised the Box while Remaster Engineer OLI HEMINGWAY of The Waxworks did the audio tweaking. Like the Rev-Ola CD - this baby sounds amazing – huge presence and all the muscle you would want without being over done.and I like the three single card sleeve repros.nice.
Apart from the cover versions of Little Richard's Rock 'n' Roll masterpiece 'The Girl Can't Help It', the barroom R'n'B of Huey Smith's 'Rocking Pneumonia And The Boogie Woogie Flu' (which Kama Sutra issued as a US 45) and the Eddie Cochran twofer 'Somethin' Else/Pistol Packin' Mama' - most of the 'Supersnazz' album sees us bombarded with flashy originals from both Roy Loney and Cyril Jordan. 'Love Have Mercy' and another single 'The First One's Free' rip and roar while 'Bam Balam' and 'Around The Corner' round things off very nicely. And I have to admit that I've never heard the single mixes - very nice touch. '.Ten head hunters.with a buzz saw.and they was comin' after me.' - the boys tell us in the raw and raunchy guitar-pop of 'Comin' After Me' - ten state troopers chasin' close behind with meat hooks. But the Proto-Punk edginess really starts to come screaming in on 'Headin' For The Texas Border' where the band is headed to New Orleans to get their mojo back.
I love the rapid guitars and the transfer gives it serious wallop. It's 1970 for gawd sake but it could be 1976 - so damn sharp. They then cleverly switch to Acoustic Rock 'n' Roll with 'Sweet Roll Me On Down' as they Buddy Holly 'ah-ha' through the chorus. I'm reminded of the British band Fumble who also did Little Richard's brilliant 'Keep A Knockin' in the same all out rocking way - letting the inner joy of this Fifties anthem rip.
Roy Loney stumps up another rocker in the excellent 'Second Cousin' - the lyrics straying dangerously into Jerry Lee Lewis lawsuit territory. Things finally settle into a Hank Williams saunter with 'Childhood's End' - a very witty childhood song from Ron Loney where he sounds amazingly like Mick Jagger circa 'Exile On Main St.' Doing his best Hillbilly impression. 'Jailbait' is a cool and snarly blues chugger where he pleads 'baby what you tryin to do!'
To a mean guitar barrage. The fantastic 'Gonna Rock Tonight' is the kind of out-and-out Rock 'n' Roll homage that Dave Edmunds would have loved when his regal Zonophone 'Rockpile' album was in play over in Blighty - ooh-wee baby indeed (and dig that huge grungy Bass solo too). The weird but utterly wonderful 'She's falling Apart' follows - a song that feels wildly out of synch with the rest of the album but actually a song I return to most. It then blasts into a frantic Punk-rocking finish with the trashy 'Road House' - rapid guitars a go-go. For album number four we go Dr. Feelgood with the fabulous slide guitar intro to 'High Flyin' Baby' – a superb little Ron Loney and Cyril Jordan rocker. We then return to 'Exile On Main St.'
With the boozy swagger of the acoustic barroom 'City Lights' and it’s hard to understand why this wickedly cool Acoustic Blues was slagged off at the time (still sounds so damn good to me). The hard-rocking and deliberately grungy 'Have You Seen My Baby?' Was probably too much Rock 'n' Roll for delicate minds back in the day - but I love it and 'Yesterday's Numbers' that follows it which could have been Brinsley Schwarz or Help Yourself or even Free - stunning acoustic Rock that stays with you. Amidst the bonus stuff you’re clobbered with a fantastic loose cover of Link Wray’s guitar magnum opus – the album outtake of 'Rumble'. Jordan and the boys are clearly having riffage fun with the famous menace Link’s song exudes – a very cool bonus indeed that even includes giggles at the end from a band that would have worshipped at Wray’s feet in the blink of an eye. The New York Dolls, MC5 and especially The Stooges are constantly name-checked as keeping the wild snotty pure spirit of Rock 'n' Roll alive in the early Seventies - a time when Hard Rock and Prog Goliaths dominated the chart landscape and bedsits of the world threatening to swamp all three-minute blasts of proto-punk with hairy chests, tales of wizards and semi classical pomp. I loved them too (truth be told) - but spare a dime brother for the Bay's FLAMIN GROOVIES – fab, groovy and side burning into the Devilish bargain.
Well done to all involved. The 16-page booklet is the usual feast of memorabilia, some really great foreign picture sleeves, master tape boxes, trade adverts and reviews and walls of those gorgeous mottled Downtown 45 labels. ANDY LAMBOURN aka Charlie Chalk) and MARC GRIFFITHS of Bosssounds provide the superb liner notes – deep level info on all four of the albums. With its fourteen schillings and six pence sticker – along with 'Tighten Up' Volumes 1 and 2 – the Various Artists compilation 'Red, Red Wine' was the second most common British Reggae album you saw in second hand record shops (with the Dandy album probably a close second). But how good is it to see pictures of and details on those other two harder-to-find pieces.
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Best of all is new mastering by my face Engineer ANDY PEARCE – a gent with a huge Rock catalogue to his name and now many of these new Trojan related releases as well. Best I’ve ever heard these.
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