KEN LEVY AND THE PHANTOMS/ROCK'N'ROLL CLP 104 (-73) MONO SWEDEN

 British rock'n'roll band existing between 1960-69. After failing to make success on home turf they moved to Sweden early sixties and became popular in Scandinavia, there releasing three LP:s and seventeen 45:s. They also worked as supporting act for bands touring Scandinavia in the sixties, e.g. The Beatles, Gerry & The Pacemakers and The Searchers. It seems that all through the sixties they kept playing old style rock'n'roll, as it was made in the fifties and early sixties, sometimes with a garage rock feeling, but with little trace of later popular genres. Simple, right on and quite refreshing for tired ears that's been tuned in to every genre change since then. No hidden agenda - this is what you came for and this is what you get. It takes me back to less troubled times and makes me feel if not younger so at least partly revitalized. To pick a favourite track it must be "Ten Green Bottles", which is a rock'n'roll version of the old nursery rhyme "Itsy Bitsy Spider". This copy is a re-issue of a 1964 release on Nashville label. Never seen that so I can't compare, but every track here seems to be original mono mixes and the audio is superb. This and the original were Scandinavian only and never showed up on any other format, but most of the cuts can be found on the German 2001 CD "Best Of Ken Levy And The Phantoms" (Rock-In-Beat-Records RB 022). The re-press had label as shown here in a fully laminated cover.  (CCÖ*)  (BRBÄ*)

                                                                                 

                                                                                  

                                                                                  

 

 

JIGSAW/LITHERSLADE FARM 6308 033 (-70) UK

 British band formed 1966 by former associates of The Fortunes, The Mighty Avengers and Pinkerton's Assorted Colours. Initially playing blues rock and reputed for their tumultous stage show, including fire, explosions and property damage. After some member changes they 1970 got a contract with Philips records and released this debute album, then consisting of Tony Cambell on guitar, Berrie Bernard on bass, Des Dyer doing drums, Clive Scott handeling keyboards and Tony Britnal playing Saxophone. It's a concept album, telling a tale about a run down pop-singer and also meant as derition of the music industry. What I hear is a ongoing musical web, woven together by various styles like pop, blues, prog, psych and art music and now and then interupted by various fake interviews. At first I get a patchy impression, but after listening through a couple of times I hear the full picture and it's both interesting and quite funny. As everything sticks together it's hard to pick out single parts, but to me the cover of Family's "The Weavers Answer", the organ drenched "Jesu Joy Of Man's Desiring" and the pop psych "Seven Fishes" stands out. I guess timorous listeners won't get much out of this album, but if you're in for an adventure it might be something. To my knowledge this UK was the only issue. It had label as shown here in a fully laminated cover.

                                                                                

                                                                                  

                                                                                  

                                                                             

                                                                               

 

THE WORLD OF BLUES POWER/VOL. 3 SPA 263 (-72) UK

 The vol.1 and vol. 2 versions of this was issued 1969 and 1970, in both stereo and mono (see earlier posts). As this was released 1972 it's in stereo only. Three of the cuts are fake - "Got To Move", "Merry Christmas" and "T.V. Mama" - the rest true. To my ears a good collection blending true black blues by Champion Jack Dupree, Homesick James, Eddie Boyd and Robert Nighthawk with white practitioners like Keef Hartley, John Mayall (featuring Eric Clapton and Peter Green),  Ten Years After and Savoy Brown. It all sticks very well together and the audio is smashing throughout. I'm aware vinyl compilations aren't that sought after anymore as many prefer CD:s or downloads. I do want them this way, mainly because these recordings were made for vinyl in the first place and transferring them to other formats will change the outcome to something other than originally intended. So for older recordings vinyl feels more right for me. Hard to pick absolute favourites from something so well compiled, but why not Champion Jack Dupree "Under Your Hood", Savoy Brown "Made Up My Mind" and John Mayall with Peter Green "So Many Roads". Also issued like this Downunder and in Spain as "Blues" (Decca CPS 9295). UK had label as shown here in a laminated cover with "blue box" inner.  (SÄM*)  (WÖF*)

                                                                             

                                                                                      

                                                                                    

                                                                               

                                                                                

 

JUNE TABOR/SOME OTHER TIME HNBL 1347 (-89) UK PROMO

 This was her seventh solo album, not counting the two "Silly Sisters" ones she did with Maddy Prior. For more on her please check post on the "A Cut Above" album  https://monolover.blogspot.com/2013/01/june-tabor-with-martin-simpsona-cut.html . On this she teamed up with pianist Huw Warren which resulted in a genre change - moving from performing more or less folky tunes to doing her own versions of jazz standards. I've always regarded her as one of the foremost British folk singers, so it will be fun to hear what she can do with jazz. First listening is as expected. Very soft, almost sleepy. Backing mostly just piano with occational cello, saxophone, bass and percussion. No excessive singing, instead her dark voice caress the melodies, making them cozy and easy to digest. Enjoyable both in the listening chair and as background to relaxing moments. Exemples below. So no big deal she went to jazz instead of folk, it's still unmistakably June Tabor and it's good. Also issued on vinyl on Hannibal in US (HNBL 1347) plus cassette in UK and US. Japan CD on Midi Inc. (MDC6-1173) came with two bonus tracks. This UK is obviously a promo copy as it has both info sheet and the photograph that was used on rear sleeve. The photo has a sticker on back saying in Swedish "returneras efter användning" (return after using) - and then adding an address. Probably a pre-release dispatch to some music journalist, supposed to use the pic with a review and then return it, which this one apparently didn't.  (FÄV*)  (JÖB*) (ÖRJ*)

                                                                                  

                                                                                  

                                                                                         

                                                                              

                                                                                

                                                                                

                                                                                

THE SHADOWS 33SX 1374 (-61) UK MONO

 Already posted the stereo version of this, which had the beautiful early UK Columbia stereo label design  https://monolover.blogspot.com/2015/02/the-shadows-scx-3414-61-uk-stereo.html . However this early mono variation doesn't look bad either, so I couldn't resist when I saw it in a bin a while ago. Don't think it's needed to compare the formats - the stereo mix is very good for its time, this mono sounds great, and there are no fakes involves. All as it should. Haven't got much new to add so I'll just copy some of what I wrote earlier and post it as a reminder of a classic guitar album. After over two years as backing band for Cliff Richard and a couple of hit singles on their own they got to record their first album. As later stated by producer Norrie Paramor there were bad feelings within the band from the beginning which brought disturbance to the sessions and eventually led to both initial members Tony Meeham and Jet Harris leaving the band, making this the only solo album by the original Shadows. There's certainly no traces of animosity in the final result - the band sounds tight and the vocal harmonies works beautifully. Six of the tracks written by group members, eight covers. Greater part instrumental building on Marvin's guitar and three vocal cuts showing they also did very well without Cliff even this early. As it seems the UK public thought so too and the album stayed on top of the list for over a month. Issued on vinyl all over the world through the years, also UK reel and cassette. UK 2000 CD on EMI (7243 5 28239 2 5) came with mono and stereo versions of all songs. First UK mono had label as shown here in a laminated fold/out cover with polylined Emitex inner      (CXÄ*) (FÖGÄ*) 

                                                                            

                                                                                

                                                                              

                                                                              

                                                                                        

                                                                              

                                                                                 

 

MONICA TÖRNELL/INGICA 6316 017 (-72) SWEDEN

 Already posted her second and third albums  https://monolover.blogspot.com/search?q=t%C3%B6rnell  . Now it's time for the debute. After being spotted by troubadour Cornelis Vreesvijk when singing at her fathers pub one evening he fixed her a contract with Philips Records, gathered a good background - among others Björn J:son Lindh arranging and playing keyboards and flute, Janne Schaffer on guitar, Jan Bandel on drums and Stefan Brolund on bass. Apart from "Vardag" , which she co-worte with Björn J:son Lindh, all here are version of other composers songs, among them Melanie, Alf Hambe, Carl Michael Bellman, Carl-Axel Dominique and Cornelis Vreeswijk. Check songlist below for who's behind what. An album grounded in Swedish folk tradition, though sometimes dressed in modern drag, as rock or jazz. Well put together by solid backing to sweet airy vocals. I really like her deliverance, keen and personal, making every tune matter. Hard to pick favourites, but why not "När Jag Var Ung" (When I Was Young), "Faster Fantasis Visa" (Aunt Fantasy's Song) and "Telegram Från En Bombad By" (Telegram From A Bombed Village) . To my knowledge only issued in Sweden. 2012 CDr (06025372106-7) and 12xFile FLAC on Universal. Vinyl had label as shown here in a fully structured cover.  (FÄV*)  (SCÄ*)  (CCÖ*)

                                                                               

                                                                              

                                                                     

                                                                                 

                                                                                 

 

 

THE KINKS/LOW BUDGET AB 4240 (-79) US DJ COPY

                                                                                  

 To my taste Kinks was one of the catchiest bands of the sixties and early seventies. After that I lost close contact, but curious to hear what came later on. This was their eighteeth studio album. It did well in the US, reaching #11 on Billboard, but not that ok in UK. As I've been told earlier it's a mix of punk and arena rock which might be fine, but I'm also interested if it has some of the old style gripping stories and melodies. Listening though now this is not The Kinks I expected from 1979. Gone are the sweet melodies and the empathic lyrics, instead I get something harder hitting, not offering an excess of catchy moments, but it sure makes me sit straight in the listening chair. Far from elaborate masterpieces as "Village Green..." or "Muswell Hillbillies", instead back to basics with some reminding of the early days and stuff that eventually would earn them epithets as "first hard rock band" or "fathers of punk". Much of it up-tempo rock and even if not as downright catchy as before certainly good listening. Also the audio is excellent allowing me to get in. It all sticks very well together, but if to choose some favorite tracks it'd be  "Attitude", "Moving Pictures" and "Low Budget".  Issued and reissued pretty much all over the world on vinyl and CD through the years, also as US, reel, cassette and 8-track. Japan 2013 CD on Konk (UICY-25364) came with three extended edits as bonus. This US DJ copy differs a little from the official ones I've seen since it is without tracklisting on rear sleeve. Maybe an early draft, then changed for stock ones. It should also have a lyric inner, sadly missing with this copy. (YZÄ*)  (KYX*)

                                                                              

                                                                                       

                                                                                

                                                                               

                                                                                 

                                                                                 

THE LESLIE WEST BAND BPL 1-1258 (-75) US

 Been a long fan of Mountain's groundbreaking rock'n'roll. The blend of outstandingly raw and soft melodic, often with meaningful lyrics, always gets me. For more on them check this  https://monolover.blogspot.com/search?q=%28M%C3%96U*%29  . So when I saw this in a bin a while ago I had to pick to see if it had some of the old band's magic. It was his second album after Mountain and the West, Bruce, Laine project. His old drummer mate Corky Laine still in while Pappalardi was gone and here replaced by Don Kretmer (Blues Project) on bass. Mick Jones (Spooky Tooth, Foreigner) fills in on guitar and renowned studio musician Ken Ascher plays keyboards. All cuts, except "Dear Prudence" and "We Gotta Get Out Of This Place" written by the band. Listening today I do get some of the old magic.  The heaviest numbers - "Money (Watcha Gonna Do)", "By The River" and "The Twister" - sounds just like Mountain in a very good way and the instrumental "Sea Of Heartache" comes with an appealing doomsday feeling. I know it's futile to compare the bands, but on some parts here I really miss Pappalardi's softer, more melodic, input. Especially on the covers. Both very ok listening yet to my taste non of them come close to the Beatles or Animals originals. In all still a very good rock album and I guess a must for any remaining Mountain fan. Released on vinyl also in Canada (RCA Victor BPL 1-1258) and UK (Phantom PHS 701), plus as US cassette and 8-track. Japan 2010 CD on Air Mail Archive AIRAC-1578). First US had label as shown here in a laminated cover. (YZÄ*) (MÖU*)

                                                                                     

                                                                               

                                                                                  

                                                                                 

                                                                             

                                                                                   

MICHAEL JACKSON/MUSIC & ME M767L (-73) US

 His third solo album. It recieved lukewarm rewievs and to today remaining his lowest selling. As the story goes he wished to include his own songs and play instruments at the recordings, but was put down by the Motown staff. He was also going through the puberty voice change at the time which hampered his ability to sing clean. This is the first time I'm hearing it, so I'm curious if that background adversely affected the result or if it's still ok Motown. Listening now I hear a very good production - arrangements, mix and audio all tophole. His voice can sound somewhat strained sometimes, but always in tune. The songs mostly very mellow, nothing  catches at first spin. I dig the more powerful "Johnny Raven" and "Euforia", but to me some of the rest come strangely unremarkable. Far from bad, just lacking that special edge you almost always get from a Motown LP. Fitting to have in the background for slow moments, but not very arresting. Still a keeper as it is the "king of pop" on my favorite label.  Issued and reissued all over the world on every possible format through the years. First UK on Tamla Motown (STML 11235). Japan 2013 remastered CD on Universal Music (UICY-75786). Early US had label as shown here in a fully structured cover. (YZÄ*)  (TÖMÖ*)

                                                                            

                                                                               

                                                                              

                                                                                      

                                                                                  

 

JACK HAMMER/THE TWISTIN' KING LP 001 (-64) MONO BELGIUM

 Jack Hammer (born Earl Solomon Burroughs in Georgia, 1925-2016) was a US singer/songwriter and pianist who in the late fifties and early sixties wrote songs for artists as Jerry Lee Lewis and Nina Simone. He was also for a while a member of The Platters and released his first solo album 1960 - "Rebellion" - on Warwick label. After that he moved to Belgium, where he recorded a serie of twist songs, of which "Kissin' Twist" became a big hit in many European countries. He was crowned "The Twistin' King", but that hype faded when the dance became yesterday's news and after spending time in Germany performing at US military bases he moved back to US in the seventies. This album was recorded to cash in further on his big hit and contains twelve numbers, all including "twist" in the titles. Don't know if anyone reading this twisted back in the sixties. I did at school dances and parties and have many fond memories to it. I guess today very obsolete for most people under the age of sixty, but if you were there this might be something to enjoy. Sounding very fifties with songs in styles reminding of early rock'n'roll, boogie and doo wop, all up-tempo. He's a good singer and the arrangements on the spot with mixed background quires. It may seem monotonous listening to twelve such numbers in a row, but it is a happy record with many positive vibes and if you still can do the moves it might get you up from your comfy chair. I'm a little too stiff nowadays, but I can always listen and reminisce. Released like this in France  and Belgium. In Italy, UK, Israel and Germany with other titles, sleeve design and partly differing track choices. Too many variations  for me to get into here. German 2024 CD "On The Dancefloor With Jack Hammer" on Bear Family records (17711) contains most of the tracks from this. First Belgian had label as shown here in a laminated flip/back cover. 

                                                                          

                                                                               

                                                                                 

 

JOHN LENNON AND YOKO ONO/UNFINISHED MUSIC NO. 1:TWO VIRGINS T 5001 (-68) US

 One of the most famed and at the same time less played records ever. Recorded by John and Yoko in Lennon's home while his wife Cynthia was on holiday in Greece. Consisting of tape loops, spoken words, screams and sound effects, all mashed together seemingly on a hunch without care for any result. According to Lennon it was just them expressing contemporary feelings and meant to be recieved in whatever way the listener wanted to. Maybe it says something about me, but I don't get it. It could be heard as an exemple of psych or avant-garde and I do dig those genres. Though then I need some kind of theme or melodic content, like in the first two Yoko Ono albums, to truly enjoy. What I hear here is just a mishmash of sounds that doesn't tell me anything. What gets me is the sleeve design showing the couple stark naked front and back, ordinary looking without any kind of photo-shopping, wanting to express both innocence and honesty. That's brave. Of course with all that EMI and Capitol didn't wanna distribute it, so Track records took on the challenge in UK and Tetragrammaton in US. First released as true mono through mail order only, all publicly issued stereos after that was fake. EMI did press the UK vinyl, but left the sleeve handeling elsewhere. I never heard that but guess it sounds quite clear. This US is repudetly just transferred from a UK vinyl with lots of surface noise. And that is what I hear on this mint copy - not only is the "music" too much for me, it also comes quite muddy accompanied by lots of hissing sounds. So it won't be spun a lot here in the future, but it is a welcome addition to my Beatles collection. Also originally issued on vinyl in UK (Apple S/APCOR 2), Canada and Netherlands and as US 8-track and cassette. Japan2016 CD on Sony (SICX 71) came with Yoko's "Remember Love" as bonus track. Premiere US had label as shown here in a glossy cover contained in a brown bag with face pics and a bible quote from Genesis, chapter 2.  (BÄ*)  (JYZÖ*) (YZÄ*) (FÄV*) (ÄPLÄ*)

                                                                                

                                                                                 

 

MARVIN GAYE & TAMMI TERRELL/UNITED STML 11062 (-68) UK

 This is the tenth Marvin Gaye album I'm posting, six of them with duets. Check here  https://monolover.blogspot.com/search?q=(G%C3%96JI*)&max-results=20&by-date=true . This was the first of the duo's three collaborations and also first LP for Tammi. It became Gaye's most successful album of the sixties, selling a million and also spawning four big selling 45:s - "Ain't No Mountain High Enough", "If This World Were Mine", "If I Could Bild My Whole World Around You" and "Your Precious Love". Two of the cuts - "Hold Me Oh My Darling" and "Two Can Have A Party" - were originally Tammi Terrell solo efforts that Gaye overdubbed for the LP. So popular back then, but how does it sound almost sixty years later? At least to my ears very well. Two top singers backed by The Funk Brothers, The Andantes, The Spinners and The Originals, handeled by a production team consisting of Harvey Fuqua, Johnny Bristol, Hal Davis and Berry Gordy. This is good Motown. A catchy mix of up-tempo and slow movers. The cuts differ some in style and arrangements, yet sticking well together and providing happy listening all through. There are no bad tracks here, but if to choose favorites - "You Got What It Takes", "Two Can Have A Party", "Ain't No Mountain High Enough" and why not the very sweet cover of "Something Stupid". This is also a very good stereo mix - spread and very together at the same time. Premiere US on Tamla (TM/TS 277). Sixties releases also in Canada, Germany and a couple of South American countries. CD issues in US, Japan, Spain and EU. First UK had label as shown here in a laminated flip/back cover with ad inner for UK Motown issues.  (FÄV*)  (GÖJI*)