HAPPY NEW YEAR

Wishing all here a happy new year. I'll probably be at work most of the holiday, so it's time for another short break. See you again Wednesday. Have a good one wherever you are! Kindly/Erik

COLOSSEUM LIVE ICD 1/2 (-71) UK

(I love this record and everything on it, so a single-minded 100% positive post is all I can do.) This is by far the best live album ever made and it also surpasses most studio recordings in material, performance and audio. Recorded March -71 in Manchester and Brighton as the band was on their hight of creativity and skill with an unpresidented interaction between the members. This is jazz/prog at its best, played by some of the best. It's advanced and equibrilistic, still not shying away from the simple or beautiful. The accelerandos and ritardandos are smooth, almost intangible at parts, with flawless timing by all. Everything fits as it was from one organism instead of six separate musicians. The groove is fantastic - just listen to the "Walking In The Park" intro and try to sit still. Chris Farlowe has never been better and works as a kind of conferencier - singing, chanting, talking and yodeling through the whole thing. In the northern town where I grew up Colosseum was hot in the early seventies. "The Kettle" played at local discos and we used this album frequently as dance music at private parties. "Skelington" and "Lost Angeles" were favorites - both around fifteen minutes and it took a few beers and numb legs, but always ended with hugs and smiles. I still listen to it frequently and it always cheers me up. First US on green WB/Bronze label (2XS 1942). The premiere UK press had pvc inners with a foam edge, meant to clean the records as they were drawn in and out of the cover. As it turned out the foam reacted with the vinyl and damaged the first track on each side on almost every copy of the first release. Untainted copies are very hard to find. Shown here is the early second issue label, still with "i" logo, and regular f/o cover. (CÖL*)(LYBÖ*)(PRÖZ*)

SAVOY BROWN/STREET CORNER TALKING TXS 104 (-71) UK

After the "Looking In" recordings the group split. Only remaining member Kim Simmonds set out to recruit new personnel and ended up with Paul Raymond, Andy Silvester and Dave Bidwell from Chicken Shack and former Idle Race singer Dave Walker. This was to become the most successful line-up. Never at the absolute top, but with live following and healthy sales on both sides of the Atlantic. The album was produced by Neil Slaven, a main figure in the British blues movement. Same name, but different gang and new sound. Sadly this doesn't attract me much. The original group always had hearts on sleeves, allowing the emotions to sip through the songs, with a true blues feeling. This is perky all over with a more dense sound - it may make my foot jump, but otherwise leaves me indifferent. Not a bad LP, still far from their earlier stuff. First US on Parrot (PAS 71047). Early UK with green label and matt f/o cover. (SÄVX*)

TAGES/EXTRA EXTRA PALP 3003 (-66) SWEDEN

Their first album was rather solid R&B  https://monolover.blogspot.com/2012/11/tages-palp-3001-65-mono-sweden.html  , the second tackled the UK mid-sixties mod scene   https://monolover.blogspot.com/2012/11/tages2-palp-3002-66-sweden.html  . This is partly still tied to the same genres, but also takes the first step toward the special pop-psych sound that would be characteristic for the band the rest of their carreer. Anders Henriksson was back as main producer and it shows. While the second self-produced album seems somewhat shaky this feels secure, resting on a solid ground. Six of the songs are covers and six written by group members. All is performed with confidence, but three of the self-penned tracks stands out. "Gone Too Far" is baroque pop with chamber setting and very nice flutes. "Secret Room" an odd psych track about a young man drilling a hole in the bedroom wall to watch his parents get it on. "Extra" is hard to describe with partly sped-up vocals and mid section with Beach Boys-like harmonies, organ and bongo drums - but it's good early psych. It was their last effort on Platina label before moving to Parlophone, leading to bigger resources and further development. The album issued in compatible stereo, the '45 tracks from it was mono with separate versions or mixes. Early releases with label as shown here and thin fully laminated cover. (SCÄ*)(DÄXÖ*)(CCÖ*)

PINK FLOYD/ATOM HEART MOTHER SHVL 781 (-70) UK

  I saw them performing the "Atom" suite at Bath Festival in England summer 1970. At the time it didn't have the final name but was called "The Amazing Pudding". Some of my other memories from the festival are misty or even gone, but this remains. The night was cold and rainy, but I'd managed to fall asleep on the bare ground and was woken as the band got on stage. By now people had started to lit fires all over the field to keep warm. We were on a hill rather far from the event, but could see like a serie of beacons forming a string down towards the stage. I crawled to one of the fires, got myself a piece of bread, and saw it all at that position - most from a big screen beside the platform. As I remember they had a quire on stage and also fire-works at some point. I was hungry, frozen and tired, but the tunes and atmosphere filled me and made it stick. That situation is what makes this track for me and I'll probably never get beyond that. Of the four remaining "Alans Psychedelic Breakfast" is not one I listen a lot to, but the others are Pink Floyd as I want them - soft songs with nice melodies and warm feeling. My favorite "Summer 68" has always been on my PF Top 10 list. Early US Harvest issues had cover design as UK (SKAO-382), later with title on front cover (SMAS-382). 1:st UK with no EMI box on label and matt fold/out cover. (PÅX*)(HÄVL*)

HAPPY HOLIDAYS

Have to be at work this christmas so I'm taking a break for a few days. Wishing all here Happy Holidays and see you later. May your yuletime be filled with interesting records and lots of good music. Uptempo greetings/Erik

BING CROSBY/MERRY CHRISTMAS DL 5019 (-49) US

Mother of all christmas albums. The first and the best to put you in the right mood. Six classic songs with Crosby's heartfelt vocals, orchestral backings and overwhelming quires plus two more jazzy where he sings with Andrew Sisters. Most of it is sentimental and tear breaking, just as it should. Originally earlier versions of the songs had their first collected issue as part of a 1942 five disc 78 rpm album, wich eventually got so popular the masters worn down (this was before tape-recorders existed in the studios), so they re-recorded eight cuts 1947, making it as close to the first as they could. These second versions was the ones transferred on here to 33 rpm for the first time. This 10 inch 1949 release was US only. There's been re-issues, re-mixes and other re-makes ever since on vinyl and CD, but wichever you got - there's no real Christmas without Bing Crosby. (NYFÖ*)(MÖRS*) (YZÄ*)(CXÅ*)(BCJ*)

BRIAN ENO/ANOTHER GREEN WORLD ILPS 9351 (-75) UK

Not counting collaborations or Ambient productions, this was Eno's third studio album. Like with most of his contemporary stuff creating and writing took place in the studio as they went along. The musical pieces were put together by reasoning and chance. One method was the musicians got pieces of papers and asked to write numbers between 1-15. Each corresponded to a chord and the songs came out according to the numbers drawn. The lyrics emerged from Eno chanting syllables to the backing tapes, eventually forming them into real words and sentenses. It's hard to imagine that kind of creative process when you listen to the record. It appears totally elaborated, melodic and very pleasant. Seven of the tracks played by Eno himself, the rest has a great crew of guest musicians as John Cale, Phil Collins, Robert Fripp and Percy Jones. Five songs have lyrics, the rest instrumental. My favorite cuts are "Over Fire Island" because of Percy Jones fretless bass figures and "I'll Come Running" with a perfect solo by Robert Fripp - only a master could make such simple notes that beautiful. Co-produced by Eno and Rhett Davies ( who also worked with Roxy Music, Genesis, King Crimson and Talking Heads among others). It was well recieved by most critics at the time, but failed to chart. First US on Island with same no. and cover. Early UK with label as shown here, thin matt cover and black inner sleeve. (ÄNÖ*) (FÖF*)

THE TROGGS/WITH A GIRL LIKE YOU DJML.047 (-75) UK

I was very surprised when I first saw this record and found out it was made in 1975. Allthough the tracks are from 1967 and on, everything else in its appearance screams mid-sixties - the label design, heavy vinyl and E.J.Day laminated cover. According to back cover notes - instead of bad or fake stereo they choosed to issue the whole album in mono not to lose "the hard biting sound". So the listening also takes you back a decade - audio shifts a little depending on time for recording, but most comes through big and clear as on the old '45:s. This is a retrospective I like - picking the originals as they were and press. No re-mixing, compressing, limiting or further tampering, just straight on. Many seventies compilations of earlier recording were spoiled by different kinds of re-makes or updates. I wish more would be like this one. UK 1:st on DJM:s budget label Silverline with label as shown here, thick vinyl and laminated cover. (TRÖX*)

JETHRO TULL/LIVING IN THE PAST CJT 1/2 (-72) UK

Records are like friends. With some you have short intense connections while others stay and provide life long relationships. Jethro Tull has always been there for me. They had some changes in styles and settings through the years, but with every step there's been beautiful melodies, poetic lyrics and high quality performance. That really shows on this collection, mostly with non-LP single and EP cuts from 1968-71. USA and other countries had partly different tracking - this is about the UK issue. Side 3 is from a 1970 Carnegie Hall concert and shows what a great live band they were, most of the other three sides are rare studio cuts. Here's the entire five track "Life Is A Long Song" EP and seven more '45 A:s and B:s. Some of those existed in mono only and got new mixes for this release. A version of "Teacher" also appeared on the UK "Benefit" album, on here is the US '45 edit, previously unissued in UK. There's so much good music on all four sides - melodic, emotional and personal, performed with presence and skill - this has become one of my best buddies. It's hard to pick a favorite, but "Life Is A Long Song" touches me every time. Early press with label as shown here, thick structured cover with a 20 page stapled booklet containing song info and 50+ pics of the band. (YÖHT*)(LYBÖ*)

EMERSON LAKE & PALMER/PICTURES AT AN EXHIBITION HELP 1 (-71) UK

Keith Emerson got in contact with jazz and classical music at a young age and early developed a reverence for the old masters. With "The Nice" he started to interpret classical works, trying to make them part of the contemporary pop scene. It's all a matter of taste, but to me some of the former attempts was too serious and stiff, maybe restrained by awe. On this it fits. Mussorgsky's work is more used as a ground for the combos elaborations with addition of ideas, harmonies and lyrics - all made with respect for the original. Recorded at Newcastle City Hall 1970 and using the latest in moog technology, but also pipe organ, clavinet and classic rock setting. Last track is a version of B.Bumble & The Stinger's -62 hit "Nut Rocker", the rest follows the line of the concerto. The audio on this is perfect - close and natural with an authentic feeling. It's hard to pick a favorite part, but the final "The Great Gates Of Kiev" with Greg Lakes vocals always makes my eyes wet. 1:st US on Cotillion (ELP 66666). In UK its first press also became the premier issue on Islands budget "HELP" label with thick matt f/o cover. The album peaked at #3 in UK and #10 on US Billboard. (ÄPY*) (HÄLX*)

THE HEP STARS LPO 04 (-66) SWEDEN

To my taste this was their best studio album. Two of the tracks are covers, the rest written by group members or associates. It's also an exemple of early co-work between Benny Andersson and Björn Ulveaus, a collaboration that later would emerge into ABBA. "Isn't It Easy To Say" was written by both and "No Time" originally by Björn for his group Hootenanny Singers album "International". Of the songs Benny wrote himself "Consolation" and "Wedding" are top numbers - melodic, catchy with nice organ. This is pure pop all through, no experimenting or rough stuff (although "Consolation" intro is a little on the psych side). It's a bunch of very good songs performed with a kind atmosphere. Singer Svenne Hedlund has an attractive baryton and Benny Andersson's hammond makes it cozy. The production is straight on without cover-ups or too many overdubs. When you're done for the day with protesting and drug abusing, this is good to come home to. First press on Olga with red/blue/white label, later on blue/yellow. Issued in compatible stereo only. (SCÄ*) (HÄH*)(CCÖ*)(ÄBBÖ*)

TEN YEARS AFTER/ALVIN LEE & COMPANY SML 1096 (-72) UK

Usually I don't like compilation issues of originally abandoned tracks for cash-in purposes. Most of the time the reason they weren't used in the first place was they didn't keep up. But there are always exceptions...and this is one - at least parts of it. Released after the group left Deram for Chrysalis in UK and consisting of unused cuts from earlier sessions, all but one produced by Mike Vernon. The long "Boogie On" seems to be an excuse for the members to show off through a number of solos and would certainly be a great live experience, still it's rather meaningless as a studio cut. But apart from that all is good. "Standing At The Crossroads" cover works out with nice guitar. "The Sounds" is in a psych mood and would have been fine on "Stonedhedge". "Portable People" is slow country style with soft vocals and the remaining two sounds like early recordings, carrying a reliable "eager" TYA attack. Audio shifts a little depending on time for recording, but all comes through OK. First US on Deram brown/white label (XDES 18064). Early UK with label as shown here and laminated cover. (XYÄ*)(DÄRR*)