MOTT THE HOOPLE/ROCK'N'ROLL QUEEN ILPS 9215 (-72) UK

If you're a fan of the groups Island issues and have a hard time finding the original LP:s, this is a good choice. It has one previous non-LP track - "Midnight Lady" '45 A-side - the rest is from the albums. It's a fine exposé with dirty rockers, most produced by Guy Stevens and done almost live in the studio with few overdubs. Right-on recordings without much afterthought. Maybe it could have been a bit more extensive, e.g. with some further addition from "Mad Shadows" or "Braincapers". Best thing with it is the high sound quality. Too many late compilations suffer from limiting or compression of the sound - this still has original audio, almost as loud, clear and natural as on the first press LP:s and that's worth a lot. US issue 1974 (Atlantic SD 7292) reached #112 on Billboard. First UK on pink rim label as shown here and fully laminated cover with "pinched" spine. (MÖHÖ*) (GÖJ*)

THE MADDY PRIOR BAND/HOOKED ON WINNING PLR 036 (-82) UK

Her third solo LP. In style much reminding of the former "Changing Winds" from three years earlier. They're labeled as a band, but most of all I get the impression of a collaboration between Prior and bassist Rick Kemp, a fellow Steeleye Span member and at the time her husband. All twelve tracks are self-penned, six by Prior and six by Kemp, and the production is credited to The Maddy Prior Band and engineer Dave Cook. I like the songs but not the sound. It's way too elegant and even the bounciest numbers comes through rather edgeless. Maddy Priors voice does best surrounded by spunk and she doesn't get enough of that here. I don't care much for the raggae or the two rockers, but the rest of the tracks are just fine with soft melodic ballads and folky pop. With less synths and more edge it would have been great. Favorite tracks - "Anthem To Failure" and "Roll On The Day". Don't know of any original US issue. CD re-issue 2011(coupled with "Going For Glory") on Park Records (PRKCD 110). UK release on Rick Kemps own Plant Life Records with label as shown here and thin glossy cover. (BRYF*)(FÄV*)(SÖPX*)

FOUR TOPS NOW! TML 11113 (-69) UK MONO

After Holland-Dozier-Holland left Motown 1967 the label lost some of its magic. Even if the rest of the crew was there with many competent composers and producers, the original feeling was lost and sales started to drop. At least that's the story told. But to my taste there was still a lot of good stuff coming out of those studios after the break. Lots of talent at work with some of the outcome clearly trampling in H-D-H:s footsteps and others treading new paths. This album has a little of both - "The Key", "Opportunity Knock (For Me)" and a few more follows the classic pattern, while the Beatles covers "Elenor Rigby" and "Fool On The Hill" have more adventurous arrangments making it up-to-date. US release in stereo only. I can't be absolutely sure what kind of mono this is. Some of the songs sounds perfect while others comes through a little unbalanced. So either most tracks are a fold downs with a few mono '45 cuts chipped in, or it's all a fold down and some tracks being more compatible than others. First UK had label as shown here and laminated flip/back cover. (If you want to check other late UK Tamla Motown monos - just write TML in the box top left on the page.) (TÖMÖ*) (FÖRH*) (YMÖ*)

ENO MOEBIUS ROEDELIUS/AFTER THE HEAT SKY 021 (-78) GERMANY

The second album with tracks from the 1977 sessions in Conny Plank's Berlin studio (for further background check post on "Cluster & Eno" LP). At this time the studio was a main source for electronic and experimental music. The two albums were a product of cross-fertilization, mostly shown by the great impact the collaboration had on Eno's contemporary and later work in recording and producing. Side one is instrumental, much reminding of "Cluster & Eno" with soft meditative pieces. Side two have a few more conventional songs, three with lyrics sung by Eno. The recordings took place at the same time as Eno's "Before And After Science" album was made, partly at the same locations with the same crew, and there are many similarities, both big and small - one exemple being "T'zima N'arki" using the vocal track from "King's Lead Hat" played in reverse. The previous album brought some international attention and it seems they were trying to open up further with this, making it a little more attainable and having the song titles in English instead of German. All instruments by Moebius, Roedelius and Eno, with Can bassist Holger Czukay guesting on one track. Co-produced by Cluster, Eno and Conny Plank who also engineered. As far as I know originally only released in Germany, but had re-issues on LP and CD in USA, Canada, Japan and Germany 1989-2009). This issue with label as shown here and fully laminated cover. (ÄNÖ*) (GÖXÄ*) (FÖF*)

FLANAGAN AND ALLEN/FAVOURITES LB 729 (-50) UK

Apart from blues the main inspiration for the English popular music scene from the sixties and on was Music Hall and Vaudeville. So with this post I'm going back to the roots. Bud Flanagan and Chesney Allen met during World War I, first preformed together in a twenties Florrie Forde revue and started their long lasting double act 1926. They soon became the most popular artists in the genre and kept that position well into the fifties. The performances mostly build on their alter-egos as two tramps, critizing modern society and way of life but blessing poverty and freedom from boundaries - fully enjoing the sunset and sleeping under the arches. They recorded a large number of '78:s - some early vaudeville numbers, some self-written and others composed directly for them. Most of them were made for Decca or EMI labels and on here are some of their most popular Decca recordings. I'm loving every second of it. Both have personal friendly voices, the orchestral arrangements are elaborated and attractive and the songs are classic melodic evergreens. All is directly transformed from '78:s, keeping the original atmosphere with fine audio. This early 10 inch release came on very thick unflexible vinyl with custom cover. I can't seem to get any reliable information about the issue but heard it came around 1950 and then mainly ment for export to the US market. Anyone knows more? (MÖRS*)(NYFÖ*)

RON WOOD/I'VE GOT MY OWN ALBUM TO DO K 56065 (-74) UK

I wanted this long before I got a chance to hear it. Supergroups and odd collaborations always tickles me and here's a surplus of such delights. Ron Wood, Mick Jagger, Keith Richards, Mick Taylor, Rod Stewart, George Harrison and Ian McLagan all on the same original album. And it's not only temporary guest appearances. Harrison plays and sings on one track - "Far East Man" - (uncredited), but apart from that it's common sessions. At the time it was made The Faces was on the edge of break-up and Wood would replace Taylor in Stones a year later. So it's a transition album for sure. Two of the tracks are original Jagger/Richards compositions, "Far East Man" (wich also occured in another version on GH:s "Dark Horse LP) is by Harrison/Wood and "I Can Feel The Fire" by Jagger/Wood. The music is a mix of contemporary Faces and Stones and recorded in Woods basement studio it comes through as very relaxed. Some of it sounds surprisingly ordinary, but a few tracks stands out - e.g. "I Can Feel The Fire" with Jaggers lead vocals could have placed on any seventies Stones album. First US on WB (BS 2819), also early issues Japan (P-8505W) and Germany (WB 56065). Premiere UK with label as shown here, thin matt cover and picture/credit insert. (RÅ*)(SXÅH*)

DAVE MASON & CASS ELLIOT 5C062-92335 (-71) UK EXPORT

When it comes to vinyl issues I'm a real anorak. Matrixes, label print and record DNA means something to me and I can spend a lot of time trying to figure things out. This release is an exemple. Musically it's two iconic artists doing good together. Mason takes lead on most tracks, but when Mama Cass appears she does some of her best vocals, far from the Mamas & Papas thing. Songs are kind of blues/country rock. Recorded at Record Plant and produced by the two with engineer Gary Kellgren. All very well done with top audio. To my taste not very exciting but nice. First US release on Blue Thumb (BTS 8825). As I'm trying to keep track of UK issues I've seen a number of variations before and this is an odd one. Most UK export pressings came with UK labels and number sequences. This - made for the Dutch market - has Dutch label and numbering, but UK ordinary "The Gramophone Co. Ltd..." rim text ending with "MADE IN GT. BRITAIN" (see pic). The cover is laminated made in Holland and the inner a UK pat. no. white. It's pressed on thick vinyl with hand etched US matrix numbers ending in -1 -1. I know sometimes pressings made in other countries got English labels and covers and sold as domestic, but this is the first time I've seen the other way around. (FÄV*)(ÖXÄP*)(CÖLÖ*)

JUNE TABOR WITH MARTIN SIMPSON/A CUT ABOVE 12TS410 (-80) UK

One of those forgotten gems. Part of the English folk scene, but with a unique posture. Far from rock or cermonial dance tunes it's cool, sparse and wistful. More suitable for autumn melancholy than hot summer nights. June Tabor never reached any commercial hights. Much cherished by fellow artists and groups within the folk society, but didn't record much before the mid-eighties. And when she did it wasn't accessible enough to get her on the lists. Most known today is probably her 1976 "Silly Sisters" collaboration with Maddy Prior. On this her voice is beautiful - it has a darkish timbre, emotional and with perfect timing. The backing is sparse - two songs a capella, the rest mostly acoustic with a few additions of bass, electric guitar and synth. Martin Simpson was one of the most skilled guitarists in the genre and his playing here is more fine art than regular rythmic backing. Violinist Ric Sanders a reliable force on his instrument at the time - from 1972 and on working with Fairport Convention, Albion Band, Soft Machine, Procol Harum, Robert Plant, Roy Harper and many more. Pianist Dave Bristow also played with Albion band and later Keith Emerson and Fairport Convention. Bassist Jon Davie had earlier been in Gryphon and The Banned. So it's a top artist with top backing and it fits like a dream. Well worth to be recognized and remembered. The first press LP can be tricky to find, but it has been re-issued on CD (Topic TSCD 410). UK vinyl release with label as shown here and fully laminated cover. (BRYF*)(FÄV*) (QÖP*) (JÖB*)

SWEET/SWEET'S GOLDEN GREATS PL 26111 (-77) UK

As the seventies progressed me and my friends went deeper into art rock and prog. Commercial stuff was frowned upon and groups like Sweet were a definitive no-no. Even if I fancied some of the stuff it would have been impossible to admit. But now I'm coming out of the closet and saying I like a lot of their '45:s, especially the combination of Chinn/Chapman compositions and Phil Wainman production. I still find the earlier outcome by this combo a little too cute, but from "Blockbuster" and on it's good. Part of the glam scene, but for its time a rather unique blend of hard rock and melodic pop. It may have been most of their fans back then were luny little girls, but today it's possible to hear arrangements and vocal style had an inspiration on some of the US eighties hard rock. From the -74 hit "Fox On The Run" the group took over song writing and production, keeping about the the same style and agenda. This compilation has all their best single tracks with top audio and a choice as good as any if you wanna try them. First UK on orange label (later black) and thin matt cover.

BILLY ECKSTINE/THE PRIME OF MY LIFE TML 11025 (-65) UK MONO

When it comes to music taste I'm Dr Jekyll and Mr Hyde. Much into psych, prog and garage and enjoying the "un:s" in recordings - unproduced, unfinished, uncommercial and untainted. But there's also a side of me adoring romance - mushy, teardrenched and overproduced. When I'm in that mood I want Russ Columbo, Nelson Eddy and Bing Crosby - overwhelming and sentimental. Billy Eckstine (1914-93) fits that part of my collection perfectly. A classic voice and a style molded in in the thirties and forties. His recording carreer stretched over five decades, this is one of three albums he made for Motown in the sixties. All handeled within the regular Motown staff. Produced by Hunter & Stevenson and arranged by Gil Askey, Melba Liston and Eckstine's old playmate Bobby Tucker. Backing by "Funk Brothers" and Detroit Symphony Orchestra. And it's exactly as I want it - string driven ballads about true or lost loves, emotional yet secure, both touching and supporting a lonesome heart. Premiere US on Motown (MT/MS 632), the songs also on a 2004 2-CD set "The Motown Years" (Motown 016351-2). First UK with label as shown here and laminated flip/back cover. (TÖMÖ*)(MÖRS*)

BEST OF FAMILY K 54023 (-74) UK

Issued after the groups 1973 break-up it became the second official UK compilation by the band. The first "Old Songs New Songs" (Reprise RMP 9007) was more an excuse for issuing re-makes of older tracks they weren't pleased with in the first place, but also had some some nice '45 takes - all 1968-71. They have two tracks in common - "No Mules Fool" and "The Weavers Answer" - but apart from that this is from the later years. With such a great band there are no bad compilations, so all tracks here are good. It's a mystery though they missed the "Boom Bang" A-side and a few non-LP B-sides. It would have been the right place for them. With that in mind it's still totally OK. The audio is top notch and the wrapping fine. Also issued in Germany (Reprise REP 54023). First UK with label as shown here, fully laminated cover and "Family Tree"/lyric inner. (FÄXI*)

IAN HUNTER S 80710 (-75) UK

His first solo album after leaving Mott The Hoople together with Mick Ronson. The sticker on the first press cover has both names, but Ronson does so much good here it would have been more fair if the album itself had a double credit. Musically it's less glam with more dirty rock and classic ballads. The compositions are a lot like the ones from the Island years and the sound connects more to "Mad Shadows" or "Braincapers" than to "The Hoople". It's not like he's moved on, but rather getting back to the roots. The whole album is a pick-me-up for my old rockin' heart and two tracks especially - "Once Bitten Twice Shy", with heavy Ronson backing and a short solo that's no less than a piece of art, and "It Aint Easy When You Fall" being his best ballad since "The Journey". Co-produced by Hunter, Ronson and probably also Guy Stevens, who get special thanks on the cover. First US on Columbia (PC 33480). Premiere UK with label as shown here, stickered matt f/o cover and thick picture inner with lyrics to the spoken poem from "It Aint Easy When You Fall". (MÖHÖ*) (GÖJ*)