FLASH FEARLESS VERSUS THE ZORG WOMEN PARTS 5 & 6 CHR 1081 (-75) UK

It was a huge, costly project with a stunning cast. Big plans - rock opera and musical stage show in the same vein as "Tommy" or "Jesus Christ Superstar", maybe even a movie. But the album didn't sell at all and the project was cancelled. This is about the LP only. If you wanna know more about the background and all intriguing details - here's a very good link http://www.sickthingsuk.co.uk/albums/a-flash.php . I just love odd collaborations beyond the limits of groups and labels. Having Alice Cooper, Maddy Prior and Elkie Brooks on the same legit album would be enough to get me going, but this is so much more. The backing is provided by individual members from the following groups - Moody Blues, King Crimson, Faces, The Who, Vanilla Fudge, Family, Roxy Music, Procol Harum and Ten Years After. The two Alice Cooper cuts were produced by Bob Ezrin. It's also the first collaboration between John Entwistle and Kenny Jones, while Keith Moon does one of the speaking roles. The plot and most of the songs written by Steve Hammond (Fat Matress) and David Pierce (veteran in the business who'd created lyrics for theaters, TV-shows, movies and albums). Still it went down like a rock'n'roll Titanic. But is it really that bad? Depends on what you're after. The songs are average without hit potential and the plot is messy. But the vocals and backing is top notch throughout and if you're into the artists there's many enjoyable cuts - I especially like the Alice Cooper, Elkie Brooks and Maddy Prior contributions. US issue omitted the Prior track and replaced that with Frankie Miller "Supersnatch". Original release also in Germany, Italy and Brazil. UK CD 1995 on RPM (RPM 147). Premiere UK had label as shown here, thin matt cover and comic booklet insert. (SÄM*)(FÄV*)(XYÄ*)(SXÅH*)(MBÅL*)(SÖPX*)(RÖKÖ*) (KÖÖP*)

CLIFF BENNETT AND THE REBEL ROUSERS PMC 1242 (-65) UK MONO

An album well worth recognizing by lovers of britpop and sixties r&b. Although their first LP it was far from a debute. Band started 1957 as "Ted Woods Skiffle Group". (Ted was an older brother of Ron Wood, the third brother Art had a compeating band - "The Art Wood Combo" - wich later transformed into The Artwoods.) 1958 Bennett took over the lead and the musical direction changed to rock'n'roll. The new setting became a popular club band in the early sixties and recorded a few singles produced by Joe Meek. Non of them charted and the touring and clubbing continued in England, but also Hamburg at the same time as Beatles. The lack of chart success continued until they signed for Parlophone and got to #9 on the UK list with "One Way Love". But apart from another reaching #42 and a McCartney produced version of "Got To Get You Into My Life" going to #6, there was no big sales and the band dissolved. After the break-up Bennett started "Toe Fat" together with three members from "The Gods". (I will post on TF:s debute later and continue that story). Parts of Rebel Rousers became "Chas & Dave" with growing fame and eighteen top 100 on the UK list of wich four went top ten. This album has three previous '45 cuts, the rest original recordings. Produced by John Burgess - belonging to the EMI inner circle at the time and close friend to George Martin. UK r&b sixties debutes were often made by amateurs. Many times the groups weren't very skilled at their instruments or accustomed to the business, but compensated with tons of good will and charm. This is something else. The charm is certainly there, but it's tight and very competent with great vocals from Bennett. Clearly they've done it before and the security allows them to create something special. Most of the tracks are standard covers, but few other UK groups at the time treated them better. One exemple - http://www.youtube.com/watch?v=dqgvFgK7w90 . Don't know if the album had any other original issues. On CD 2000 - coupled with the second LP "Drivin' You Wild" (The Beat Goes On BGOCD 472). First UK in mono only had label as shown here and laminated flip/back cover. (PÖX*)

THE ANIMALS STORY - VOL. 2 CTX 40.251 (-66) MONO FRANCE

French compilation having most cuts in common with US "Animal Tracks" and same mono mixes and audio as on a number of other issues with the group. If just for that I wouldn't have bothered, but there's a few things making it special. As far as I know this is the only Eurpean album having the mono mix of "I Can't Believe It", the laminated flip/back cover with the unusual front pic is attractive and the label design beautiful. That looks very much old school and like something you'd find on a 78 rpm rather than a mid-sixties r&b record - a lot more fun than contemporary UK Columbia or US MGM. Maybe not the most important features for a collectors item, but enough to make it a keeper. (ÄNÄ*)(MFÄX*)

HANSSON & KARLSSON/MONUMENT LPHM 46260/ST (-67) SWEDEN

A Swedish duo made up of Bo Hansson (organ) and Janne Karlsson (drums). The music was a mix between jazz, rock and pop and they are today considered forerunners in the prog genre. H&K recorded three albums in the late sixties. This debut started as a soundtrack to an experimental show made for the Swedish television, composed of distorted and warped pictures and film sequences creating a psychedelic effect. An exemple is the back cover pic of Paul McCartney shown below. The music appears like a dynamic flow, sometimes following a specific melody and sometimes improvised. The organ is in the lead and the drummer follows and supports with jazz licks. Jimi Hendrix was a fan and hung out with the team when he visited Stockholm and later recorded one of their numbers -"Tax Free". This first press had mono label and number, but it's actually a kind of compatible stereo. The audio is big, clear and natural, allowing you to hear every nuance. It was good back then and sounds even better today. Don't know of any other vinyl issues, but a collection including this album and a couple of other tracks came on CD 1998 (Polydor 557 279-2). The premiere vinyl release had laminated f/o cover. (SCÄ*)(ÄZC*) (ZÖNT*)(CCÖ*)

CHUBBY CHECKER/LET'S TWIST AGAIN 33SX 1411 (-61) UK MONO

In the early sixties lots of new dance styles spread from America to the rest of the world. As a kid in Sweden I tried The Stroll, Mashed Potato and The Shake, but the one that really caught on was the Twist. It was perfect on all social levels - innocent tunes and lyrics, good gymnastics and no inappropriate touching. The best party dance though a little shameful when your parents tried to keep up. Checkers 1960 single "The Twist" topped the US charts, but it was with the follow-up - "Let's Twist Again" - he made it in Europe with #1 in UK and top ten elsewhere. He toured the continent and I remember seeing him in Swedish television shows. Even if I don't do the Twist anymore it's still a very enjoyable album. Clearly designed for dancing, but also greatly performed contemporary soul and r&b. A couple of slow movers mixed with happy up-tempo and I guess it had at least some inspiration to later sixties American Soul. Premiere US on Parkway (P 7004). Earliest UK with green label as shown here and thick laminated flip/back cover. (FÖGÄ*)

TEAR GAS SLRZ 1021 (-71) UK

Progressive rock group from Glasgow. Their first LP "Piggy Go Getter" on UK Famous label https://monolover.blogspot.com/2014/10/tear-gaspiggy-go-getter-pas-5029-70-us.html didn't sell at all. This one was no success either and they disbanded shortly after. 1972 three of the members teamed up with Alex Harvey and became "The Sensational Alex Harvey Band", a setting wich remained for over five years. This is probably one of the heaviest hard rock albums ever made. It didn't wallop back then, but has been re-discovered by modern affectionados and raised to an almost legendary status. I get that, but it don't catch me 100%. It has stunning guitars, layer on layer with a brutality that almost rips your skin off, and the backing is more than appropriate. Still the songwriting is average, the vocals ordinary and nothing really sticks. A glorious first impact but not much more. And it's obvious they got most of the inspiration from a true classic. Not only by the choice of covers - "All Shook Up", "Jailhouse Rock" - but also many of the guitar licks and the whole atmosphere resembles Jeff Beck Group's Beck-Ola/Cosa Nostra album. Audio and production differs, but it's exactly the same idiom. I'm not saying they're copy cats, it's probably a homage and that's a good thing I guess. First issues also in Germany (Harvest 1C 062-92549) and France (Regal Zonophone 2C 062-92549). US CD 2007 (Second Harvest 425). Premiere UK with label as shown here, some in thin matt cover and some laminated flip/back. (RÄZ*)

STAY WITH THE HOLLIES PMC 1220 (-64) UK MONO

The tenth Hollies album I'm posting here and I guess my positive feelings for their Ron Richards produced sixties LP:s is no secret anymore. As a collector I'm always dividing records into different categories, most of them overlapping. This falls into "Mersey Beat", "British Invation", "Brit Pop" and "Debute Albums". I have friends who find their first too simple and almost scrawny in comparison to later albums. I can't compare or value like that, all I hear is a charming debute. A couple of guys in their early twenties who after a few singles get a chance to record an LP for the Beatles label - and 1964 that was a big thing. One song is self-written, the rest standard covers. Most of it happy positive up-tempo with harmonic vocals, very fast and sometimes so eager they stumble over notes and words. EMI had fine equipment for it's time, but by todays measures primitive. It's clear most of it was made live in the studio with only few overdubs or re-takes. This is how it was and it's still here for us to capture. Musically it may not be the groups best, still very enjoyable as a debute album and piece of music histrory. US releases had a different agenda, but "Here I Go Again" (1964 Imperial LP 9265) came with some of the same tracks. First UK had label as shown here with "Recording first published 1964" and laminated flip/back cover. Also issued in stereo (PCS 3054). (HÖLY*) (PÖX*)

ANNE LONNBERG XCED 521 174 T (-69) FRANCE

American actress of Swedish descent. Multi-lingual and fluid in both English and French, she's done a number of supporting roles for TV-series and films in different countires - Woody Allen's "Love And Death", "Moonraker" and "The Unbearable Lightness Of Being" among others. Worked a lot in Greece and France with parts in a number of domestic movies and TV-shows. She also recorded this LP for the French Riviera label in the late sixties. Side one has English lyrics and side two is in French. Eight of the twelve songs are self-penned or collaborations. Her voice is natural, almost innocent, wich fits the albums soothing atmosphere. The genres are baroque, folk and ballads - most of it rather heavily orchestrated although never overwhelming. Very good listening and I'm surprised it wasn't released anywhere else or got a follow-up. Don't know if it's available on CD. This French issue came with label as shown here and thin, fully laminated cover. (FÄV*)(SYSÖ*)(MFÄX*) (GZÅ*)

TWICE AS MUCH/OWN UP IMSP 007 (-66) UK

English singer/songwriter duo consisting of Dave Skinner and Andrew Rose. They made two albums for Immediate and released four singles, but only one made any impact - "Sitting On A Fence" - released a year before The Rolling Stones own version and managing top 40 on the UK list. This debute LP was one of Andrew Loog Oldham's first big projects for the new label and it's obvious he went for the best. The backing crew includes Jimmy Page and John McLaughlin (spelled McClochlin back cover) on guitars, Andy White on drums, Nicky Hopkins and Art Greenslade handeling keyboards, engineering by Glyn Johns and arrangements by Mort Shuman. (There were a lot more involved with each chore, I'm just picking the most prominent names.) Loog Oldham is credited as producuer, but with all that talent present maybe he had more of a supervising role. So is this a case of "too many cooks spoil the broth"? Not at all. The only thing average is the vocals - appropriate, not special - but the rest is an adventure. Imagine "Sha La La La Lee" as a slow, heavily orchestrated ballad with an accordion pitched in or "Play With Fire" having a more consistent harp/glockenspiel riff and heavy kettledrums. Seven of the fourteen songs are cover versions and those are the ones that makes this album. I fancy a few of the self-penned songs, especially "The Spinning Wheel", but regarded as a cover album partly more intriguing than some of the more famed ones. One of few such where I get almost as much enjoyment from the re-makes as the actual originals. Issued in both mono and stereo. First press can be tricky to find and I've never heard a mono so I can't compare, but the stereo is a true mix and the audio very good. To my knowledge this UK was the only original release. German vinyl re-issue on Outline Records 1982 (OLLP 5247) and Italian 2001 on Get Back (GET 592), German 1996 CD "Own Up/That's All" (Green Trek Records GTR 040) had both albums plus one bonus track). Premiere UK came with structured label as shown here and matt flip/back cover. This copy also has a stereo sticker on back cover. (YDÄ*)

THIS IS SOUL 643 301 (-68) UK MONO

From the beginning a classic US Atlantic 1968 soul sampler (SD 8170), released and re-issued through the years all over the world on vinyl and CD, some with alternate covers and different tracking. To my knowledege this UK first was the only variation issued in mono. Adapted to what was popular on the English market at the time it only had four tracks in common with the American original. // Arthur Conley - "Sweet Soul Music", Wilson Pickett - "Land Of A 1000 Dancers, Aretha Franklin - "I Never Loved A Man..." and Percy Sledge - "When A Man Loves A Woman" // As far as I can hear those four are fold downs while the eight choosen especially for this UK version are true mono. They probably used the US stereo tapes for the common tracks and domestic '45 mixes for the rest. The audio shifts - the four mentioned sounds damp and more or less unbalanced, the rest big and bouncy with clear vocals and prominent base. Premiere press with label as shown here and laminated cover. (SÄM*)(YMÖ*)(ÄTHP*)(PÖCY*)

SMOKEY ROBINSON AND THE MIRACLES/SPECIAL OCCATION TML 11089 (-69) UK MONO

They were so productive and successful this period at least a few single cuts from any of their frequently released albums went high on the lists. This was no exception, with three of the songs climbing on Billboard. It also includes covers of "Yesterday" and "I Heard It Through The Grapewine". Miracles was the first group to record IHITTG, as early as 1966. That was rejected, but following the success of other artists versions re-recorded by the group for this issue. It was the last stock mono released by US Tamla (TM/TS 290), late -68. I guess the UK version shown here uses the US mono tapes.That late one should have expected a fold down, but it sure sounds like a separate mix - big and clear with prominent base and top separation. A classic Motown mono - very enjoyable listening. The US original can be hard to find in playable condition, but the UK press sometimes turns up at affordable prices. First with label as shown here and laminated flip/back cover. (TÖMÖ*) (SXÖM*)

RAVE SUX 1214 (-68) UK SAMPLER

There are many reasons to love compilations, collections and samplers. Sometimes you actually get "The best of", "Greatest Hits", "Best tracks", or whatever they're called and that's worth a lot. The ones that intrigues me most are those with one-offs by odd groups, alternate takes or mixes, or cuts that would cost you an arm and a leg to get on '45 or original album. This LP is a cornucopia of such goodness. Some of the groups or artists here are unknown to me and for a few there's no information on the net, so I'm doing the best with what I got. //Phil Upchurch Combo - "You Can't Sit Down" pt1/pt2. 1961 sax driven instrumentals - pt 1 was a big US hit for The Dovells 1963 with vocals, but this original didn't do that well.// Kings and Queens - "I Can Feel It". A -65 recording, uptempo dance number with powerful vocals. Sounds very much Northern soul.// Fortunes - "Loving Cup". They had success a few years earlier, but this 1968 '45 - produced by Mike D'Abo - didn't chart.// Sky - "Air-o-plane Ride"/"The Weather Forecast". A/B sides of a non charting '45. Nice bubblegum psych.// Spencer Davis Group - "Mr Second Class", from "With Their New face On" album.// Hopscotch - "Look At The Lights Go Up". Very good -68 mod psych. Didn't sell back then, but got a revival in the 90ies and still cherished by later day mods and collectors.// Easybeats - "Land Of Make Believe"/"Hello How Are You", both from the "Vigil" album.// Little Anthony and The Imprerials - "Yesterday Has Gone" from the -67 "Reflection" album. Cupids Inspiration had a massive UK hit with a cover of the song 1968.// Carl Douglas and The Big Stampede - "Sell My Soul To The Devil". Non charting '45 from the guy who five years later got a million seller with "Kung Fu Fighting". Soul gospel with odd agenda.// Spencer Davis Group - "After Tea", non-LP pop psych '45.// The Short Kuts - "Your Eyes May Shine". Memphis band with a Northern soul favorite.// Vince Edward - "It's The Same Old Song". '45 B-side. It's the Holland-Dozier-Holland composition, but totallly different from the Four Tops version. Faster up-tempo with fuzzed guitars, haunting bass and a psych solo - very powerful.// Sari and The Shalimars - "It's So Lonely Being Together". Know nothing about the group or the song other than it was Northern soul.// That's it. Most of the tracks are true stereo, maybe all but a few have dense mixes, making it hard to distinguish. Good audio anyway. To my knowledge there were no other issues than this first UK with label as shown here and laminated flip/back cover. (SÄM*)