TAKING TIME OFF...

Other things are piling up at the moment and after over a year of posting 700+ records I need time to regroup and gain back some of my maiden enthusiasm. I will answer to comments and maybe do some re-posts, but otherwise just let it be for a while. See you later and thanks for watching/Erik.

Seven year old pic. Only one I got with me by the records.

ERIC BURDON AND THE ANIMALS/WINDS OF CHANGE MGM-C-8052 (-67) UK MONO

Winds of change was really blowing here - only Burdon and Barry Jenkins remained from the old group. The transition that started to show on the US 1966 "Animalism" album was completed. No more blues covers or pastiches, instead this is a fully fledged psych album. It's still Burdon interpreting the US music scene, but focus moving from black r&b to west coast experimental. The lyrics also reflect a change of drugs and places - from alcohol in small dark dives to LSD, peace and love. "Poem By The Sea" is a perfect portrait of an acid trip and "San Franciscan Nights" a beautiful anti war statement. Today some of the texts may be seen as pretentious, but musically so well done and with such great audio it floors me every time. This UK mono is different from the stereo and also slightly other than the US mono https://monolover.blogspot.com/2017/03/eric-burdon-animalswinds-of-change-e.html  with bigger base and clearer sound. MGM was one of the labels that sometimes altered the US versions to fit the English market. Premiere US on MGM (E/SE 4484).First UK with yellow label as shown here and laminated flip/back cover. (ÄNÄ*)

THE YARDBIRDS/ROGER THE ENGINEER ED 116M (-83) UK MONO

(For background check my post on the -66 first press and Prof. Stoned's comments.) Usually I don't get very excited by re-issues, still this was a good deed by EMI UK. It's lovely hearing a re-press of the 12 track UK mono with such a fine audio, but what really gets me going is they added the UK "Happening Ten Years Time Ago"/Psycho Daisies" single mixes. HTYTA mono had previously been on US Epic "Greatest Hits" (LN 24246), but since the Americans choosed "The Nazz Are Blue" for B-side, "Psycho Daisies" wasn't released there at first and didn't show up on any mono LP. As far as I know it's the only place you can find the original version on 33 rpm vinyl. Highly recommended! US re-issue in stereo only (?) with white cover (Epic FE 38455). Also released as stereo in UK (ED 116S) with yellow coloured wrapping. UK issues in glossy cover and picture/info inner. (YÄB*)(JÄBÄ*)

EMERSON, LAKE & PALMER/WORKS K 80009 (-77) UK

I liked the first albums a lot, but lost touch with "Brain Salad Surgery". Although it had a few good moments, most of it struck me as unnecessarily complicated and I didn't like the audio. Interesting as a phenomena, but less enjoyable. This was their next studio album, released almost four years later, and it's something completely different. Fewer synths are used, instead both London Philharmonic Orchestra and Orchestra de l'Opera de Paris are involved and most of the backing acoustic. The three members get one side each and the fourth is a group effort. The common side has a cover of Copland's "Fanfare For The Common Man" and "Pirates", written by the band and Pete Sinfield - a long orchestral piece with a few vocal parts pitched in. Palmer does a bunch of instrumental cuts, among them a re-work of "Tank" from first album. Emerson's contribution is an eighteen minute piano concerto wich I can't relate to since I'm not that into classical music. For me this is all about Greg Lakes side. It was criticized back then for being honyed and even pointless, but IMO it's timeless beauty and what makes the whole album. All tracks co-written by Lake and Sinfield. Consisting of four love ballads and "Hallowed Be Thy Name" - an odd anti-religious statement. The romantic tunes has top class arrangement and about the best audio you can get on vinyl. I've always liked his voice and here it works better than ever. Had copies of this album since late seveties and never get tired of hearing those songs. The melodies may be simple, but treated so perfectly they catch me every time. First US on Atlantic (SD 2-7000). Premiere UK had label as shown here and glossy triple f/o cover with embossed logo. (ÄPY*)

THE ASSOCIATION/RENAISSANCE VLM 5004 (-66) US MONO

(For more on the group, check post on the "Insight Out" LP.) This second was their least successful sixties album and didn't produce any top ten single hits. To my ears it's as good or better than the others, maybe somewhat less commercial. It's top notch west coast pop psych, all numbers self-penned with harmonic vocals and a few unexpected twists and turns, sometimes reminding of The Mamas & The Papas and sometimes Electric Prunes. After release Warner Brothers took over Valiant and the album was re-issued on the new label (W/WS 1704). This Valiant press has an alternate version of "No Fair At All" with other vocal overdubs than the one released on '45. All later varieties of the album uses the single mix. UK on London (HA-T 8313). Released as remastered on CD 2003 (Collectors Choice CCM-380-2). Premiere US with label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*) (ÄKÖ*)

ROGER COOK/MINSTREL IN FLIGHT SLRZ 1035 (-73) UK

Successful and rewarded English composer, producer and singer, responsible for a large number of world wide top ten hits as writer or co-writer. A few exemples - "Blame It On The Pony Express", "You've Got Your Troubles", "Melting Pot", "I'd Like To Teach The World To Sing", "Long Cool Woman In A Black Dress" and "Gasoline Alley Bred". He also recorded a couple of solo albums, but they didn't do that well. This was his second. The songs have the same mellow style as the blockbusters he wrote for other artists. It's melodic, smooth and lacks all kind of danger. To my taste a little too middle-of-the road, but it's very well done and good listening. Arranged by Barbara Moore (composer and arranger who also worked with Tom Jones, Elton John and Jimi Hendrix) and engineered by John Punter and Bill Price. Not the best background for beer with the boys, more suitable to calm your nerves after a long day at work with a glass of wine ot two. First US on Kama Sutra (KSBS 2069). Premiere UK with label as shown here and thin structured cover. (RÄZ*)(MÖRS*)(SYSÖ*)

SHANES 1963-68! 7C 138-35952/3 (-83) MONO + STEREO SWEDEN

The third Shanes album I'm putting up here and to my taste this and the first two are all you need by the group. From the same EMI serie as the "Tages 1964-68" I posted earlier. Wrapping is in the same mode with laminated flip/back cover, glossy pic and info inners, and the labels are the original sixties design. Seventeen of the thirtytwo tracks were previously non-LP - single A:s and B:s, two EP cuts and one from a charity sampler. All numbers have the original mixes - twenty mono and twelve compatible stereo. I like the northern years 1963-65 best. Later on as they moved to Stockholm it got more melodic and well produced with increased popularity and bigger sales. Good for them, but to me it wasn't the same band anymore. The earliest cuts are "Oh Wow" - considered the first Swedish "pop" single, three guitar instrumentals, a live EP number, cuts from the debute album and a few r&b A:s and B:s including my absolute favorite "I Don't Want Your Love" - you can check it here with bad audio http://www.youtube.com/watch?v=y7r_WBeA2dM . Some of it is garage in its purest form - a couple of self-tought guys playing their own primitive compositions the best they can, live in the studio with few overdubs. There's nothing fancy or elegant about it - it's primal and sometimes sloppy, but compensated with lots of attitude. Also on CD (EMI 475 0302). (SCÄ*) (XHÄ*)(CCÖ*)

GENTLE GIANT/THREE FRIENDS 6360 070 (-72) UK

Group evolving from "Simon Dupree & the Big Sound" (see earlier post). They have a long and well documented history wich I'm not repeating here (good link http://en.wikipedia.org/wiki/Gentle_Giant). Their music is the opposite of easy listening - intellectual, difficult and demanding. It's a kind of prog, using all possible genres from baroque and on, with lyrics often sprung from classic philosophy or modern psychiatry. Always an adventure, but sometimes challenging. One of those groups you either love or hate, it's hard to stay indifferent while listening. I'm slowly becoming a fan, but as it seems way too late. In the eighties no one here was interested and you could easily get a UK 1st press for $5. Today almost impossible to find a top copy of their Vertigo swirls under $100 and it's getting out of my reach. So far this third LP is my only original. A theme album dealing with the lives of three childhood friends. Considered a little less complicated than their previous and also made it to Billboard #197, but still far from commercial. Most of the tracks can be described as jazz/rock fusion with surprising twists and turns, dimly related to Zappa or other progressive artists of the period, yet one of a kind. US vinyl on Columbia with different wrapping (KC 31649). Also had many CD re-issues, first 1989 on US Columbia (CK 31649). Early UK on swirl as shown here and thick matt fold/out cover. (WLÖ*)

RARE BIRD/SYMPATHY CS 4 (-76) UK

UK prog/art rock band, today most known for their world wide hit "Sympathy". Although popular on the European continent and US they never got a big breakthrough in England, wich eventually led to the group disintegrating 1975. All tracks on this are from the Charisma years 1969-70. "Sympathy" was a '45 only release in UK, the rest are from the first two albums. Good melodic organ driven prog with few guitars. For me the best progressive rock was made before synths started to rule the studios and this is a nice exemple. "Sympathy" may be the most commercial cut on here, but if you like that the rest will fit just fine. To my knowledge this compilation was UK only, also re-issued on CD by Virgin 1990 (CDOVD 280). First had label as shown here and thin glossy cover. (CÄX*)

JACK BRUCE/SONGS FOR A TAILOR 583 058 (-69) UK

One of the hardest things with writing these notes is keeping it down. That's almost impossible with a record like this - classic songs, top crew, piece of rock history, genre transitional with an important background story - all inviting to a very long novel. And we don't want that so this is me being brief. It's like a prefect blend of Cream and Colosseum with just a pinch of Mountain. Two of the songs - "The Clearout" and "Weird Of Hermiston" were written by Bruce 1967 for "Disraeli Gears Cream", but then rejected. To my ears the whole album sounds a lot like his later stuff for Cream in songwriting and atmosphere. Produced by Felix Pappalardi who also contributes precussion and back ground vocals on one track each. The musicians (check list below) belonged to the creme of the UK prog scene back then, with connections to Colosseum, John Mayall, Alexis Korner and Nucleus. I like about everything on it, especially "Theme For An Imaginary Western" (later covered by Colosseum, Mountain and Greenslade) and "Rope Ladder To The Moon" (of which at least two cover versions exist with Colosseum). The critics weren't 100% positive at release, but it sold pretty well with #6 in England and #55 on Billboard. First US on ATCO (SD 33-306). Premiere UK had label as shown here and laminated fold/out cover. (CÄRÄ*)

THE ROLLING STONES/JAMMING WITH EDWARD COC 39100 (-72) UK

I know this isn't usually regarded as a "Stones" record, but to me it is and also an important one. Recorded 1969 during the "Let It Bleed" sessions, somehwere between Brian Jones and Mick Taylor. Keith Richards was supposed to be there, but didn't like when Ry Cooder was brought in as an enforcement on guitar so he left. If he'd stayed it would have been business almost as usual. The album has all good jams, mostly instrumental but a few with Jaggers vocals in the background. It doesn't sound like something designed for sales, just the boys enjoying themselves. Some resembles the late Decca recordings - e.g. "The Budoir Stomp" has a lot in common with the instrumental parts of "Midnight Rambler". There's also a more distinct r&b style pointing forward to Sticky Fingers and Exile On Main Street. It may not be the best Stones album, but certainly interesting. US issue reached #33 on Billboard while it didn't chart in England. First UK had label as shown here, thin matt "Shorepac" cover and imported US tounge inner. (RÅ*)

BRIAN ENO/DISCREET MUSIC OBSCURE 3 (-75) UK

Even if this is an "Eno" record and all of it electronic avant garde, the sides differ so much the coupling seems almost random. B-side is an electronic interpretation of "Canon in D-minor" by German composer Johann Pachelbel (1653-1706). It's arranged and conducted by jazz bassist Gavin Bryars - an admirer of John Cage and early into improvisation, free form and avant garde. The performance is credited to "The Cockpit Ensemble" ( I don't know anything about who or what is behind that name, if anyone reading this does - please comment and tell). A-side title track was from the beginning thought as a background for Robert Fripp's guitar play, in the same vein as "No Pussyfooting" and "Evening Star", for a serie of concerts they were planning. Here used without Fripp. It's an harmonic flow, a beautiful background to any tranquil activity. It should be self-sufficient, but I can't help missing the balance from Fripps precise notes. First US on Antilles (AN-7030 ). There's also been a great number of vinyl and CD re-issues through the years. Premiere UK had label as shown here and thin glossy sleeve. (ÄNÖ*)(FÖF*)

BACKTRACK 3 - WHO/HENDRIX 2407 003 (-70) UK

First two in the Backtrack serie had a number of rare cuts from known groups and others from odd artists. This doesn't look as exciting at first glance. All tracks had previously been on original LP:s or compilations. Still for the out-and-out fans of the groups or those captivated by rock history it has a few interesting features. All cuts on it are true stereo, or at least claimed to be - I've listened closely and guarantee all but one or two not clear enough to distinguish. On the Hendrix side "Hey Joe", "Purple Haze" and "The Wind Cries Mary" uses the US Reprise versions, I'm not sure where the rest comes from. The Who numbers are earlier unreleased stereo versions on LP for the first time. A few of them differs from the monos. I especially like "Disguises", "Run Run Run" and "I'm A Boy" on here - even if it's the same crappy original recordings, the stereo mixes are more revealing. Not issued in US. First UK had matt label as shown here and thin glossy cover. (XXÖ*) (SÄM*)(WÖH*)(JHÄ*)(TRÄC*)