THE TEMPTATIONS/GETTIN' READY TML 110 35 (-66) UK MONO

Through some early name changes and a number of different settings the group has been active from 1957 to this day and remains one of the best selling US soul acts. The period I like most is what they did for Motown 1964-70. High quality performance coupled with the label's top forces in backing, arranging and producing - on this album Smokey Robinson and Norman Whitfield - fits me perfect anytime. Here's the usual blend of classics and lesser known songs, as ballads or up-tempo. Soothing and encouraging at the same time and even if I don't sit down and listen closely anymore it's foolproof as background. Favorite tracks - "Get Ready", "Not Now, I'll Tell You Later" and "Fading Away". Premiere US on Gordy (GLP/GLPS 918). The UK Tamla Motown issues made from the US tapes had tophole audio most of the time, but this particular mono is cut a little too loud to my taste making some of the songs slightly less enjoyable. First press had label as shown here and laminated flip/back cover. (TÖMÖ*) (ÄIÖ*)

GARY BROOKER/ECHOES IN THE NIGHT MERL 68 (-85) UK

When I first heard about this back then I was excited - Brooker, Keith Reed, Matthew Fisher and B.J. Wilson on the same album was like the return of Procol Harum. And with his previous very good solo album "Lead Me To The Water" in mind I expected something great. Sadly it didn't live up to those expectations. Nothing to do with the ground work - the songs are well written, melodic with interesting lyrics, and his voice still holds - but the arrangements and instrumentation really annoys me. Most of the tracks have synths as main setting, some of the drums comes with an eighties "whiplash" sound and there's too much reverb. All that may have been fine for the new aspiring bands of the decade, but Brooker and the guys was from one of the most prominent sixties/seventies combos, who did their best on four or eight channels, all natural with no warping. The affected sound here just doesn't fit. Luckily a few of the songs were saved from destruction. "Mr. Blue Day" uses The National Philharmonic Orchestra and has melody and arrangements reminding of "A Salty Dog". "Ghost Train" is dark and heavy, not far from what they did on "Home" album. Finally the mighty ballad "The Long Goodbye" backed by both NTPO and The London Community Gospel Choir. If you wrap living things in too much plastic, parts will sufficate and die. In my world that particular treatment turns this from a four star album to just OK. Early US on Mercury (824652). CD issue on Instant (INCD 9.00076 O). Premiere UK had label as shown here and thin fully laminated cover with picture/lyric/credit insert. (PRÖX*)

CURVED AIR/AIR CONDITIONING WSX 3012 (-70) UK

A good exemple how the UK prog scene was formed at the turn of the decade. Musicians from different genres and background, with various education and aims, got together to create something different, often with inspiration from contemporary US acts. In this case with background and education in classical music, electronic, rock, blues and folk. It seems a lot of their early inspiration came from US composer Terry Riley. The band got its name from his "A Rainbow In Curved Air" and some of the cuts on this debute are admittedly induced by his work. Others reminds of Jefferson Airplane, but performed in slightly different style. That said - the combination skill, odd ideas and rather loose production makes it one of the best and certainly more interesting UK albums of the period. While some of the tracks sounds prepared and arranged, others comes through as studio improvisations. It goes from sheer beauty - "Propositions", "Screw" - to classically influenced psych - "Vivaldi". The intrepid blend of simple and complex - rock setting spiced with violin, primitive synths, psych guitars and the beautiful Sonja Kristina's dark natural voice - is a mind blower and makes me wanna stay there. The arrangements are more primitive than their later work. While some of the succeeding albums sounds trimmed and almost elegant, the outcome here is more right on with lots of presence. Favorite track - "It Happend Today". First US on WB (WS-1903). Earliest UK came as a picture disc, crippled by background noise and rather bad audio. This was the premiere UK black vinyl issue, from same first matrixes with same record number, sounding a lot better. It had green label as shown here, thick unflexible vinyl and fully laminated cover. (FÄV*)(ÄZC*)

RUSS BALLARD S EPC 80341 (-74) UK

Not the most known British pop artist, but with a huge register and prosperous background. Member of and writer for a number of bands in the sixties and seventies - most known Unit 4+2, Roulettes and Argent. He has also collaborated with a long line of artists through the years - Adam Faith, Colin Blunstone and Roger Daltrey to name a few - and provided a large number of hits for other groups and soloists like Three Dog Night, Hot Chocolate, America, Santana, Rainbow, Kiss, Elkie Brooks, Agneta Fältskog and Anni-Frid Lyngstad. This was his first solo album after leaving Argent 1974. Five ballads and five up-tempo - all self-penned. Any of them could have been on any Argent album. Maybe not with the exact same backing, but the composing and vocals matches. I like the ballads best on this. He does his own version of the hit he wrote and produced for Colin Blunstone - "I Don't Belive In Miracles" - and it's almost as good as CB:s. "Fly Away" could have been on Argent's sadly underrated debute. "Venus (Shine Your Light)" and "You Can Count On Me" are soft melodic ballads and his bright, soft vocals really nails them. I believe this would do it for most music lovers, but for Argent fans it's an obligatory. Early US on Epic (KE 33252). Japan CD issue 1988 (ESCA 5301). Premiere UK had label as shown here, thin matt cover and lyric inner. (ZÖZ*)

KING CRIMSON/U.S.A. ILPS 9316 (-75) UK

What constitutes a five star live album? First and formost a skilled band and some really good numbers. The songs already appearing on previous studio releases should be handeled differently and preferably in a better way than the originals. At least one cut have to be exclusive to the issue and all with as few studio overdubs as possible. Also the audio has to be natural, giving a true connection. This is almost there and to my taste only surpassed by the iconic "Colloseum Live". All tracks but one recorded at Asbury Park 1974 at a time David Cross was still in the group. Made before the "Red" sessions, but issued posthumously almost a year later. Three of the cuts got later violin or piano overdubs by Eddie Jobson. Apart from that it's the stage appearance straight on. The audio is very good most of the time and the lack of balance at a few places only makes it more authentic. In a way it's like a very good compilation having alternate takes, not standing back to the originals. I also like a lot that they started the whole thing with an excerpt from "No Pussyfooting". Early US on Atlantic (SD 18136). Premiere UK had label as shown here and fully laminated cover. (KYK*)(LYBÖ*)

JIM CAPALDI/OH HOW WE DANCED ILPS 9187 (-72) UK

His first solo album, recorded at Muscle Shoals studio in Alabama late 1971 while Traffic was on sick leave due to Stevie Winwood's peritonitis. Most of the tracks has group members participating and there was also support from Paul Kossoff, Trevor Burton, Rick Grech and renowed American session musicians such as Jimmy Johnson, David Hood and Roger Hawkins. All tracks but one written or co-written by Capaldi. Not surprisingly there's a lot of Traffic going on. Songwriting is simpler and more sincere and the vocals not as personal as Winwood's, but the feeling is there. To my ears this is as good as most of the stuff Traffic made in their later days. Although some of the cuts sounds a little too tidy, there's still enough dynamics to make it work - "Last Day Of Dawn" has sturdy string arrangements from legend Harry Robinson and the title track (a power soul re-work of Al Jolson's "Anniversary Song") is carried by good brass and a cheeky guitar solo by Kossoff. It did OK in US at #82, but didn't sell much in UK. First US on Island (SW-9314) came with a totally different front sleeve. Premiere UK had label as shown here, thick matt fold/out cover and blue custom Island inner. (TXÄW*)

BOB DYLAN/GREATEST HITS SBPG 62847 (-66) UK STEREO

Not an expert on Dylan's various issues, but feel I have to do this. UK first press stereo differs considerably from the corresponding US ten track (Columbia KCS 9463). "Positively 4th Street" was omitted and replaced with "One Of Us Must Know", "She Belongs To Me" and "It's All Over Now baby Blue" - making it a twelve track. "One Of Us Must Know" is the "unfaded" stereo - first and to my knowledge only time on an original LP release. For some reason "It Ain't Me Babe" and "The Times They Are A-Changin" are mono versions here. Seems strange to put them on a stereo issue that was part of a double release, but may be explained by what tapes were involved. Those two songs didn't have single release in US but were hits in Europe. At this time mono was it in UK and stereo an afterthought for the nerds, although in this case they started with the two-channel tape and released the mono as a fold-down. Maybe the '45 cuts was part of an original plan and insted of making fake stereo for a later fold they decided to leave them untouched. I'm just guessing here, but if anyone knows better - please tell! Issued as twelve track with about the same cover design in a number of countries from 1967and on. Not sure if any of those have same choice of mixes or versions. Very first UK had "33" on label. This has "33 1/3", but it's an early press with stamped "SBPG 62847 A1/B1" matrixes and structured label. It came in a laminated flip/back "Garrods & Lofthouse Patents Pending" mono cover with ad back and a red "stereo" stamp on rear. (SYSÖ*) (BÖB*)

BRIGITTE BARDOT SHOW STEC LP 41 (-68) FRANCE

Collectible as much for the classic sleeve as the music. A soundtrack from her 1968 TV-show, including songs also appearing on a few earlier '45 releases. Most tracks have full orchestral backing using four different arrangers. There are fifteen cuts of which four are instrumental, the remaining vocal with seven up-tempo and two ballads. She wasn't the greatest singer on earth, but her voice had a kind of girlish sensuality and you get a lot of that here. Together with the serious and elaborated arrangements it's like a message from another era - genuine and tactile, far from today's groomed studio products. I know many see this as no more than adorable kitch, but I'd rather skip the kitch part and just call it adorable. Favorite tracks are the ones written by Serge Gainsbourg - "Harley Davidson" and "Contact". Originally also released in Canada with same number and cover design. First French issue as compatible only. Sounds OK in stereo, but a lot better with the mono button pressed. It had label as shown here, thick unflexible vinyl and laminated flip/back cover. (FÄV*)(MFÄX*) (GZÅ*)

BLACK SABBATH/SABBATH BLOODY SABBATH WWA 005 (-73) UK

Took me some time to warm up to this. After the mind-blowing stone(d) hard Vol. 4 I expected more of the same. But the relatively mellow approach including synths, flutes and one track being orchestrated pop put me off at first. A few years later, after getting rid of some youthful preconceptions, I opened my heart and got handsomely rewarded. Greater part of it is very attractive melodic hard rock and Ozzy does a lot of good. I will never get used to "Spiral Architect" and would have preferred "Who Are You" with a dark Iommi guitar riff instead of synth, but most of the rest is outstanding. Fav tracks - "Killing Yourself To Live" and "Sabbath Bloody Sabbath". The LP has been dissected down to smallest molecule and I got no new info on background or music. But if you're planning to buy it - beware of defective copies. At a few occations I've seen "1:st press UK" for sale with swapped parts - first release records in second press covers or original inners replaced by newer ones. If you don't know it already - here's what constitutes a true first UK press. Label as shown here - smooth with no ridge, WWA logo in silver and rec no. to the right. The inner sleeve is textured, some with flaps. Pic inside fold/out covers the entire surface. Rear sleeve have "Manufactured and Printed in England" only and no reference to maker. (BLÄC*)

ROGER DALTREY/DALTREY 2406-107 (-73) UK

His first solo album. As a member of one the most creative and hard-hitting combos back then he had all requirements for putting a tophole crew together. I will never understand why he chose to team up with Leo Sayer, Adam Faith and Dave Courtney for songwriting and production. All very good in what they did, but seriously not the most innovative or exciting trio. Even if Russ Ballard and Bob Henrit from Argent participated and B.J Cole chipped in on steel guitar it was still safe play. And that is excatly what it sounds like. While "The Story So Far" stands out with some odd raggaeish arrangements the rest is plain country rock and ballads...ordinary and radio friendly. The familiar voice helps and some of the songs aren't bad in themselves, but listening to the whole LP in one sitting makes me tired and pettish. An essential part of any Who collection worthy of the name, but probably not the most played album in there. Early US on MCA/Track (MCA-328). Premiere UK had flat matt label as shown here and structured fold/out cover. (WÖH*)(TRÄC*)

KING CRIMSON/RED ILPS 9308 (-74) UK

The group's last studio album as "King Crimson" before the 1981 "Discipline". David Cross had just quit and the core was down to Fripp, Wetton and Bruford with the usual staff of supporting musicians. To my taste one of their absolutley best. It's less diverse and the impact is harder than before with a darker atmosphere. If the unbridled creativity and unexpected moves was what made the earlier albums great, this wins by being more consistant. I don't know if Progressive Hard Rock actually counts as a genre, but if so this has to be best in class. It's rude with many odd and fetching guitar riffs and the backing covers the whole field with raw attack and rythmic gaming. At the same time there's soft, beautiful melodies handeled with sensibility and passion. It would seem impossible to merge such opposite components, but they do it and the blend is outstanding. Eight minute live track "Providence" is the one most reminding of earlier efforts. The rest sounds like a new chapter for the band and it's a pity they quit before taking it further. I would have loved more of the same. First US on Atlantic (SD 18110). Permiere UK had label as shown here, thin fully laminated cover and Island blue custom inner. (KYK*)

ERIC BURDON/SURVIVOR 2302-078 (-77) UK

Big fan of almost everything he did with Animals and War and even if this is later on and has a different musical direction it's hard to say no. Most of the songs have a classic rock style, mixed with some blues and soul parts. The expression is positive and open, far from the late Animals groovy introspection and experimenting. The voice is darker and more mature than earlier, but he still got it. Even if the songs don't touch me the same way as his sixties stuff, it's so well done with such a great crew I can't let it go. Zoot Money, who also co-wrote eight of the songs with Burdon, does some keyboard and vocals. Alexis Korner (1928-84) plays guitar together with Geoff Whitehorn (previous member of "If") and Frank Diez (Emergency, Atlantis) among others. Background vocals are as good as it gets - from P.P. Arnold, Maggie Bell and Vicki Brown (1940-91). Produced by his old Animal mate Chas Chandler (1938-96). Songwriting is a little too anonymous for my taste, but the handeling is top notch with some very good guitars. Contemporary release in many European countries, but to my knowledge not in US. Premiere UK had label as shown here, fully laminated cover and five large sheets with ten pages of drawings and lyrics. (ÄNÄ*)