LINDISFARNE/NICELY OUT OF TUNE CAS 1025 (-70) UK

UK folk rock/prog band with big domestic following through the seventies and early eighties. One of the first goups to use rock backing to melodies originating in or inspired by English folk tunes. Here most of the numbers are self-penned, but the setting and melodic idioms mainly traditional. This debute album didn't draw much attention at first. Sales started to pick up over a year later after the huge success with their second album "Fog On The Tyne". Listening today I like this a lot more. It has everything a good debute should - zesty songwriting combined with lots of energy and good will. There's some tickling vocal harmonies and partly odd arrangements making it more towards prog than straight folk rock. Recording sounds rather simple with not too many overdubs and the audio clear and natural. Favorite tracks - "Clear White Light - Part 2" ( http://www.youtube.com/watch?v=FfhMZeb-1oo ), "Road To Kingdom Come" and "Lady Eleanor". First US on Elektra (EKS-70499) came with a totally different cover design and the song "Alan In The River With Flowers" re-titled "Float Me Down The River". Early UK had label as shown here and thin glossy sleeve, some with poster. (CÄX*)

TEN YEARS AFTER/ABOUT TIME CHR 1722 (-89) UK

It was their first studio album since the 1974 "Positive Vibrations" and the last with original setting. After such a long intermission you'd expect some change in song writing or musical direction, but no. They compose, sing and play like nothing had happened the last fifteen years. It's good solid rock'n'roll and ballads with that special Alvin Lee feeling, tight and attractive. But although it's the same group procedure the atmosphere is another. Their old analog recordings always filled the space with a heavy natural sound. This digital handeling makes the music come through a lot thinner, almost glossy at parts. So even if it's good it could have been great if they just chosen less modern studio and mastering. Contemporary releases on CD and vinyl. First US vinyl on Chrysalis (F1 21722). UK issue had label as shown here and thin matt cover. (XYÄ*)

HUMBLE PIE/AS SAFE AS YESTERDAY IS IMSP 025 (-69) UK

After leaving Small Faces Steve Marriot teamed up with Peter Framton from Herd, Greg Ridley from Spooky Tooth and teen drummer Jerry Shirley. At first Small Faces keybordist Ian McLagan participated, but left for the new "Faces" formation. They were labeled "supergroup" and first single "Natural Born Bugie" reached #4 in UK. This debute LP has been called "hard rock" and was the first album ever to be tagged "heavy metal" (from a 1970 reveiw in Rolling Stone magazine). That may be, but to me most of it sounds like a follow up to the Small Faces album "Ogdens Nut Gone Flake". It's the same kind of mix and audio, partly unbalanced and very loud. Jerry Shirley has the exact same style and timing as Kenney Jones and most of the guitars and organ could have been on any Small Faces Immediate recording. "Afterglow" from ONGF and the cover of "Desperation" on this could switch albums and fit perfectly on either. Production here is credited to Andy Johns, otherwise it sounds like recorded in the same studio with about the same crew. It's funny - the reformed "Faces" (early on still called "Small Faces" in the US) had three members from the old combo and two from Jeff Beck group and didn't remind of any of those. This band has a whole new name and members from three prominent groups, but all I hear is Small Faces getting heavier. The audio isn't top notch, but the loud, partly crappy sound fits the music just right. Sixties hard rock as it should be. First US on Immediate (IMOCS 101). Premiere UK had label as shown here, matt cover and lyric/credit inner. (YDÄ*)(SXÅH*)

THE TROGGS/CONTRASTS DJB 26009 (-73) UK MONO

Another exemple how you can get the real thing - original mono mixes with top sound - without being robbed. This is a re-release of the 1970 DJM/Silverline compilation having different label and cover design. All tracks but one '45 A-sides with emphasis on later issues, whereof one 1969 and three 1970. It's budget and may seem cheapish, but if you're in it for the music, audio, authentic mixes, or all of that - it's highly recommended. Good stuff! (TRÖX*)

THE NICE/FIVE BRIDGES CAS 1014 (-70) UK

The group's last original album before Keith Emerson went on to form Emerson, Lake & Palmer. The side one title suite originally a contract work for the Newport Art Festival. The version on here was recorded in London a week after the Newport premiere. Two first tracks on side two - intrepretations of "Karelia Suite" and Tchaikovsky's "Pathetique" - are from the same concert. The blend of Dylan's "Country Pie" and "Brandenburg Concerto" was recorded live at Fillmore East and the final "One Of Those People" a studio cut. I'm a big fan of their debute "Thoughts Of Emerlist Davjack", filled with whimsical, melodic psychedelia and lots of good humor. But it seems for each album the frivolity was replaced by Emersons classical ambitions - increasingly more serious and hard-set. Even if those also had free spirits within a limit, there was less place for the quirks and flukes that made their early work so great. So however good the classical trials is on this it's the psych parts that wins my heart. "The Finale, 5th Bridge" has some of it and the Dylan/Bach mix is very funny. The one I like absolutely best is the studio track "One Of Those People" - hard core art psych with warped vocals, twisted organ and hand-claps http://www.youtube.com/watch?v=gHpXsktppMY. I wish more would be like that. First US on Mercury (SR-61295). Premiere UK had label as shown here and matt fold/out cover. (LYBÖ*)(ÄPY*)

THE BEST OF THE MARMALADE SPR 36 (-69) UK

The band's second album. The first "There's A Lot Of It About" mostly consisted of earlier '45 cuts. So does this, having six tracks in common. All nine prevous A-sides 1966-69 plus two original cover songs from the debute - "Mr Tambourine Man" and "Piece Of My Heart". In comparison I like the track choice of the first one best with "Mr Lion" and two top B-sides - "Hey Joe" and "There Ain't No Use In Hanging On". Instead this has the last three CBS singles, including the UK list topping cover of "Ob-La-Di, Ob-La-Da". Luckily the group's two best songs, the pop psych masterpieces "I See The Rain" and "Man In A Shop" is on here too, seemingly re-mixed for the issue with improved audio. Since I'm more into their earlier stuff I prefer "There's A Lot Of It About", but if you're a true fan you'll probably need both. US issue 1970 on Epic (BN 26553) came with different cover design. Premiere UK had label as shown here, thick vinyl and laminated cover. (MYK*)

THE TORNADOS/AWAY FROM IT ALL LK 4552 (-63) UK MONO

Band founded by producer Joe Meek 1962. Started as backing for singer Bill Fury and studio group playing on most of Meek's productions. They released fourteen singles up to 1966 whereof five hit the UK list and one - "Telstar" - topped in both UK and US and became the first British #1 in America. This was their only UK album. As a part of the first English pop generation they were already being outflanked by the second with Merseybeat and London based r&b at the time of making. Bassist Heinz Burt left for a solo carreer during the recording and two years later non of the original members remained. For us who got caught by early sixties pop it's a gem. All songs but one are instrumentals with Ventures style guitars and lots of prominent organ. The recordings seems direct, most probably live in the studio with few or no overdubs. You can hear some minor flaws and set-backs remaining uncorrected, giving it a true garage quality. Most of all it just sounds like five guys having a blast in the studio. Non of the numbers showed up on UK '45:s and most are exclusive for the album. Three of the songs written by Joe Meek, five by group members and the rest covers. Back sleeve say "PRODUCTION: R.G.M. SOUND", which with all certainty means it was handeled by Joe Meek himself. Their US album "The Original Telstar - The Sound Of The Tornadoes" (London LL 3279) was a compilation of single and EP cuts and had nothing in common with this. Recorded and issued in mono only. German 1994 remastered CD on Castle Communications (CLC-5135-2). Premiere UK had ridged label as shown here with "MADE IN ENGLAND" on top and "RECORDING FIRST PUBLISHED 1963" to the left. It came in laminated flip/back cover. (FÖGÄ*)

BLACK SABBATH/SABOTAGE 9119001 (-75) UK

It's a remarkable comeback for an album. I clearly remember at release many hard core Sabbath fans started to back down after first disappointment with the mellower "Sabbath Bloody Sabbath" and just seeing this as further low point. Others hailed it of course, but the overall reaction was more ambivalence than unconditional love. Checking a bunch of net reveiwers today some embrace the sh*t out of it, giving the impression it's always been publicly regarded as one of their best. That's not all true, but...whatever. As a whole it's an honest statement with lyrics almost entirely about the situation they were in back then - drugs, fickle group dynamics and the feeling of being betrayed by the former management. I could have done without "Supertzar" and "Am I Going Insane" - not bad, but not really them either. "The Writ" is not as much a song as a loosely doweled compendium of diverse melodies, styles and riffs. The cut has enough good ideas for an entire album and I wish they'd done that instead of just mangling it together. The rest is pure joy. "Hole In The Sky" and first part of "Symptom Of The Universe" sounds borderline garage rock or pre-punk - on the spot simple, powerful and mad as hell. "Megalomania" is another multi-theme song, but unlike "The Writ" elaborated and harmonic, making it a magnetic ten minute journey. First press had an additional unannounced cut at the end of side two - "Blow On A Jug" - thirty seconds of Bill Ward playing the piano and singing with Ozzy chipping in. Early US on Warner Brothers (BS 2822). Premiere UK had label as shown here and thin structured cover. (BLÄC*)

BEGIN HERE EUK 262 (-69) UK MONO

Decent sampler with some very good songs characteristc for the late sixties. Getting all original issues in playable condition could be costly, but this is still very affordable. Only cuts not previously appearing on any original album is both sides of the last original Love single "Your Mind And We Belong Together"/"Laughing Stock". That did show up on various collections later, but this was the first time on LP. The rest is from Elektra albums that can be very hard to find today. The folk rock band Eclection did not even exist for two years and "Confusion" here is from their only album. Nico' s "Lawns Of Dawn" - about a drug experience she had with Jim Morrison - is from the Marble Index LP, David Peel's "The Alphabet Song" first appeared on the Have A Marijuana album and the Tim Buckley cut "Phantasmagoria In Two" a pick from Goodbye And Hello. The mono sounds very good all through, but I haven't got a clue if all cuts are true mixes or which ones are. It may be some of the UK mono albums these came from were fold downs in the first place, or they used compatibles from the corresponding stereo sampler (EUKS 262). In any case it's all enjoyable listening. As far as I know only released in UK. First with structured label as shown here, thick vinyl and thin matt cover. (SÄM*) (NÖC*)(YMÖ*)

KING CRIMSON/STARLESS AND BIBLE BLACK ILPS 9275 (-74) UK

A good thing writing this blog is I get to dive deeper into my collection and reconnect with LP:s I haven't heard for some time. Listened a lot to King Crimson lately. The music from most of their albums has been with me through the decades, but a few that for some reason didn't hit me at first just remained on the shelf collecting dust. This is one I re-discovered a while ago. All numbers but two - "Great Deceiver" and "Lament" - were from live recordings made in Glasgow, Zurich and Amsterdam. Four of the songs are instrumental and four have lyrics written by Richard Palmer-James (earlier in Supertramp). The reason it didn't get to me back then was I thought it lacked the consistency of their previous albums and just came through as a random collection of tracks. Three almost regular songs - "Great Deceiver", "Lament" and "Night Watch - mixed with demanding instrumentals consisting of improvisations built around fixed themes. Today, having a more mature conception, I can hear one thing that ties the album together - Robert Fripp's sovereign guitar play. From the cheeky "Great Deceiver" riff to the almost impossible licks in "Fracture" it's a veritable guitar orgy. Even if Cross, Wetton and Bruford also do lots of good, it's Fripp's work that makes the record. Favorite track - "Great Deceiver" also for its attack on mindless commercialism. First US on Atlantic (SD 7298). Early UK had label as shown here, structured fold/out cover and lyric inner. (KYK*)

THE HOLLIES SREG 2024 (-67) UK EXPORT STEREO

A UK version of the US "Bus Stop" album (Imperial LP-12330), issued one month later for export only. On this "Baby That's All" is replaced by "I'm Alive" and "You Know He Did" by "Stop Stop Stop", otherwise the same tracking order. It's a compilation of numbers recorded 1964-66, all previously released on '45 and/or LP. As far as I understand the mixes used here are not the same as on US "Bus Stop". I don't have that any more, but remember at least some of the songs came in fake stereo and there was more reverb. All cuts on this are true stereo and it's almost reverb-free, coming trough very natural. Not a big fan of any Hollies sixties stereo and would have liked the mono versions better, but the pressing and audio on here is so good I can live with it. First press had label as shown and laminated flip/back cover. (HÖLY*)(ÖXÄP*)(SXS*)

ELVIS PRESLEY/LOVING YOU LPM-1515-C (-57) GERMANY

Supposed to be Elvis' third original LP... or a soundtrack album, but as a whole it's neither. Seven cuts appearing in the movie coupled with five leftovers from an earlier session makes it more of a jumble. Not even close to his two earlier albums, but good enough for me. I love the fifties atmosphere, "Mean Woman Blues" is a killer, "True Love" cool romantics and there's some fine harmony singing with The Jordanaires. The recordings are simple and the audio terrific. It was fiftysix years ago, but today I get him better than ever before - there's nothing like a natural fifties recording played on good modern equipment. First Geman issue came on heavy vinyl, glossy "lined" label as shown here with "LONG PLAY" and thin fully laminated cover with top opening. (FÖGÄ*)(ÄWY*) (GÖXÄ*) (ZÖNT*)

STEELEYE SPAN/HARK! THE VILLAGE WAIT SF 8113 (-70) UK

One of the most reliable, persistent and likable English folk rock bands. From 1969 up to today they have released twentyone studio and nine live albums. This debute was the only one with the original setting - Maddy Prior, Tim Hart, Ashley Hutchings, Gay Woods and Terry Woods - and the first of three produced by Sandy Robertson. My earliest love affair with the group came with the popular "All Around My Hat" and "Rocket Cottage" albums and subsequently the ones closest to those. This was a relatively late aquaintence and although lacking some of the power and catchy melodies of the mid seventies recordings it soon became a favorite. It's the same kind of numbers as most of their later stuff - traditional songs partly played by instruments faithful to the periods against a bass/drum backing - but the performance sounds more controlled here making it cooler and easier to digest. What makes it really yummy is the double female vocals. Maddy Prior was always the band's leading vocalist, but here she's accompanied by the lovely Gay Woods on equal terms and the result is very attractive. Premiere release in UK only. Early US 1976 on Chrysalis (CHR 1120). This first UK on RCA only lasted for about a year. Later vinyl re-issues on United Artists, Mooncrest and Chrysalis. Japan 2006 CD on Arcangelo (ARC-7149). UK RCA had label as shown here, thin matt cover and insert sheet with song notes and pictures. (BRYF*)(FÄV*)(SÖPX*)