SPOOKY TOOTH/SPOOKY TWO ILPS 9098 (-69) UK

Spooky Tooth has to be one of the most eclectic (i.e. adaptive, imitative or just indecisive) UK bands ever, during a decade or so going trough an unprecedented number of different names, settings, genres and collaborations. Started as pop/rock combo Ramrods 1960, three years later playing r&b with renewed setting as VIP:s. Reformed as Art 1967 with yet another setting and recorded a psych album produced by Guy Stevens. Thereafter following Stevens through the 1967 Hapshash & The Coloured Coat sessions, providing backing as "The Heavy Metal Kids". First album as Spooky Tooth - "It's All About A Roundabout" - 1968 also produced by Stevens and this second by Jimmy Miller. Later they would back French electronic and experimental composer Pierre Henry on his album "Ceremony" and do a collaboration with Joe Cocker's Grease Band on "The Last Puff", as "Spooky Tooth Featuring Mike Harrison", before breaking up 1970. Common knowledge seems to be this album was the best they made, their tour de force. With that background in mind I have a hard time to compare and value one effort higher than another - it's all about perspective. To my taste Art's "Supernatural Fairytales" still sounds superb and "Roundabout" has its moments, the Hapshash album is one of the best acid trips on record, "Ceremony" an interesting sign of the times and "Last Puff" includes some very striking bulky blues. This is also good, but I'm not in 100%. The heavy numbers are all outstanding - "Waitin' For The Wind", "Evil Woman", "Better By You, Better Than Me" - but why gospel inbetween and what's with the country rocker in the middle of everything? Though very well performed with top production and audio the parts doesn't fit. Maybe I'm being too strict, but considering the hype and the sums this UK changes hands for today you could expect more. First US on A&M (SP 4194). Premiere UK had structured label as shown here, thick unflexible vinyl and matt fold/out cover. (ÖSÄP*) (FSÄ*)

HAPPY NEW YEAR!

May Yours be filled with countless bargains on rare and beautiful vinyl. All The Best/Erik

MOODY BLUES/IN SEARCH OF THE LOST CHORD DML 711 (-68) UK MONO

Just listened to the album and I'm so inspired right now, getting flashbacks from smokey gatherings decorated with beads and body paint. Like the former "Days Of Future Passed" it's a concept album and the disposition grandiose, but this time without the orchestra and band members playing all 30+ instruments themselves. Also the theme is a lot broader, covering about everything on the exploring young mind back then - LSD, space travel and Indian religion. Groovy and pretentious, but carried by such great melodies it's impossible not to love. It was the first rock album allowing the mellotrone to take a prominent place. Mike Pinder had worked as a tester of the instrument already in the early sixties and by 1968 probably the most experienced player and developer. I've never been a fan of later synth utility where electronics mimic and substitute real instruments, still totally buy early trials like this when it's used as a device among others. For favorite tracks I'm choosing all of side two. Apart from the quirky yet catchy "The Best Way To Travel" it's almost romantic - filled with alluring melodies and themes blending to a whole. The conclusion "OM" (which is the lost chord btw) may seem borderline ostentatious to a modern listener, but as a final movement it's logical and beautiful. This mono is a fold, not all bad but the stereo comes through a lot better. First US on main Deram label (DES 18017). Premiere UK had label as shown here with large DSS logo and laminated fold/out cover. (MBÅL*) (DÄRR*)

KEN HENSLEY/PROUD WORDS ON A DUSTY SHELF ILPS 9223 (-73) UK

Though presented as a solo effort I've always seen this as a Uriah Heep LP and a good one too. Issued between the band efforts "Magicians Birthday" and "Sweet Freedom". Apart from Lee Kerslake's former playmate in National Head Band - David Paul - playing bass on some of the tracks all were recorded by Kerslake on drums, Gary Thain on bass and Hensley himself doing the rest of the instruments. All songs written and arranged by Hensley and produced by Gerry Bron. Even if you miss David Byron's vocal power or Mick Box' distinct guitar technique the rest is familiar - songwriting and background quires, Hensley's voice and above all Thain's melodic and adaptive bass. On the softer side, but any of the songs could have been on any surrounding UH studio LP. I especially like the way he treat the guitars. They're everywhere - as support, riffs and a couple of chunky solos with lots of howl. Not his main instrument and far from equilibristic, but pleasantly present providing balance and spicing things up. All that together makes it a good album and certainly more than just the necessary UH complement I know many collectors keep it as. Favorite tracks - "Fortune", "When Evening Comes", "Proud Words" and "Cold Autumn Sunday". First US on Mercury (SRM 1-661). Premiere UK had "i" logo label as shown here and matt fold/out cover with lyric inner. (ÖRHÄ*)(PRÖZ*)

MERRY CHRISTMAS!

Taking a short break as I'm trying to combine work hours with seasonal obligations. Wishing You a very happy holiday wherever You are. Back soon. Kindly/Erik

HEP STARS/JUL MED HEP STARS LPO 06 (-67) MONO SWEDEN

One of the odder christmas LP:s. Most of it recorded post other sessions and clearly the result of some heavy drinking while unwinding in the studio. Main inspiration to do it in the first place may have come from the "Beach Boys Party!" album and Beatles' fan club singles. But while BBP consisted of carefully made studio recordings produced to sound like unmeditated live takes and the fan club issues were limited to a die-hard fan community, this actually was uncensured recordings of five severely inebriated guys trying to do seasonal songs and initially sold in regular shops. There's talking going on in and between some of the numbers - besotted discussions what to play and if they know the songs or not, spiced with low level puerile humor. Three of the cuts are traditional Swedish songs, executed to Benny Andersson's accordion in a kind of post party atmosphere. Further three hymns faithfully performed by singer Svenne Hedlund to a sparse backing. Two good rockers - "Christmas Today" and "Christmas On My Mind" - a chipmunk style "Jingle Bells" and "White Christmas" sung through a megaphone accompanied by a sentimental violin. To that background the final cut sounds like from another planet. A separate take from a Stockholm church where Benny Andersson plays Händel's "Dotter Sion" (eng. "Thine Be The Glory" or "Zion's Daughter") on the pipe organ very accurately, showing what a great keybordist he was even this early. 2001 CD (EMI CMCD 6284) omitted the drunken talk and the Swedish accordion cuts and replaced them with recordings of common seasonal songs, resulting in an average christmas album (probably an attempt to clean up Benny Andersson's part of the ABBA history and make it more acceptable for today's fans). I know some prefer that, but to me it's this vinyl version that really shows the true meaning of the traditional Swedish christmas - getting soaked and silly while trying to do something good. The record was quickly withdrawn and never reissued in original shape. It had label as shown here and fully laminated cover. (ÖGÄ*) (HÄH*) (SCÄ*) (CXÅ*) (CCÖ*)(ÄBBÖ*)

DR. DEMENTO'S DEMENTED CHRISTMAS HITS - US RADIO PROMO (-82)

Promo consisting of Christmassy picks from Dr. Demento's radio show, produced by DJ Barry Hansen. The program aired in US between 1974 and 2010 and was famous for playing wierd, comic, parodic or just bad songs, most of them from recordings made between early and mid 20th century. Apart from issuing a bunch of compilations for public sale the responsible mass media company Westwood One pressed a number of the weekly shows on vinyl and also a couple of "weekly pick" radio promos that were sent out to their affiliates for use when needed. This was the first in line. Six numbers in total - side one including the original Dr. Demento radio intros and side two with just the songs. The vinyl is pressed with "stops" between the tracks so you have to manually move the stylus to the next, making it easier to handle for stressed DJ:s. All cuts classics from different periods - Jason & The Straptones "I found The Brains Of Santa Claus" (eighties), Elmo & Patsy "Grandma Got Run Over By A Raindeer" (seventies), Three Stooges "Wreck The Halls" (sixties) Spike Jones "All I Want For Christmas Is My Two Front Teeth" (forties), Tom Lehrer "Christmas Carol" and Drifters "White Christmas (fifties). Certainly enough to get me in the right spirit, whatever decade I happen to be in. There are tons of Dr. Demeto CD or vinyl compilations issued from the eighties and on, most non-legit. I couldn't find any with a Christmas theme to recommend, but I'm sure it's out there somewhere. (SÄM*) (CXÅ*) (ÖRJ*)

BORDELLMAMMAS JULVISOR KONDOM 1 (-72) SWEDEN

After Johnny Bode's intitial domestic success with the "Brothel Madam" serie others tried to cash in on the hype by issuing albums with sexual content. This is one exemple (eng. "Brothel Madam's Christmas Carols"). From a combo including Lasse Holm - earlier known as "Larry Moon" in Swedish pop band The Moonlighters and later successful writer and performer of schlagers and dance band music - and Billy Gezon - former member of Jerry William's Violents and after this working with ABBA and Gimmicks. Female vocals by actresses from Stockholm City Theatre - remaining anonymous. The melodies are known christmas carols with specially written lyrics including the whole spectra of sexual slurs and humorous descriptions of christmassy sexual practices. It's well orchestrated and some of it clever, but lacking the feeling and ragged genious of Bode's own work. Even if he was at a downslope and something of a dirty old man at the time, forty year experience as composer and artist together with lyrics expressing his own lecherous mind made it an original piece of art. Maybe not the most delicate, but still original. This is just a reproduction of the procedure and since the instigators obviously lacked true connection to the material, so do I. Most amusing thing with it is the label name "Kondom", exisiting for this and one more issue only. It came in a thin, fully laminated cover. (CXÅ*) (SCÄ*) (ÄXÅH*) (CCÖ*)

FRANK ZAPPA/200 MOTELS - ORIGINAL MOTION PICTURE SOUNDTRACK UDF 50003 (-71) UK

Always a Zappa fan, but this is too much for me. Though I tried several times to grasp it as an entity and find some kind of meaning all I get is a hodgepodge of sound bites surrounding a few good songs, most of it with mediocre audio. Seen the movie once and perceived that about the same way - a few great scenes drowning in an incomprehensible mess. With so much fame and skill involved I guess there's an explanatory background or a logic hidden somewhere, but I can't mobilize enough interest to care. Two things makes it attractive. The brilliant "Magic Fingers" - melodic prog rocker with Mark Volman and Howard Kaylan in top shape - and the package containing poster and a fourteen page booklet with fetching pics from in and around the movie. A requisite part of any Zappa collection, but a lot more fun to look at than listen to. Premiere US on UA (UAS-9956). First UK had label as shown here, matt stickered fold/out cover, booklet and large poster. (ZÄP*) (ZÖNT*)

DREAMS S 64203 (-70) UK

If you're a fan of Chicago or Blood Sweat & Tears as they were around 1970, but sometimes had wished for a bit more adveturous outcome - keeping the melodies and attractive vocals while moving ever further towards jazzier realms - this may be right up your sleeve. Combo consisting of jazz/fusion musicians as "Becker Brothers" (of which Randy had been part of the first BS&T setting), salsa trombonist Barry Rogers, Billy Cobham (here between Miles Davies and Mahavishnu) plus later renowned studio musicians Will Lee, Don Grolnick and Bob Mann. According to album liner notes the tracks emerged from organized jamming, growing with each playing, and eventually recorded live in the studio. After reading that you'd expect a loose structure, still part of it comes through very controlled with some almost regular song patterns. The melodies are there and the pleasant vocals, but adding more jazzy trips with a couple of psych interludes. Far from easy listening yet worth it if you manage to get in. I especially like side two with the fifteen minute "Dream Suite" followed by "New York". Premiere US on Columbia (C 30225). CD on Sony/Scorpio (A 28334). First UK had label as shown here, matt cover and cassette ad inner.

THINK! - POP PROGRESS '71 85 162/163XT (-71) GERMANY

High quality German compilation of gems from the early seventies. Including cuts from at the time less successful LP:s by renowned bands - e.g. Procol Harum's "Whisky Train" (from their "Home" album), The Move "Turkish Tram Conductor Blues" ("Looking On"), Status Quo "Is It Really Me? Gotta Go Home" ("Ma Kelly's Greasy Spoon") and Man "Sudden Life" ("Revelation"). Also early trials by Supertramp and Strawbs made before breakthrough and songs from now forgotten acts like the shortlived UK proto-prog group Titus Groan and German rock band The Falcons. Good listening all through with fine audio and at the same time a message from an era where feeling meant more than form. Favorite track - Paul Brett Sage "3D Mona Lisa". First had label as shown here and laminated fold/out cover with a picture/info collage poster inside. (GÖXÄ*) (SÄM*)

CREAM/DISRAELI GEARS 594 003 (-67) UK STEREO

This is what I wrote when I posted the mono some years ago - "Recorded in Atlantic studios Manhattan, produced by Felix Pappalardi and by many regarded their finest album. Rumour says it was done in about a week and all made almost live, by ear, at a very high volume. The mono mix captures the live feeling making it close and present. I had the UK stereo (594.003) for some years and it's not the same at all - makes the whole set sound constructed and thereby more distant" -. Just found another UK stereo original and after listening and comparing I have to admit the two-channel mix isn't as bad as I remebered. Don't know if that has to do with playing it on another equipment or me being less categorical, but I actually enjoy the outcome now. Still little bit annoyed by Baker's drums mixed hard right almost all of the time and some of the panning, but it's really pretty cool and more psychedelic than the mono with guitars coming through a lot clearer. Checking a stereo vs. mono discussion on Steve Hoffman - as far as I understand a comparison made from the MFSL two format CD (UDCD 562) - it's about the same conclusions, so I guess that digital conversion corresponds well to the originals. I like getting the guitars more prominent and some of the tracks benefit from a looser atmosphere. Mono on the other hand is better balanced, sounds natural and hits directly. Both have ups and downs making it impossible to choose once and for all, but if I had to (at gunpoint) I'd still stick with the mono. Early US on ATCO in mono and stereo (SD/33-232). First UK had label as shown here and fully laminated cover with rec. number top left on rear. (CÄRÄ*) (CPYC*)

HANDLE WITH CARE SPSS 1 (-70) UK

Probe label emerged as a subsidary of US ABC 1968, intended for the labels psych acts like Soft Machine and Zephyr in America, where it only lasted till 1970. In UK it started with the same agenda, but later mainly used as a channel for US artists and music into Europe and that way surviving up to mid-seventies. This was the label's first sampler, including cuts from LP:s issued 1970. Though I would have liked them to go earlier and show stuff from their more exciting -69 album releases (just imagine a 2-LP set also comprising cuts from Soft Macine, Zephyr, Saint Steven and Frummox) there's enough good music here from nowadays rare LP:s to make it worthwhile. Some of it borderline mainstream, but also outstanding tracks - e.g. both Freedom numbers heavy melodic rock with guitars high in the mix, "Screaming Night Hog" sounds unusually progressive for Steppenwolf and James Gang's "Funk 49" comes with a prominent and very crude rythm guitar in the lead. Listening through it's a good rock album with loud clear audio all over and no need to jump tracks. I would still have prefered a direction towards the label's earlier and more odd releases, but you can't have everything. To my knowledge only issued in UK. First had label as shown here and laminated flip/back cover. (SÄM*) (CÖLÖ*)