OLA & JANGLERS/LIMELIGHT GMG-1205 (-66) MONO SWEDEN

For background check post on their previous LP http://monolover.blogspot.se/2013/11/ola-janglerspatterns-gmg-1204-66-mono.html . As most Swedish groups at the time updated with genre changes and emerging styles in England and USA. First two albums - "Surprise Surprise" and "Patterns" - had a rather raw r&b style, reminding of Them or Rolling Stones. This third is more inspired by UK pop psych like contemporary Kinks and Beatles - elaborated melodies and lyrics escorted by odd arrangements - still with a totally unique sound. Nine of the twelve songs written/co-written by the band's motor Claes af Geijerstam, remaining three covers. To my ears one of the better pop psych albums made outside the anglo-saxon world. Catchy songs with meaningful lyrics, simple yet unusual arrangements and an overall cozy atmosphere. I especially like the warm flowing hammond on many of the cuts and Ola Håkanson's special vocal style. Favorite tracks - "Light Of Lime", "No One Knows What Happens Round The Corner" and "Bird's Eye Veiw Of You" http://www.youtube.com/watch?v=1KqqQbF3ibA . Mono audio is perfect - big, clear and natural. Also as stereo (GMGS 1205). To my knowledge only released in Sweden. Mono tapes re-issued on CD 1994 (Sonet GMGCD 1205). First had label as shown here, thick unflexible vinyl and fully laminated cover with top opening. (SCÄ*)(ÖJÅX*)(CCÖ*)

LON & DERREK VAN EATON/BROTHER SAPCOR 25 (-72) UK

Multi-instrumentalist US sibling duo, who after a few unsuccessful trials in various combos got positive response from George Harrison on one of their demo's. He signed them to Apple Records late 1971, which made them the last act to get a contract with the company. Harrison liked them a lot and went all in from the start. He produced the '45 cut from the album - "Sweet Music" - himself and Klaus Voorman handeled the rest. Recorded at Apple Studios, London and Bell Sound, New York. Among the guest musicians - Ringo Starr, Mike Hugg (Manfred Mann), Klaus Voorman, Peter Frampton (Humble Pie) and Jim Gordon (Derek and The Dominos). For cover pics they hired Clive Arrowsmith - back then one of the most renowned British fashion photographers. Early copies also included a "zoetrope" insert which generated moving images when spun on the record plate. Add perfect mixing and audio and it was set for success. But it didn't sell at all, neither did the single and the debute also became their last effort for Apple. Listening today it's easy to understand the flunk. For guys like me who also have an academic interest in music it's OK. The production and mixing is common label procedure for the time - e.g. tracks like "Sweet Music", "Help Us All" and "Another Thought" sounds like they were prepared for "All Things Must Pass". Also the musicians, audio, Beatles connection and label itself makes it a keeper. It's such a pity the songs are dreary and the vocals unattractive. I never listen to it, just keep it as a necessary filler in the Apple section. First US on Apple (SMAS 3390). Re-issued on RMP Records 2012 (Retro 912) with bonus tracks. Premiere UK came with label as shown here, laminated fold/out cover and the "zoetrope" insert. (BÄ*) (ÄPLÄ*)

SAM THE SHAM AND THE PHARAOHS/WOOLY BULLY E 4297 (-66) US MONO

This is personal. For hard facts check http://en.wikipedia.org/wiki/Sam_the_Sham . The song "Wooly Bully" is connected to some strong memories from my early teens. I remember school dances and first puppy loves with sweaty hand palms and blushing cheeks at a loss for words. I must have sat through hundreds of Truth or Dares or bottle spins just to get a little closer to some sweet girl. Always akward, never really there. In other words a rather normal mid-sixties teenager. A few years on things would change considerably with drugs and the sexual revolution, but this was still innocent days. Back then "Wooly Bully" was as wild as it got in the northern town where I grew up - a simple melody with nonsense lyrics to an enthralling bouncy rythm. Perfect for our first meetings with alcohol and early trials on the dance floor. No skill or preparation needed - just jumping up and down and shouting was enough. Good times. I've worn out a couple of singles through the years, but never had the LP till I found this copy a while ago. Listening today it's surprisingly good thoughout. Messy party music with a true garage feeling - uninhibited yet confident. "Haunted House" reminds of early Them, "Go-Go Girls" feels like a latin Bo Diddley and "Every Woman I Know" is pure fifties rock. In many cases an album follow-up to a million selling '45 just contained that and nine or eleven fillers, but this is more. A tophole party LP with lots of positive vibrations. The mono audio is very good - big and clear. Never heard a US stereo (SE 4297), so can't say if that's a separate mix. Also first released in Canada (MGM E 4297C). UK first on MGM C-1007). First US had label as shown here and cover with glossy front. (YZÄ*) (ÖXCÅ*)

THE UNOBTAINABLE T. REX NUT 28 (-80) UK

T.Rex had a huge production during their existence from 1970 to Marc Bolan's death 1977. Apart from eight albums they also released twentytwo '45:s in UK, most with non-LP cuts. As many of them were big sellers and list toppers domestically EMI also released a serie of compilation albums to cash in further on the hype. First two - "Best Of T.Rex" and "Bolan Boogie" - concentrated on obscure and/or unissued cuts from their "Tyrannosaurus Rex" period and the first T. Rex recordings, while the next two - "Great Hits" and "Solid Gold" - included later tracks not previously on album. After Bolan passed away there's probably been a hundred collections issued all over the world containing about everything he was involved in, together with more or less successful re-makes. As I see it this was the last 100% legit one. Even if issued as late as 1980 it followed the UK EMI schedule. Five of the tracks co-incides with the "Great Hits" compilation, but the remaining eleven for the first time on 33 rpm. The A-sides of their last two singles - performed together with Bolan's girlfriend US composer and soul singer Gloria Jones - and the rest B-sides. Maybe not all of them the band's absolutely best efforts, but with enough magic to make it work. Favorite tracks - "Cadillac", "Free Angel" and "Satisfaction Pony". Issued in UK only. First had label as shown here, thin glossy cover and custom "record token" inner. (RÄX*)

LES SULTANS TD 356 (-66) MONO CANADA

French Canadian beat group. Formed 1962 in Quebec as a four piece instrumental band - "The Dowries". From 1963 including singer Bruce Huard, earlier in local combo "Les Majestics", and issuing six singles on three different small labels. Towards the mid sixties they started to play music influenced by British pop, signed a contract with Teledisc Records 1966 and got a chance to record this debute album. It's a blend of Zombies style beat and contemporary French pop, recorded with few overdubs and lots of presence. I get two rockers and one blues number, the rest softer ballads with prominent acoustic guitar. The backing is direct and appropriate with some minor flaws only making it more authentic. What really turns me on here is Bruce Huard's vocals - clean and secure, easily adapting between rude and soft, yet personal and very attractive. Sung in French and even if I don't understand all it fits and probably a lot better than if they'd tried to do it in broken English. Track list is a mix of covers and self-written numbers. I'm a little confused by some of the song credits though. The Zombies cover "Je T'aime Bien" ("You Make Me Feel Good") and the "Kinda Kinks" number "Nothin' In The World Can Stop Me Worryin' 'Bout That Girl" (here - "Il N'y A Rien Au Monde Que Je Ne Ferais Pas Pour Cette Fille") are both credited to Les Sultans. "Apprends A Vivre" seems to be a version of Crispian St Peters "The Pied Piper" and "Tu Es Impossible" a cover of Them's "I Can Only Give You Everything" rather than composed by the band. I'm having a hard time believing such obvious rip-offs so it was probably just an ignorant mistake by the record company. To have "Dis-Lui" ("Leave Me Be") attributed to both original composer Chris White and Bruce Huard seems more fair since the latter was behind the French lyrics. Audio on this mono is absolutely perfect - big, clear and natural. Favorite tracks - the Michel Polnareff cover "La Poupee Qui Fait Non" and "Dis-Lui". Original release in Canada only. Don't know of any CD issues of the album, but some of the songs appear on later LP or CD compilations. First came with label as shown here and thick, glossy fold/out cover. (ÖGÄ*) (ÖXCÅ*) (GZÅ*) (YZÄ*)

THE CAMBRIDGE CONCEPT OF TIMOTHY CLOVER/A HARVARD SQUARE AFFAIR ST 5114 (-68) US

A record I don't know much about. The music itself is orchestrated flower power pop with a few odd harmonies and tempo changes. There's ten good songs with elaborated melodies and nice vocals. All very well done - performance, production and mixing - giving a kind of British atmosphere, slightly reminding of Beatles "Penny Lane" or well arranged UK singer/songwriter efforts. But apparently it was a New York studio project, made by producers Bruce Patch and Lennie Petze who at the same time was involved with Boston beat group Teddy And The Pandas. I can't find any sign of what band participated on the album or who "Timothy Clover" was. Maybe a local New York combo was hired in uncredited or the whole thing was done by studio musicians as a company make-up by Capitol/Tower to cash in on the flower power movement. In any case it's pretty OK. Maybe not for close listening, but a nice background to peace, love and understanding. To my knowledge only released in US and not reissued. Also as mono (T 5114). (YZÄ*) (RÖKÖ*)

KINGDOM COME/GALACTIC ZOO DOSSIER 2310130 (-71) UK

When Carl Palmer and Vincent Crane left "The Crazy World Of Arthur Brown" for Atomic Rooster 1970 the band ceased to exist. After participations in a few other combos Brown announced forming this new group a year later together with a very ambitious program - three albums planned with pre-set themes about mankind as well as spiritual and cozmic matters. This was the first - supposedly concentrating on the state of humanity. The lyrics may seem dated today, but the music is timeless...at least to my ears. I've seen critics calling it a totally new direction and very different from the 1968 TCWOAB LP, yet all I hear is a natural follow-up three years later. Made as a seven piece with guitars and a primitive moog being part of the arrangements, but it's the same mad-cap attitude, same vocal style and the organ parts - here played by Michael Harris - sounds a lot like the ones from Vincent Crane on the first LP. In all it's a tophole psych/prog album. Melodies carried by irregular song patterns, odd interludes and some trifling pych guitars. Even if the outcome appears complicated at parts it seems the recordings were relatively simple, giving a near garage quality. For some reason the album didn't sell at all and got lukewarm critique. Maybe the timing was wrong. It would have been a hailed classic in a sixties zeitgeist, but 1971 things had changed. Don't know of any original US press before the Castle 2003 CD (06076-81335-2). German 1971 on Polydor. Premiere UK had label as shown here, matt fold/out cover, poster and "Head Hunters" inner. (ÄZC*)

CROSBY, STILLS, NASH & YOUNG/SO FAR K 50023 (-74) UK

Maybe not the most sought after release today with a number of later CD compilations offering extended track lists and more added facts. But back then it was a block buster, issued all over the world and selling millions. It's a mix of high charting singles and album tracks - A and B side of "Ohio"/"Find The Cost Of Freedom" for the first time on LP. Having overlooked it for decades I gave it another chance recently and was amazed how great it is. The UK package is rather cheapish and label dull, but the music and audio high quality. Eleven numbers from one of the best US acts at the time makes it top notch. Even if most of them can be found on previous LP:s the selection itself makes it worth having. So if you still perfer analog and for some reason haven't discovered the group yet, this is a nice way to get aquainted. Premiere US on Atlantic (SD 18100) came with embossed frame on front. First UK had label as shown here and thin glossy cover. (ZHÄ*)

MITCH RYDER AND THE DETROIT WHEELS/TAKE A RIDE SL 10178 (-66) UK MONO

Detroit club act discovered by producer Bob Crewe 1965 and signed to his DynoVoice Records. Before the original combo started to dissolve 1968 they released three original albums and had three top ten '45:s on Billboard. Vocalist Mitch Ryder also issued a number of singles and a solo LP during the same period, in some cases backed by the band, but this was their mutual credit debute album. Three of the songs written by (or for) the band, the rest covers. It's top garage all the way - a bunch of hungry young guys moving their club live act directly to the studio. The best cuts are uptempo with rattling guitars, screamy vocals and nervous backing. There's also a couple of calmer numbers, but all performed with the same do-or-die feeling. No doubt one of the starting points for the dirty, messy high-power rock'n'roll that would be seen as typical for Detroit and played by bands like Stooges, MC5 and Frijid Pink three years later. Favorite tracks - "Shake A Tail Feather", "Jenny Take A Ride" and "Baby Jane (Mo-Mo- Jane)". Premiere US on New Voice Records (2000/2000-S). Re-issued by Sundazed on CD 1993 (SC 6007) and vinyl 2003 (LP 5086). UK first had label as shown here, thick vinyl and laminated flip/back cover. (ÖGÄ*)

T.REX/ELECTRIC WARRIOR HIFLY6 (-71) UK

Another true love of mine. Bought my first copy christmas 1971 and cherished it since. In a way it's the same procedure as the earlier Tyrannosaurus Rex efforts - simple catchy tunes with nonsensical lyrics, borderline garage recordings and Bolan's very special voice. The big difference here lays in the studio work evening the cuts and creating a common soothing atmosphere. It's that combination of eccentric almost frivolous appearance and proficient production, arrangements and mixing that makes it special. Sometimes smooth and sometimes raw and sleazy, blending odd and common, going from disturbingly commercial and profane to downright unintelligible - all covered in layers of sugar and absolutely irresistible. After five albums as a duo this was their first as a rock band. Apart from Marc Bolan (1947-77) and Mickey Finn (1947-2003) the main group consisted of Stevie Currie (1947-81) on bass and Bill Legend on drums. Also appearing here are Rick Wakeman (Yes), Ian McDonald (King Crimson) and vocalists Mark Volman and Howard Kaylan (Turtles, Mothers Of Invention). Produced by Tony Visconti and engineered by Roy Thomas Baker. I could go on forever about it, but just stating the obvious - this is a great album and a rock icon. If you don't have it already go buy immediately in suitable format and see for yourself. First US on Reprise (RS 6466) came in fold/out cover with a cut version of the UK poster inside. Premiere UK had label as shown here, matt cover, picture inner and large structured poster. (RÄX*) (FXÖ*)