TIM DAWE/PENROD STS 1058 (-69) US PROMO

(There's lots of theories about this album - I'm trying to boil it down here.) Tim Dawe is often mistaken being an alias for the Iron Butterfly and Rhinoceros bassist Jerry Penrod, due to what seems to be the title of this one-off album for Straight. But "Penrod" was actually Dawe's band, named after the cartoon figure pictured on the cover. Their live act was spotted by Zappa's manager Herbie Cohen at the Trubadour Club in Los Angeles. He liked them a lot and offered a contract soon after. There were great hopes for the group within the label. The material - as singer/songwriter with rock backing - was already complete and well rehearsed with a tight sound from previous performances so the recording didn't take long. The band consisted of Arnie Goodman - keyboards, Claude Mathis - drums, Don Parrish - bass and Chris Kebeck - electric guitar. Album produced by Jerry Yester (some say with help from Zappa) and the result sounds surprisingly professional for a debute. Songs are in a number of styles - psych, prog, blues, ballads and rock'n'roll. The lyrics are memorable and the melodies goes from cool to experimental. Dawe's voice is appealing and arrangements on the spot with some adventurous keyboards, psych guitars and occational strings. Favorite tracks - "Sometimes Alone", "Scarlet Woman" and "Junkie John". For mysterious reasons the album failed to sell and the band never really showed on the public radar. It's been re-discovered last decade, mostly by label collectors and Zappa fans. But even if you're not one of those the music itself is rewarding enough. UK 1970 issue had same number, label type and sleeve design as US. 2008 CD on Collectors Choice (CCM 09022). Premier US stock came on regular pink/orange/yellow label in a thick, matt fold/out cover with "Straight" inner. (SYSÖ*) (YZÄ*) (ÖRJ*)

THE HONEYCOMBS/ALL SYSTEMS GO! NPL 18132 (-65) UK MONO

London band existing 1963-67, then famous for having a female drummer - the celebrated Ann "Honey" Lantree. Today mostly remebered for their international blockbuster "Have I The Right" - #1 in UK, Australia; Sweden and Canada, #5 in US and high charting in the rest the world - and "That's The Way" - which didn't do as well in UK and US but reached #1 in many other countries. Produced by Joe Meek, one of the men behind the first British pop wave, they remained in an old fashioned style that soon became obsolete. Their first album, the 1964 "The Honeycombs"   https://monolover.blogspot.com/2017/04/the-honeycombs-npl-18097-64-uk-mono.html  (US: "Here Are The Honeycombs" Interphon 88001IN) was still within that zeitgeist, but at the end of 1965 when this arrived too much was changing. Beatles had "Rubber Soul", the white blues movement started to flourish and Byrds was about to launch "Eight Miles High". Honyecombs however sounded like it was still early 1963. So while the debute did rather well with help from two successful singles, this didn't sell at all and soon disappeared from the shops. I still got it and like it a lot. I think the main reason for that is the fond memories I have from when they toured Sweden 1965. They were one of the bands that also performed far up north were I lived, on this occation at a place named Sikfors Peoples Park. Whatever it was called the truth was a small, badly carpented stage in the middle of a meadow with electricity drawn from a nearby house. It was a sunny summer night and the total audience about 50 kids and a billion mosquitoes. But in spite of the circumstances the band soldiered on with big smiles and heads held high and gave us a jaw-dropping experience. Honestly don't remember much of the show as I was too occupied falling in love with the hard hitting Honey Lantree. I pretended she saw me and we clicked - a nice fantasy for the 12 year old boy. That gig made my year and will remain with me as long as I live. To my knowledge this UK mono was the only original issue. German 1990 CD on Repertoire Records (RR 4121-WZ) came with six bonus tracks. Sequel Records CD "It's The Honeycoms/All systems Go" has both UK albums (NEX CD 125). First UK had label as shown here and laminated flip/back cover. (YMÖ*)(FÖGÄ*) (PÖY*)

CLIFF RICHARD AND THE SHADOWS/CLIFF SINGS 33SX 1192 (-59) UK MONO

Sir Cliff Richard (OBE) is one of the most renowned and biggest selling British artists with fifty years of high charters and a total sale of over 20 million in UK and 250 world wide. Debute '45 - the 1958 "Move It" - reached #2 in UK and is considered the first British rock'n'roll record. "Living Doll" became #1 the following year and the first of a long line list toppers up to the 1999 "The Millenium Prayer". In the new millenium so far he's had eleven list entries whereof "21st Century Christmas" at #2 2006 and "Thank You For A Life Time" at #3 2008. So even if I don't listen to this LP a lot there's so much music history here and such a beautiful issue I could never let it go. The debute album "Cliff" (Columbia 33SX 1147) was recorded live at Abbey Road before 250 invited guests and minimal production. This second is more of a studio product with first four tracks on each side being rockers backed by The Shadows and the remaining four orchestrated ballads/evergreens with strings from producer Norrie Paramor's (1914-79) studio musicians. Today I get more joy from listening to the eight string driven cuts. The rock tracks comes through neat and almost well-behaved in comparison to many contemporary US acts. It's more cajoling than beating and leaves me unconcerned. The ballads on the other hand are perfectly arranged and produced and the audio has that fifties warm glow, depending on old type valve (tube) equipments and analog handeling. Originally mixed in both mono and stereo, but this first issue was mono only. Premiere UK had label as shown here and laminated flip/back cover. (MÖRS*)(FÖGÄ*)(CXÄ*)

THUNDERCLAP NEWMAN/ HOLLYWOOD DREAM 2406 003 (-70) UK

Band existing between 1969-71 as a project instigated by Pete Townshend. They had a world wide blockbuster with "Something In The Air", but apart from that no big sales and remain a one hit wonder. Vocalist and multi-instrumentalist John "Speedy" Keen (1945-2002) was a friend of Townshend and early associate to The Who. Among other things he wrote "Armenia City In The Sky" for their "Sell Out" album and worked as band chauffeur. The two other members were picked more or less as support for Keen - keyboardist Andy "Thunderclap" Newman and fifteen y.o. guitarist Jimmy McCulloch (1953-79). Townshend himself was also part of the group for this LP under the pseudonym "Bijou Drains". Besides producing he played bass on all tracks and guitar on one. All songs but one - the Dylan cover "Open The Door Homer" - written by Keen. The album was mostly well recieved by critcs at arrival, but failed to sell. Clearly made as a follow-up to the hit single having most cuts in about the same style and arrangements with luny piano parts pitched in here and there. But there's also variation - e.g. the semi psych 9.40 "Accidents" has tempo changes and a long creamy guitar part and "Wild Country" a heavy rocker with more good guitars. I hear a lot to like on it and the audio is tops so it's well worth having. The "Something In The Air" '45 was mono and the stereo mix on here is a little bit different. The mono version has shown up as bonus track on various CD re-issues together with other single edits. If you're interested of having it early press LP try the UK Polydor "Hit '69" sampler (582 079) http://monolover.blogspot.se/2012/06/hit-69-582079-69.html . First US on Track (SD 8264), 1973 re-press with different cover on MCA (MCA-354). 1990 release on Repertoire Records as CD or LP (RR 4065-CX/RR 2065-LX). First UK had matt label as shown here, matt fold/out cover and lyric insert. (TRÄC*)

THE BEACH BOYS/BUG-IN SRS 5014 (-70) UK

UK compilation of as it seems randomly picked LP cuts from the years 1963-69. No big hits or list toppers, still a very good selection. Twelve tracks from ten different albums, some lesser known but all top notch. It's a reminder they were so much more than the hits. To me many of the songs work better when taken out of their original album formula and not seen as part of a fixed context - e.g. "Don't Hurt My Little Sister", "You Still Believe In Me" and "With Me Tonight" are great numbers in themselves, even without the infamous project surroundings. Also "Be Here In The Mornin" is a small gem from the often overlooked "Friends" and the cover "I Was Made To Love Her" from "Wild Honey" a lot more pleasant than the Stevie Wonder original. The two Pet Sounds tracks appears as fake stereo, "Why Do Fools Fall In Love" are more or less mono and the remaining true stereo. "All I Want To Do" comes through somewhat dense and muddy, but apart from that the audio is stunning - big and clear with very good separation. Highly recommended both to beginners and fans in need of variation. Also issued in Holland on Emidisc (5C048-51762). First UK had label as shown here and laminated flip/back cover. (BÅB*)(SXS*)

SELECT ELEKTRA EUKS 7261 (-68) UK - Doors "Light My Fire" 3:00 stereo edit

A sampler that might be of interest to some Doors fans and collectors. When I bought it at a record flea a while ago I noticed that the label had "Light My Fire" at 2:52 as the mono single edit and since the LP is a 1968 UK stereo issue I expected a rechannel. But to my surprise it was a slightly longer edit with a true stereo mix - bass drum left, organ guitar right and vocals in the middle. It's the same speed as the mono single, but with an eight seconds longer instrumental mid-part continuing the crescendo for four more bars, clocking in at 3:00. Maybe old news to Doors specialists, but up to now I didn't even know this version existed and can't seem to find anything about it on the net. So I'm curious - was a US stereo originally prepared for the shorter edit and has it shown up elsewhere, or did they make it as a one-off for this release? If anyone here knows for sure please comment and tell. The sampler was UK only, also as mono (EUK 261). First had structured label as shown here and fully laminated cover. (SÄM*) (DÖÖW*)

CLIFFORD T WARD/HOME THOUGHTS CAS 1066 (-73) UK

I guess we all have mood albums. However you feel there are always a few that fits. For exemple Zappa makes me smile, I get dirty with Ashkan or Pretty Things, intellectual with Eno and challenged by Colosseum and King Crimson. I also have a lot that goes with any aspect of romance - from courting to lost loves. When alone I often prefer warm and cozy like the presence of sympathetic friends. June Tabor's "A Cut Above" and Harvey Andrew's first two albums does it. This is a new addition for me to that sentiment. A while ago when I found the "One More Chance" sampler I immediately fell in love with the "Wherewithal" song and couldn't believe I passed it by for all those years. Bought this corresponding album the next day and it was more of the same - friendly baroque pop with elaborated melodies and reflective lyrics. The atmosphere is wistful but never sad and the arrangements partly overflowing. I've seen it being called "overproduced", still the orchestrations fit the songs perfectly and enhance rather than cover up. Clifford T Ward (1944 -2001) released eleven original albums from 1972 and on. Got married with his high school sweetheart at seventeen and through his life always put family before carreer. He didn't like touring or public performances which was the main reason he never had a big breakthrough. 1984 diagnosed with MS but contiued to write and record at home, cared for by family up to his death from pneumonia 2001. This was his third album and second on the Charisma label. Since he is a rather new aquaintance I haven't heard a lot of his stuff yet, but to me this was a revelation and hoping to get more like it in the future. Favorite tracks - "Wherewithal", "Gaye" and "The Traveller". US first on Charisma (FC 6061). UK 1992 CD on Virgin (CASCD 1066). First UK had label as shown here and matt fold/out cover. (SYSÖ*) (CÄX*)

BONZO DOG BAND/TADPOLES LBS 83257 (-69) UK

The band's third album. Mainly a collection of songs they performed in the British comedy show "Do Not Adjust Your Set" 1967-69. DNAYS included actors Eric Idle, Terry Jones and Michael Palin and early attracted fans like John Cleese and Graham Chapman from the contemporary "At Last The 1948 Show". After both shows were cancelled some of the guys got together and eventually formed "Monthy Python's Flying Circus". Bonzo Dog Band had a big part in the DNAYS success, performing a new song each night and participating in the sketches. The song versions on here are not the same as the TV broadcast, but studio recordings made after the show cancelled. Most outstanding track is undoubtely the UK hit single "I'm The Urban Spaceman", released eight months before the album with Paul McCartney and Gus Dudgeon as co-producers and arrangers. Not sure if that was the main target for this issue, or they wanted to get the DNAYS songs out and the '45 was thrown in as a bonus. Anyway it all fits in a vaudeville psych kind of way, spiced with lots of British lunacy. It's warm and catchy with just enough unexpected twists. Not as batty as some of their earlier stuff, but on the same path. Produced by Gus Dudgeon and the audio is smashing - big and clear. Favorite tracks - "Urban Spaceman", "Hunting Tigers Out In Indiah", "Ali Baba's Camel" and "Tubas In The Moonlight". US issue on Imperial (LP-12445) omitted "Urban Spaceman", since that already been on the US version of "A Doughnut In Granny's Greenhouse", and replaced it with "Ready-Mades". First UK had label as shown here, gimmick sleeve with seven openings on front and insert card with art work on one side and Liberty album ads on the other. (BÖGÄ*) (XLÄ*)

THE YARDBIRDS/REMEMBER... SRS 5069 (-71) UK

Budget compilation combining one track from "Five Live Yardbirds" with eleven '45 cuts 1964-66, previously UK non-LP. Most of it had already been on collections or regular albums all over the world from the mid-sixties and on, but this was the first time in Britain. Better late than never and even though I had the songs already back then, through US LP:s and the Swedish Columbia compilation, I bought it anyway because it was UK and lots of good music for under 1£. Maybe budget, but this first press is still a high quality issue with thick vinyl, laminated flip/back cover and fine audio. Unfortunately it's all fake stereo and not even that at parts. For some of the tracks it seems they didn't even care to fake it good, just altering the volume between the channels making it very unbalanced. Others are as you'd expect a kind of enhanced mono. Very bad "stereo", but the compability top notch so if you press the mono button it's still enjoyable listening. If you're just after having the tracks on vinyl there are many better choices. Recommended to fanatic fans and completists only. (YÄB*)(JÄBÄ*)(SXS*)

HAWKWIND/HALL OF THE MOUNTAIN GRILL UAG 29672 (-74) UK

Favoured by critics on release and with healthy sales also remaining the most loved album by the group's fans. In contrast to their earlier right-on space jam recordings this has calculated arrangements and explicite production - made by Roy Thomas Baker. Other important changes was their sound effect persona - Dik Mik - had been replaced by classically trained Simon House on synth and lyricist/vocalist Robert Calvert being absent due to bipolar disorder. It was the beginning of a transition that eventually would lead to a whole new sound with very little left from the early years - not all bad, but completely different. I truly love the first period "In Search Of Space" and "Doremi Fasol Latido". It's dirty and direct with few overdubs and raw audio, much recorded live in the studio with sometimes primitive equipment, giving the impression it was all made on the spot. This has about the same songwriting, but production and synth interludes softens and the sound becomes almost elegant at parts. Back then when synths were relatively new, studios became more advanced and a bigger part of the musical outcome it may have been a novelty, but 2014 that just makes it less special. Today when 99% of all recordings are warped and syth infected it's a lot more fun listening to direct, imperfect and Dik Mik's audio generator. Favorite tracks are the ones most reminding of older stuff - "Psychedelic Warlords", "Lost Johnny" and the live cut "You'd Better Believe It". Early US on United Artists (UA-LA328-G). Most later CD issues also included four bonus cuts with alternate single edits. First UK had label as shown here, thick vinyl and matt cover with picture/credit inner. (ÄZC*) (HÖWK*)