PETER GABRIEL CDS 4006 (-77) UK

Although I got larger part of his regular issues and appreciate most of them it's this solo debute and the second I keep returning to. Back then the trials in world music and form experiments that filled some of his later albums were innovative and exciting. The dark atmosphere, odd structures and stretched out themes from the big sellers "Melt" and "Security" are still quite interesting, but even if there are a couple of good songs I now only use them as a trip down memory lane. This remains up-to-date. Forms are sometimes adventurous, but never essential. While some of his later efforts are tied to a particular zeitgeist the melodies and lyrics here have a more timeless quality, making it as good 2014 as thirtyfive years ago. "Solsbury Hill", "Here Comes The Flood", "Modern Love" and "Down The Dolce Vita" still catchy and alluring. Staff included Robert Fripp, US session musicians Tony Levin, Jimmy Maelen, Steve Hunter and synth wiz Larry Fast. Main bulk recorded at Soundstage Toronto, produced by Bob Ezrin. Only downer with this early UK press is the audio. Not all bad, but partly damp and muddy. Early US on ATCO (36-147). First UK had label as shown here and thick matt cover with picture inner. Promo booklets exist. (GYÄ*) (CÄX*)

THE KINKS/PRESERVATION ACT ONE SF 8392 (-73) UK

Their eleventh studio album. It wasn't well recieved by critics and sold poorly, not charting in UK and only reaching #177 in US. Even Kinks fans slandered it for being too theatrical and not enough rock'n'roll. I don't understand any of that. It's the same old Kinks in very good shape. Thematically it's a continuation of "Village Green", while the represented genres, audio and atmosphere are a lot like on "Muswell Hillbillies" or "Everybody's In Showbiz". Ray Davies was one of Britains best songwriters at the time and here's no exception. Touching melodies and insightful lyrics about life in England then and before. At a time when guitar riffs and custom made hits started to rule the charts, aiming at the public's lower instincts, Davies persisted in writing personal songs about real people and real problems from an insiders point of veiw. When recording the previous "Muswell Hillbillies" and "Everybody's In Showbiz" 10 year old microphones were used to get a more antique feel. I get the same cozy audio here, so it's probably the same set-up. Much of the backing is acoustic and some of the tracks are accompanied in a traditional British brassband style, giving it an almost ageless quality. Fans and critics may have considered it out of time back then, but fortyone years later it still sounds fresh and inviting so I guess time has caught up. Favorite tracks - "Daylight", "Where Are They Now?" and "Sitting In The Mid-Day Sun". First US on RCA (LPL-1 5002). CD issues on Velvel/Konk came with single edits as bonus cuts. Premiere UK had label as shown here and thin matt cover. (KYX*)

JOHNNY BODE & LENA JUNOFF/BORDELLMAMMAS DOTTER PLP 102 (-73) SWEDEN

(Part 2 of the Johnny Bode story. For part 1 check   https://monolover.blogspot.com/2014/06/johnny-bode-lillemor-dahlquist.html  ). After the unexpected success with "Bordellmammas Visor" Bode progressed into a hyper active state, in short time releasing two more erotic albums - "Styrman Janssons Frestelser" (Boatsman Jansson's Temptations) and "Sex-Revyn" - plus a couple of non-LP 45:s, whereof one with gay motive and one lesbian (sung by Lillemor Dahlquist). However he couldn't keep up the quality and with the "sexual revolution" going on in Sweden, partly a result of the government abolishing all kinds of censorship for sex in the early seventies, he became old news. Collaboration with Lillemor Dahlquist ended, financiers left, money was soon spent and he vanished for a while. But as always he bounced back, this time sponsored by hard-core porn magazine Prince and with a new companion for the female parts - Lena Junoff, here performing as "Gilda". (Her story is almost as intriguing as Bode's - following is a very compressed version.) She was a rising Swedish star in the sixties - a pretty girl with an amazing voice, reaching over five octaves. Launched in England under the name Margret Lee and spotted by Duke Ellington who brought her to America as vocalist for his band. For some reason it didn't work out and she left after just a few months. I've seen theories it failed either because of her reputedly hot temper, drug abuse or the fact that she participated in porn movies, but in any case the chance for international breakthrough ended and at time for this recording she was at a downslope. For earlier albums Bode had used a shock effect by being uninhibited and outspoken. By 1973 it was impossible to shock Swedes with any kind of erotic expression so he adapted to the new zeitgeist with a more mature, everyday approach. Although it's the same descriptions of impertinent sex practices and same frequent use of "four letter words", the long overdue teen spirit is gone and what you get here is a grown man reflecting over sexual circumstances. Title track "Brothel Madam's Daughter" pictures a prostitute pondering about modern times, how the brothels changed names to "massage parlours" and she's being retitled "love-life consultant", having to pay tax. In "I Min Barndoms Gamla Ängder" (In The Old Meadows Of My Childhood) he's reminiscing sexual experiences from his teens. "Spanska Flugan" (Spanish Fly) is about Swedish housewifes enjoying young Spanish meat on their holidays. There's also songs about car-sex (while driving), a girl complaining her nightly companion didn't stay until the morning and a very cute and tender one on oral practice. Favorite track - "När Atombomben Kommer" (When The Atom Bomb Comes), a catchy march about how to best entertain yourself during a nuclear war. To my taste it's the best he did. As with "Bordellmammas Visor" the melodies are memorable, it's nicely performed and the arrangements on the spot. In spite of all the sassy stuff described there's also warmth and good humor. Sadly it didn't sell and became his last recording. Sleeve design of the vinyl pressings varies a little by font style. Don't know which was absolutely first, but they're all early with label as shown here, thick vinyl and thin, glossy cover. There aren't many pics of Junoff from that period, but last one below is probably taken close to the recordings. (SCÄ*)(FÄV*) (ÄXÅH*)(CCÖ*) (NÖH*)

JOHNNY BODE & LILLEMOR DAHLQUIST/ BORDELLMAMMAS VISOR RLP 101 (-68) MONO SWEDEN

"Genitalia Rock" or "Genital Rock" emerged as a branch of Swedish punk rock in the late seventies. Lyrics builds on frequent use of "four letter words" and pejoratives, picturing more or less preverted sexual situations and/or descriptions of bodily waste, most of the time performed to very simple melodies with rock backing. However its true origin was way before punk rock and the puerile ickiness attributing the genre today. This is the album where it all started. The story about originator Johnny Bode (1912-83) has to be divided into two separate - one public and one private - so diverging it's hard to believe they're describing the same person. Bode was one of the forces behind the Swedish schlager industry from the late twenties up to the war as artist, songwriter and translator of foreign lyrics, recording hundreds of songs, many of them big sellers. In the early sixties he wrote three operettas for the Vienna Opera which all became hits and was spread internationally. He made a final comeback 1968 with a serie of four "erotic" LP:s, this being the first. So in a way it's a success story about an artist who managed to renew himself and stay creative for over forty years. But it's also the tale about a deeply disturbed man who through life struggled with inner demons and from time to time failed to function socially. Already in the thirties a known mythomaniac with serious criminal reputation, prosecuted for a large number of felonies including theft, fraud and sexual abuse. After years of getting in and out of courts and jails the authorities had enough, sterilized him and locked him up in a mental institution. He escaped during the war and joined the nazis in Norway, entertaining the high officers by writing and singing pro-Hitler songs. That worked for a while, but eventually he fell back in his old ways - drank too much, stole stuff and tried to con prominent members of Quisling's war administration. After getting caught and spending a few weeks at Grini concentration camp he was thrown out and declared persona non grata. The alleged nazi sympathies got him banned from a large part of the European entertainment industry post-war. After a short trial as spy for the DDR communist regime he continued writing and recording under various synonyms - the earlier mentioned Vienna operettas as "Juan Delgada" and for other works as "Richard Ritzi", "Florence Valentin", "Rob Robertson", "Kiddie Niles" or the "Johnny Delgada" used for this release. By 1967, at age 55, he participated in the student life around Lund University, writing for and entertaining at gatherings. Some of the songs were ingeniously erotic, reputation spread and eventually led to an offer from porn editor Rondex to record an LP. They hired professional musicians as for a regular schlager session - the lyrics were added afterwards - and he also persuaded a blossoming revue singer and primadonna - Lillemor Dahlquist - to do the female part with a promise that she would remain anonymous (a trust he broke soon after). The result was something totally new and unparallelled back then. Melodies are catchy schlagers in various styles, well performed and produced while the lyrics are sexually offensive, male chauvinist and sometimes racist, all presented with a kind of old fashioned libertine humor. It's like he finally got his two personas together in one place - the creative skill reflected in the melodies and the uninhibited hustler expressed through the lyrics. Although initially sold by mail order only it became an unexpected hit in Sweden and also re-issued in a couple of other European countries with translated, slightly censored lyrics - Bode himself doing the German version. The English translation of album title would be "The Brothel Madam's songs". Since this isn't an age restricted page I'm trying to smooth over following song title translations - "C*nt Cracking Polka", "W*nk Me Off With White Gloves On, "Virginity Waltz", "It's So Wonderful Always Being H*rny", "Peeper's Song"...and so on. First release as shown here in mono only with beautiful audio. Two last pics below were not part of this issue. Third is from a compilation of his earlier work (1929-42) and fourth of him and Lillemor Dahlquist (with the white gloves on) at time for recordings. (SCÄ*)(FÄV*) (ÄXÅH*) (CCÖ*) (NÖH*)

THE SAVAGE ROSE 658 119 (-68) FRANCE

Still enjoying this and still think it's one of the best garage/psych debutes ever. My first post - on the German/Danish original - was almost two years ago. Now it's time for a reminder - here showing the French version. Same tracking, but with other cover design and silghtly different audio - this is brighter with less emphasis on bass which makes it a little wider and clearer. Good listening. (Exposé below is mostly a copy of the earlier post.) Danish psych group started 1967 and still at it. Never close to an international break-through, but with cult following all over the world and much appreciated among other artists. There has been many changes in style and appearence through the years yet their music is always distinguishable by the the singer Anisette's special vocal technique. Belonging to a well known Danish artist family she started recording childrens songs together with her sister Ilse-Marie as 7 y.o. and continued as solo artist from age eleven up to group was formed, including the sister and two brothers. And it seems she stayed with the idiom and vocalisation of the kid songs - the voice sounds as from a grumpy or annoyed little girl. Many have tried to copy her style since - the most successful being Björk, who also acknowledged Anisette as a big inspiration. This was their debute album. All songs written by her brothers Thomas and Anders and the style is contemporary San Francisco psych, reminding of Jefferson Airplane and the loose atmosphere of the "Baxter" album. It's very well played with adventurous psych guitars and nice organ with Anisette's voice as icing on the cake. This was the first I heard from them and it remains my favorite of all they done. Recorded on four channels it's close and intimate with tons of presence. Premiere press in Germany for domestic and Scandinavian markets. First French had label as shown here and laminated flip/back cover. (SCÄ*)(FÄV*)(MFÄX*) (SÄWÖ*)

SAN FRANCISCO ROOTS LP-119 (-68) US

Another sampler allowing me to endulge in the rock'n'roll archeology I like so much, in this case carrying artefacts from the developing San Francisco rock scene with early exemples of psych, garage and flower power. Autumn Records with subsidaries only lasted a few years mid-sixties, during that time issuing a number of acts, some of them one-offs and some from constellations soon forgotten. Few of the recordings were hits at the time, a couple originally unissued and others only distributed locally. Their biggest seller Beau Brummels, represented by four songs, started off as a Beatles copy which clearly shows here, making those the least interesting tracks. But the rest is magic to my ears. I love listening to Great Society's single Somebody To Love/Free Advice, produced by Sly Stone. Not only were they one of the first acid bands, but also one that would prove important to the whole US music scene through singer Grace Slick's later leading role in Jefferson Airplane. And if not for this I wouldn't even have known groups as Mojo Men, Night Riders, Vejetables or Tikis - all carrying seeds that would blossom into the renowned San Fransisco sound later in the sixties. The label says "stereo", but there's only a few true ones, the rest are more or less enhanced mono. Luckily there's no excessive tampering with panning or bass/treble, so you get it almost underived. Vault label was a former distributee to Autumn records and since this was issued only about a year after Autumn's demise I see it as an original sampler. Of all releases containing the same cuts, some with better audio, this was the first and therefore the one for me. Premiere issue had label as shown here and glossy cover. (SÄM*)(ÖGÄ*) (YZÄ*) (JÄF*)

TIM BUCKLEY/BLUE AFTERNOON STS 1060 (-69) UK

For more background please check post on the "Goodbye And Hello" LP  https://monolover.blogspot.com/2013/04/tim-buckleygoodbye-and-hello-ekl-318-67.html  . After three Electra albums he moved to Zappa's Straight records, this being his first for the new label. It took a while for me to get into "Goodbye And Hello" - so honest and revealing for its time and so eclectic I had a hard time seeing it as a coherent piece of art. When it finally got to me in its full glory I wanted more of the same and went looking for a follow-up. Buckley was almost unknow in Sweden back then and this was the only issue I could find in the local shop. At first I was disappointed - no more daring adventures, just a couple of mostly traditional jazz cuts carrying bluesy lyrics. Not what I expected and certainly not what I needed in my late teens, so I put it away and didn't touch it for years. With growing age I've learned to appreciate it more - the cool impact and insightful lyrics fits the mature mind better and even if I don't sit down and devour, it's a nice and friendly background to home chores or relaxed socials. Premiere US on Straight with same number, tracking and sleeve design. This UK is cut a little too loud to my taste. Not all disturbing, but I feel a less offensive engraving would have fit the music better. First had label as shown here and matt fold/out cover. (SYSÖ*)

TASTY TASTY.1 (-75) UK

Only sampler issued by the shortlived Gull Records - a UK independent label mostly concentrating on psych, prog and singer/songwriter. Although distributed by Decca and Pye in Europe and Motown in US they didn't get enough exposure, sales were low and liquidation followed after a few years. Resurrection attempts in the early eighties failed and the company was finally put to sleep 1984. This has one album track each from the label's seven first signed artists and one from Kraan's "Andy Nogger" album, originally released in Germany and re-issued by Gull for the UK market. At the time both IF and Arthur Brown were at a downslope, but got a second wind through the label change. Arthur Brown's cover of "We've Gotta Get Out Of This Place" sounds surprisingly ordinary while IF's "Borrowed Time" is a true reignition. Remaining are from album debutants, among them Judas Priest doing a psych/blues cut far from the band's later leather spangled hard rock escapades. My favorites are the adventurous trials from Seventh Wave and Isotope, especially the latter's "Spanish Sun" because of Gary Boyle's equibrilistic guitar play. There's a lot to like here and a chance to get some rare original vinyl cuts with fine audio for a few bucks. German issue omitted Kraan's "Holiday Am Matterhorn" and replaced it with another from Isotope - "Honkey Donkey". First UK had label as shown here and laminated cover. (SÄM*)

THE BEATLES/MAGICAL MYSTERY TOUR SHZE 327 (-71) GERMANY

The US Capitol mono LP will always be my main entrance to MMT and some of The Beatles most classic single cuts   https://monolover.blogspot.com/2017/07/the-beatlesmagical-mystery-tour-mal.html   , but when it comes to stereo this German HörZu is it. There's a lot written about it on the net, some contradictory. I'm just trying to sort out a few things about the earliest issues, hoping the outcome wont be too tangled. The rainbow rim Capitol stereo wasn't all fun since three of the tracks didn't exist in true stereo at the time and was re-channeled for the release. The premiere German (A1/B1 matrixes) used the US tapes right on, only difference they had the full "I'm The Walrus" intro instead of the US shortened. Second version (A1/B3 matrixes) used same A-side as the first, but a remade B-side having the three former fakes in true stereo and a re-mix of "Strawberry Fields Forever". ("All You Need Is Love" uses a stereo made for the"Yellow Submarine" LP while "Penny Lane", "Baby You're A Rich Man" and "Strawberry Fields" came from mixes made 1971 at George Martin's AIR studios, London). Normally I don't like later remakes of canonized issues, but this was needed. The result is marvellous with impeccable audio and since the new parts were made not long after with some of the same crew involved I'd call it an alternative original rather than a remake (for more details check Josef Brennan's "Usenet Guide To Beatles Recording Variations" or the MMT threads at Steve Hoffman's). If you're looking for a first issue A1/B3, be aware the label and cover designs of the premiere release and first issue of second version are the same - dark label with plain HörZu logo and sleeve with red/white logo, some fully laminated and some with laminated front only. Best way to distinguish is by listening or checking the run-off. Second issue is easier to pick, having same record number but circle/box logo on label and yellow/red/black on sleeve (transition copies may exist with y/r/b logo on sleve and plain on label). All those are A1/B3. Later on same matrixes were used with changing designs and record numbers in Germany and also became new standards for release in other countries - on vinyl and CD. Haven't heard all the later German vinyl presses, but as I understand many of them have the same high quality audio. So this first A1/B3 may not be the only place for MMT LP stereo pleasures, but it's good if you wanna be where it all started. (BÄ*)(PÖP*) (GÖXÄ*) (ÄPLÄ*) (LGÅ*) (MÄGX*)

UNDERGROUND SESSION S7-63472 (-68) FRANCE

French premutation of the UK "Rock Machine" LP:s. To my ears this is as good or even better. While the UK CBS samplers were directed to a broader audience, this points in a less commercial direction. With exception of Chambers Brothers "In The Midnight Hour" and Janis Joplin "I Need A Man To Love" the tracking here is more psych/prog related, having cuts from the Blood Sweat & Tears, Super Session and Electric Flag debutes, one from Moby Grape "Wow" and one from the illusive "United States Of America" LP. Audio is superb. British CBS issues sometimes came out inferior to the US Columbia originals, having a more compressed or even damp sound. No such problems here. The sound picture is wide and generous and it all comes through loud and natural. Good listen all the way. Don't know anything about who compiled it, releases in other countries or re-issues. I guess this is the first with label as shown here and stickered laminated flip/back cover. (SÄM*)(MFÄX*)

JIMI HENDRIX/CRASH LANDING 2310 398 (-75) UK

An issue frowned upon by orthodox fans and one I got to accept late in life. The background story isn't very promising. A renowned producer - Alan Douglas - digging in leftover recordings five years after Hendrix' death - adding backups and arrangements by studio musicians, in one case combining parts of three totally different songs to a new one. In a way similar to Phil Spectors' work with the Get Back tapes during Beatles break up. Although conditions differed, the main task was about the same. Going through hundreds of hours with more or less unfinished cuts - combining, adding and rearranging - trying to get an acceptable result. Even if "Let It Be" didn't become one of the band's better efforts it still has some of the Beatle magic and couple of very good songs. The ground material here was probably less comprehensive, but I do get a portion of the Hendrix magic - awesome guitars and those special vocals. If you forget the greedy circumstances and the blame for a while and just listen it's actually a pretty good album - well produced with fine audio throughout and most of the songs high class. Not up there with "Axis" or "Ladyland", but comparable to accepted posthumous issues as "Cry Of Love" or "Rainbow Bridge". So if you choose to see this as just another flogging it's a bad record, but if you don't mind the context there's a lot to enjoy on it. Favorite tracks - "Message To Love" and "Come Down Hard On Me". Premiere US on Reprise (MS 2204). First UK had label as shown here and matt cover. (JHÄ*)

ROXY MUSIC/FOR YOUR PLEASURE ILPS 9232 (-73) UK TEST PRESS

Some test presses are valuable because they include different versions or later abandoned cuts, but even without such exclusivities it can be rewarding. This is an exemple. While the audio of the official release is perfect in many ways - all parts tied together with great impact - this sounds slightly unbalanced in comparison with most of the solos coming through louder and clearer and vocals more down to earth. You can also distinguish a couple of minuscule flaws, not audible on other issues. The separation is better, making it possible to hear secerned components rather than a composite bulk of music. I get natural, probably rather close to what was heard real time. Since it has exactly the same recordings as the legit release I guess this pressing was a test after the sessions were over and before they started to use limiting, boosting or other devices that would help creating the ready product. So it's the same tracks with more presence, allowing me to get a little closer to the studio. Copies like this may not add much to the music, but they sure give an interesting insight to the process. Matrixes have regular stamped UK fonts - ILPS 9232 A/B (without the order number). Since it was made for indoor play only there was no sleeve. The other images shown are first UK press label and fully laminated fold/out cover. (ÄNÖ*)(ÖRJ*)