JOHN MAYALL FEATURING ERIC CLAPTON, MICK TAYLOR AND JACK BRUCE/PRIMAL SOLOS LC 50003 (-77) US

One of those albums containing earlier unreleased cuts picked from the bottom of the archives. Five recorded at Flamingo Club, London April 1966, two in Brighton May 1968 and one in Stockholm December same year. Checking reveiws they all have the same summary - redundant issue with inferior audio. I beg to differ. I can only speak for this US version, but the audio here isn't all bad. Very much like the "Diary Of A Band" LP:s it gets through OK, or as good as expected given the recording equipment and circumstances. There are also a couple of great solos - like the unusually playful Clapton in "I'm Your Hoochie Coochie Man" or Mick Taylor's long and equilibristic one in "Start Walking". But the biggest value is historical. The Clapton/Bruce/Flint Bluesbreakers setting only lasted a few months before the formation of Cream. Apart from a live take of "They Call It Stormy Monday" on Mayall's "Looking Back" LP the five cuts on side one here must be the best surviving from that important period. As a fan of both Mayall and Cream I couldn't be without it. Contemporary vinyl issues in Japan, Europe and US. Japanese 2008 Re-mastered CD on Decca (UICY-93411). Early US had label as shown here and glossy cover. (LYBÖ*) (MÄH*) (CÄRÄ*)

JOHNNY BODE & LILLEMOR DAHLQUIST/SEX REVYN "STIG PÅ" LPS 401 (-71) SWEDEN

Johnny Bode's third consecutive erotic LP (eng. The Sex Revue "Come In") and also his last for Rodox label. After releasing two albums and four EP:s during a short time period he was clearly running out of fresh ideas. As I understand this is not the result of coherent studio sessions but a kind of compilation including the previously released "sex match" EP and apparent leftovers from the "Styrman Janssons Frestelser" sessions together with a couple of new ones. A patchwork tied together by mimcking a live performance at a porn club with added applauds, laughs and public noise. One highlight is Lillemor Dahlquist doing a classic primadonna number in "Pipp I Kissemissen" (eng. "F*** in the Pussy") There's also one presented as "a very young girl" called "Kjerstin" singing "Ska Vi Pippa" (eng. "Shall we f***?"), but the vocals sounds speeded up and could be a modified Dahlquist hiding behind a "girly" avatar. That is by far his strangest composition - the verse having a partly advanced tonal pattern, but combined with a very simple refrain where the title phrase is repeated over and over. https://www.youtube.com/watch?v=a2NAiWt6InQ . I'm thinking that song clearly displays two of Bode's personas at once - verse melody showing the skilled songwriter while the refrain and lyrics exhibits the dirty old man who got a turn on from hearing pretty young women singing sexual slurs (a fetish well known by most of his co-workes at the time). In any case the total result didn't reach up to Bode's earlier work and also became his final collaboration with Lillemor Dahlquist. To my knowledge never reissued on vinyl or CD. It came with label as shown here, fully laminated cover and lyric insert with cover pics of and order form for his previous issues. For more on him and his erotic albums please check  https://monolover.blogspot.com/search?q=%28N%C3%96H*%29    (SCÄ*) (FÄV*) (ÄXÅH*) (CCÖ*) (NÖH*)

THE BEATLES/BEATLES VI T 2358 (-65) US MONO

This is probably common to Americans of certain age, but to me and most Scandinavians very special at the time. Regular Beatles albums here in Sweden mid-sixties were ordinary UK:s plus some domestic (can't recall any of the UK exports showing up here before the very late sixties). American issues were a lot more scarce, most of them private imports through a few of the bigger record store chains. A friend had this early and I still remember hearing "Bad Boy" for the first time along with a couple of songs from the forthcoming "Help!" LP. It was pure magic, we sat like in church with straight backs and hands in knees and didn't miss a note. I was twelve years old and for a while there I felt chosen and could't wait to run and tell my other friends about it. Such reaction to a few songs may seem over-the-top today, but the industial town far north where I grew up was a small world. Decades before the net and with only one TV-channel, the music we got from radio and records was crucial and especially if you could get access to "exotic" issues like this. I still think it's a great album. From a European perspective an odd collection of songs, almost like a compilation - a blend of UK LP tracks not earlier released in US, '45 cuts and previously unissued stuff. Occationally the UK Beatles recordings were altered before released to the American public - resulting in different edits or increased use of reverb. Right me if I'm wrong, but as far as I can hear this mono has the original recordings straight on, though with less emphasis on bass which makes it a tiny bit wider and clearer. Quality pressing and audio provides a very good listening. Apart from US and Canada originally issued as stereo in New Zeeland (Parlophone PCSM 6042) and as UK stereo export (Parlophone CPCS 104). Early US mono had label as shown here and glossy cover. (BÄ*) (YZÄ*) (ÖXCÅ*) (LGÅ*)

BING CROSBY/STEPHEN FOSTER DL 5010 (-49) US

Can't do this blog without mentioning Stephen Foster (1826-64). Considered the father of American music and responsible for a large number of tunes still frequently performed and popular around the world. "Oh! Susannah", "Camptown Races", "Beautiful Dreamer" and "Swanee River" to mention a few. Active in the "parlor music" period of the 19th century, long before radios and grammophones when selling note/lyric sheets was the main income source for a composer. He was one of many at the time writing songs with inspiration from opera, chamber music and traditional folk, boiling it down to a whole new genre suitable for home entertainment and theatres. That melding, together with the black slave music that eventually emanated as blues and jazz, is the source of all modern popular music. Not many of those originators works have survived to our days. Another exemple is Swedish Carl Michael Bellman (1740-95) who's songs still are sung and recorded, but then only in Scandinavia. The fact Foster's compositions are more widely spread could be explained by US pop-cultural hegemony over a large part of the world, but to me it's more about the songs' timeless quality. They blend in so well with modern repertoires their origins could have been the 1940ies instead of hundred years earlier. Shown is the first vinyl compilation of Foster songs. Originally a 4 X 78 rpm shellac album from 1946, here transformed to a 10 inch LP. The performance is mushy and romantic as it should with Bing Crosby's baryton to heavy strings and angelic back ground quires. Audio warm and clear, like listening to '78:s on best possible equipment. Yummy! UK issue on Decca (BML 8571). Early US had black/gold label and thick unflexible vinyl. (NYFÖ*) (YZÄ*)(BCJ*)

THE MINDBENDERS/WITH WOMAN IN MIND TL 5403 (-67) UK MONO

Manchester band formed as "Wayne Fontana & The Mindbenders", existing 1963-68. Apart from having a couple of hits in UK they also became part of the "British Invasion" to US with touring and "Game Of Love" '45 reaching #1on Billboard. 1965 singer Wayne Fontana jumped off stage in the middle of a concert and went solo. The combo continued as a three-piece and got one more blockbuster - the million selling cover of "A Groovy Kind Of Love" with #2 in both UK and US. That became their last big hit and after a few mildly successful singles they dissolved 1968. (Fun fact - Eric Stewart was a permanent member of the band and just before break-up Graham Gouldman joined. They continued to work together and would later form "10cc".) This was Mindbenders second and last UK LP post Wayne Fontana. It's been called an early concept album, but I don't know. If collecting songs, mostly covers, about women and love is a concept then that would go for about 50% of all albums ever made. To my taste it's a good choice of pop, soul and r&b songs, very well played though the style is more 1965 than 1967. Favorite tracks - Gouldman's "Schoolgirl" - and "To Be Or Not To Be", by Wine/Bayer who also wrote "A Groovy Kind Of Love". To me the most surprising song on it is Rod Argent's "I Want Her She Wants Me", also released as a Mindbenders '45 A-side 1966, long before Zombies "Odessey And Oracle" was even recorded. I've always had the notion all cuts on that masterpiece was written accordingly for the CBS album, but that song was obviously a remain from Zombies Decca years. The version here follows same pattern as the O&O cut, only less soft. As far as I know this album was UK only. It came with label as shown here and laminated flip/back cover.

HERMAN'S HERMITS CTX 40408 (-67) MONO FRANCE

French only issue. Apart from "Je Suis Anglais" all cuts had been on '45 A-sides in UK and/or US between 1964-67. Of the vinyl compilations I've seen with the group this is by far the one with the greatest hits. A few is missing, but I guess fourteen tracks was the limit. I get my HH favorites for sure - " A Must To Avoid", "No Milk Today", "Henry 8th", "Mrs Brown", "Just A Little Bit Better", "There's A Kind Of Hush" and "I'm Into Something Good". Happy and simple melodic pop songs that don't try to solve the worlds problems or improve humanity, but if you're down they could make you feel - just a little bit better. Together with the Swedish Columbia/HMV compilation it has about everything I need by the band. All cuts are original mono and the audio a-ok. First (only?) issue had label as shown here and laminated flip/back cover with French discography on rear. (PÖP*) (MFÄX*) (HÄHX*)

THE WHO/LIVE AT LEEDS 2406001 (-70) UK

I'm going on and on here about "Colosseum Live" being the greatest live album ever. It is in its genre and to me the way I am most of the time, but on those occations I need dirty sixties rock'n'roll performed by the best with top audio this is the one. Playing it on high volume is like being hit by a steamroller. The recording, mix and pressing are perfect, bringing it through loud and natural. One of those records where you can sit down, close your eyes and be there. It's a nice selection of songs and the performance as good as it gets, but much of the impact comes from the superb audio. So don't just hail the band. Send an appreciating thought to the guys, most of them anonymous, who handled all stations from mic to vinyl. Today that can be done by one person programming a computor, back then it was a long process with many separate niches involved. Already 1970 issued with three differently colored prints on cover - black, blue and red - where of only the red continued to be pressed through the seventies. Apart from matrixes, number of inserts and paper quality changed through the years as well as ridging on label. It's not an exact science and rather confusing. The best page I've found on the subject is from Steve Hoffman http://forums.stevehoffman.tv/threads/the-who-live-at-leeds-is-this-a-first-uk-pressing.305556/ . Especially check Raunchroll's comments. As far as I can figure out the copy here is from around 1972-73. Label is ridged and all inserts are hard paper, but it's still on Track, the vinyl is thick and label structured. Since it has the same stunning impact as the first press (I've compared) it's the one for me. I just can't convince myself to pay $500 for a mint black print complete if I can get the same listening experience from this for a fraction of that price. (WÖH*) (TRÄC*) (LYBÖ*)

AL GOODMAN AND HIS ORCHESTRA/SENTIMENTAL FAVORITES CL 6082 (-49) US

Orchestra that by modern standard might be called "cover band". From mid-forties and on releasing a large number of '78:s and LP:s for Columbia and RCA - each with themes tied to genres or moods. This is a collection of eight sentimental songs from the early 20th century - three with vocals by actress Hollace Shaw. Pathetic strings and backing to theatrical, almost operatic vocals. Today probably seen as mushy and overemotional by most people, but prefectly fitting the popular music atmosphere of the period in which the songs were written. This takes me back to my childhood in the fifties when radio still ruled the air. The connection has a lot to do with the audio - analog with a warm glow, reminding of what we got from the valve reciever on the living room table. I probably belong to the last generation who has a true bond to this kind of music and sound as it was a natural part of my early years and development. I will always have a special place for records like this in my collection...and in my heart. First came with label as shown here and thick matt cover. (YZÄ*) (FÄV*) (NYFÖ*) (CLÄZ*)

HANK MARVIN & JOHN FARRAR/MARVIN & FARRAR EMA 755 (-73) UK

Following two unsuccessful LP:s as a trio Bruce Welch quit after just participating on one track for this third, leaving Marvin and Farrar to finish the rest. It didn't sell a lot either and later same year the combo dissolved for good and re-appeared as part of the reformed Shadows. I've had and loved the first two MW&F albums for quite some time so when this showed up a while ago I bought it. Since the reveiws had been luke warm and Marvin himself seemed displeased with the result I didn't have great expectations, but was caught from first spin. Initially by the audio and ambiance - so warm and embracing, yet clear and touching. Then by the vocal harmonies - to me reminding of sixties Hollies at their best, but in the same beautiful atmosphere as Colin Blunstone's "Ennismore" album (as this engineered by Peter Vince). There's also a bunch of top notch arrangements, not bleeding obvious but almost hidden as part of the big picture. For exemple the acoustic guitar riff in "Skin Deep", the high pitch background vocals in "Nobody Cares" and the brass/string ending of "Galadriel (Spirit Of Starlight)". It's all so well done and the fact it wasn't relished or a big seller at release makes me seriously doubt both taste and intelligence of the seventies public in general. US issue on EMI (ST-11403) came with same tracking and sleeve design. 1991 CD on See For Miles (SEECD 322). Premiere UK had label as shown here and structured fold/out cover. (CXÄ*)

SUME/SUMUT DEMOS 13 (-73) GREENLAND - DENMARK

Greenlandic band being one of the first Inuit acts creating and performing a modern rock/prog repertoire rather than passing on the tradition. This was their debute album, made as a protest against the Danish colonization of the island and part of a movement to rediscover the Inuit culture and identity. Recorded and issued in Denmark through the independent left-wing Demos label. Lyrics and sleeve notes are in Eskimo-Aleut language. The fact that all are translated to Danish on cover and label helps understanding a little, but not much. The old woodcut reproduced on front cover, picturing an Eskimo hunter dismembering an intruder, shows on a grave cause. Songs and performance are slightly related to contemporary American or Danish rock, but the expression unique due to language and native idioms. Although the subjects are serious the songs comes out surprisingly pleasant and catchy. The instrumental setting is basic rock with some reinforcement on violin, saxophone and flute from supporting musicians. What really gets me going are the guitars. There's riffs and hooks everywhere as leads or fill outs, electric and acoustic, lifting it from just a good protest LP to an excellent rock album. The recording is simple with an almost garage quality and the audio clear and natural. In all very good listening. Full album here https://www.youtube.com/watch?v=BMlDJF44P9o . The copy shown here is from the only original issue. Most of the cuts can be found on the 1988 CD compilation "Sume 1973-76" (ULO-CD 46). First vinyl had label as shown here and matt fold/out cover with stapled sheets inside, containing band pic, lyrics, credits and additional info. (SCÄ*) (ÖGÄ*) (CCÖ*)