SONGS BY TOM LEHRER TLP 1 (-53) US PRIVATE PRESS

There's no way explaining Tom Lehrer or his music. You have to listen, indulge and either you love him or you hate him. A Harvard professor who couldn't even spell PC and in the early fifties wrote and performed some of the meanest, funniest and most socially revealing songs ever published. A blend of catchy well written melodies and lyrics on forbidden or at the time unmentionable subjects made it non grata for the US record companies, so he started his own Lehrer Records and defrayed two albums himself. This first recorded in a one hour session early 1953. I got hold of a UK issue in my pre-teens and through that he became my private tutor navigating me beyond school English. I could hear something interesting was going on, but didn't get all the expressions. I remember writing the words down to the best of my knowledge and then plowing through dictionaries trying to put it together. Followed his every step up to "That Was The Year That Was", whereafter I got hooked on "Freak Out" and Frank Zappa replaced him as linguistic attendant. Listening to the album today it still makes me giggle. Like the descriptions of a female psychopath's appaling whereabouts to a perky melody in "The Irish Ballad", or the cute homage to a drug dealer - "The Old Dope Peddler". Sixtyone years later he's still up-to-date and probably will be for a long time yet. As I understand the first issue cover included his full home address for orders, which wasn't a very good idea considering the controversial matters involved. That was omitted and subsequently replaced with a PO box number. First UK 1958 on Decca (LF 1311) came with a totally different sleeve design. Most reissues from the sixties and on have later re-recordings, live or studio, sometimes with altered versions. The one shown here isn't the very first press, but definately fifties with all originals. (SYSÖ*) (NYFÖ*) (YZÄ*) (ÖRJ*)

FLEETWOOD MAC/THEN PLAY ON RSLP 9000 (-69) UK

The band's third studio album. It was the last including Peter Green and the first with Danny Kirwan as fully fledged member. It's less bluesy than the two previous, moving towards the softer pop style that would continue on following albums. I'm taking a narrow personal standpoint here. Even if all their earlier work had been group efforts, it was always Peter Green that made it for me. Without him you can imagine an average struggling white blues band, with him - pure magic. Not only for being one of the coolest guitarists of all times, but also for the personal and emotional vocals. So my perception of this album is somewhat limited. I can't deny some of the Kirwan cuts are really good, like the popish "Although The Sun Is Shining" or "Coming Your Way" with the heavy ending, yet the ones closest to my soul are by Green. Although "Show-Biz Blues" and "Before The "Beginning" differ in both message and impact it's the same honest expression craving connection. "Closing My Eyes" so simple and direct with a big heart on sleeve and "Rattlesnake Shake" gotta be the best song about mastrubation ever recorded, leaving both Mary Anne and Lily far behind (sorry Mr. Townshend). All that makes it a good album. I could have been without the instrumentals, but they blend in and with a total playing time of almost 54 minutes there's a lot to love. First US as a twelve track (RS 6368) deleted "One Sunny Day" and "Without You, already on the US "English Rose" compilation. Second US press (same number) also got rid of "When You Say" and "My Dream" to make place for "Oh Well (pts 1&2)" which was a big hit there at the time. Premiere UK had label as shown here and matt fold/out cover. Export issue (RESLP 9000) on tri-color steamboat with same tracking, but in a single black fully laminated cover. Second domestic UK on tan label (RSLP 9000) also in black cover. Third domestic (K44103) on tan label used same black cover design but then unlaminated. (FXÄC*)

THE SUPREMES/SUPREMES SING COUNTRY WESTERN & POP MT-625 (-65) US MONO

The trio's fourth LP and second in a line of "theme albums" that started with the previous "A Trip To Liverpool". Produced by Clarence Paul, who also wrote six of the songs (two together with his protage - the 14 y.o. Stevie Wonder). Two of the tracks had earlier shown up on '45:s. The A-side "My Heart Can't Take It No More" and "(The Man With The) Rock And Roll Banjo Band" - originally B-side to "A Breathtaking Guy" and also included with the UK version of "Meet The Supremes". To me this is the oddest of all their original issues - for better or worse. It doesn't sound Motown at all - no "Funk Brothers" backing, hardly any production and no typical arrangements. In fact it's more like rehersals or early trials. Diana Ross vocals sometimes strained to the limit, almost squeeky, and instrumental backing rudimentary at its best with quite a few false notes. All very loose and direct. And that makes it valuable in another way. With all Motown's common expressions stripped off you get honest and direct and probably the only time a Supremes recording fits the tag "pure garage". The audio on this mono pressing is superb - big, clear and natural. I have a very limited knowledge on US issues and therefore don't know how early this copy is. Maybe someone reading this can tell. The matrix numbers are machine stamped (BR4M-6560-1-D/BR4M-6561-1-D), labels glossy and the vinyl thick and unflexible. (ZYZÖ*) (FÄV*) (TÖMÖ*)(YZÄ*) (ÖXCÅ*)

THE BYRDS/BALLAD OF EASY RIDER S 63795 (-69) UK

I was about to write some kind of presentation for the album, but after reading the detailed and exhaustive article on Wikipedia ( http://en.wikipedia.org/wiki/Ballad_of_Easy_Rider_%28album%29 ) feel I got nothing to add on background or circumstances so I'll keep this very short. It is one of my favorites from the later Byrds settings because of three particular cuts. Title track, written by McGuinn with lyrics building on a text fragment he got from Bob Dylan, is a totally different take than the soundtrack version and has beautiful string arrangements (seriously - listen to them!). Further "Oil In My Lamp" and "Jesus Is Just Alright" both so simple and self evident it's impossible not to let them in. The rest sounds quite ordinary Byrds country rock to me. All good, but not much difference from the two previous studio albums. Premiere US Columbia on "360 SOUND" label (CS 9942). Very first UK had label as shown here, "SBPG" matrixes and glossy Shorepak cover with rec. number above logo on front and back. (XYGZ*)

SHIRLEY COLLINS/THE SWEET PRIMEROSES 12T170 (-67) UK MONO

Shirley Collins MBE (born 1935) took an early part in the revival of British folk music, starting to perform on stage and records already in the fifties. Back then very traditional using instruments and vocal style faithful to the periods in which the songs were written, far from later genre developments towards rock and prog. It seems her main target wasn't adaption to modern style or big sales, but getting it authentic. Still she couldn't hide her strong personal voice and thus set an exemple for a large number of UK female folk singers through the years - Maddy Prior, June Tabor, Anne Briggs and Frankie Armstrong to mention a few. This was her fourth album and the first of many collaborations with older sister Dolly (1933-95) - schooled in composition and orchestration - who handeled arrangements and accompanied on a medieval type portative pipe organ. The arrangements here are very sparse. Collins vocals in focus all the time, a-capella or backed by one or two instruments only - her playing guitar or mandolin and/or Dolly on pipe organ. Three of the tracks also have (uncredited) male background quires. The audio is excellent - natural, clear and so revealing it's close to intrusive. This vinyl is nothing for the feeble mind or pop fans used to streamlined digital flows. It'll work best for folk anoraks, die-hard admirers of female vocals and audio freaks. I happen to be a little bit of all three so it fits. Favorite tracks - "The Cruel Mother" and "The Sweet Primeroses". To my knowledge this UK was the only original issue. 1995 CD on Topic (TSCD 476) with bonus tracks. Vinyl reissue on Bo'Weavil (weavil 09) limited to 500 copies. First had blue label with larger "TOPIC" fonts as shown here and laminated cover. (BRYF*) (FÄV*) (QÖP*)

LOUIS ARMSTRONG/JAZZING WITH ARMSTRONG 33S 1007 (-53) UK

Louis Armstrong (1901-71) is widely considered one of the founders of modern jazz. He has a long and well recorded history which I'm not going in to here, but Wikipedia has a good page if you're interested. My connection derives from him being one of my fathers biggest idols. We had many of his 78:s and as soon as "Satchmo" showed up on radio or TV dad would halt and start to sing along. He especially liked the early happy jazz period and that's what I get here. Eight cuts recorded 1927-28 along The Hot Five, The Hot Seven, The Orchestra and The Savoy Ballroom Five. Two with vocals, where of "That's When I Come Back To You" a duet between Armstrong and his then wife Lil Hardin (1898-1971). That's also my favorite, much because of her vocal style where she shouts the words rather than sing - probably a remaining technique from the preceding period of acoustic recordings. Considering all tracks were transfered from early 78 rpm records the audio is remarkable - strong and revealing, still in a twenties atmosphere. Good listening over sixty years after the album was pressed and almost ninety years after the original recordings. Also issued on Columbia in France (33 FP 1016) and Germany (33 WS 1007). First UK 10 inch had label as shown here, thick unflexible vinyl and fully laminated cover with crescent flips. (NYFÖ*)(CLÄZ*)

URIAH HEEP/DEMONS AND WIZARDS ILPS 9391 (-72) UK

The band's forth album and the first with a softer, less experimental musical direction. At the same time it was the beginning of a new formula containing themes and lyrics about magic and the supernatural that would haunt their issues the following years. After "Look At Yourself" drummer Ian Clarke quit and was replaced by Kensley's old bandmate from Gods and Toe Fat - Lee Kerslake. Also bassist Paul Newton had left, first substituted by former Colosseum member Mark Clarke, who only stayed to record two of the tracks before moving on to Tempest. Gary Thain was then recruited from Keef Hartley Band to complete the task and stayed as a permanent member till he was fired just before his death 1975. This proved to be a very successful setting keeping the group high on lists all over the world for the next three years. To me singer David Byron was a big part of their sound and I stopped listening after he was thrown out 1976. IMO this is the best they made from 1972 up till then. Memorable songs, perfectly performed with enough twists and turns to make it last. My favorite moments are the antiphony between Hensley and Byron in "Paradise", the heavy organ in "Rainbow Demon" and the happy-go-lucky "Easy Living". Issued and re-issued all over the world on vinyl and CD through the years. First US on Mercury (SRM 1 630). Premiere UK had "i" logo label as shown here and matt fold/out cover with lyric inner. (ÖRHÄ*)(PRÖZ*)

OLA & JANGLERS/JET LEG FRLP 108 (-76) SWEDEN

After Ola & Janglers split at the end of the sixties Ola Håkansson started a new combo with a dance band agenda - "Ola Frukt & Flingor" - issuing a couple of LP:s before breaking up 1976. This Ola & Janglers come-back album was actually made by members of OF&F with addition of Claes af Geijerstam from the original O&J setting. It failed to sell and the trial disintegrated eventually. However three years later, due to some success as domestic contendants to the European Song Contest, OF&F was revived under a new name - "Ola + 3". One of the songs they recorded for a new Swedish album was "Oh Susie". After some time it became a smasher on the dance floors in Stockholm and a desicion was made to re-record it with English lyrics and release it as a single using a more catchy band name - "Secret Service". The new version eventually turned into an international blockbuster, topping the lists in twenynine countries. I really like Ola & Janglers sixties stuff, this album not so much. A mix of covers and self-penned songs in various styles - disco, raggae, rock and dance band - most of the cuts with for the time typical dance friendly arrangements. Ola Håkansson is always recognizable and the slow numbers work OK, but there are no hits and I miss some kind of sincerity. Important as a transition album though and with that context I reckon it'll also fit any Secret Service collection. Never released on CD. Don't know of any other issues but this Swedish on vinyl. It came with label as shown here and matt cover with picture/lyric inner. (ÖJÅX*) (SCÄ*)(CCÖ*)

IN YOUR OWN WAY - OLDIES BUT GOODIES SPR 37 (-70) UK

Back then a very special compilation. Fourteen cuts previously '45 only and many of them with mediocre sales and/or minimal air-play. For exemple Chicken Shack's A/B - "It's OK With Me Baby"/"When My Left Eye Jumps" - and their "Hey Baby" B-side. Further Aynsley Dunbar Retaliation's A/B "Warning"/"Cobwebs", Garfield Love's B-side "Part Time Love", Guitar Crusher's B-side "Hambone Blues" and rarities from Duster Burnett, Bobby Parker, Champion Jack Dupree and Otis Spann. Some of the numbers also have prominent guest musicians. Ten Years After backing both Guitar Crusher and Garfield Love. Champion Jack Dupree's "Ba' La Fouche" includes a Mick Taylor/Keef Heartly/Gary Thain setting (at about the same time Taylor was leaving Bluesbreakers for Rolling Stones) while his "I Haven't Done No-One No Harm" is supported by Paul Kossoff and Simon Kirke (from a session April -68 as they'd just quit Black Cat Bones for the newly formed Free). The originals were mono only and part of me would have liked them to stay that way, but the re-mixes aren't bad at all. No re-channels or fakes - all true stereo, larger part natural and collected without too much panning. Though audio shifts a little it's good listening all through. Due to the overall high musical quality and track rarity remaining one of my favorite Blue Horizon albums. It may be most of the cuts have shown up later on various LP or CD compilations, but this was the first and it's nice to have them all in one place. Also issued in Holland with identical sleeve and number. UK had label as shown here and laminated cover with 19'11 price sticker. (SÄM*) (BLÖH*)

MANFRED MANN/THE FIVE FACES OF MANFRED MANN CLP 1731 (-64) UK MONO

I'm a sucker for debute albums, especially from the early to mid sixties r&b/pop boom. Those first trials were often recorded live in the studio with a garage atmosphere and lots of positive attitude sometimes missing on the follow-ups. I also like getting the flaws and less elaborated parts just for the reality check. As a debute this doesn't fit that 100%. You get the impression of an already experienced band who knows exactly what they're doing and keeping it cool. Started as Mann-Hugg Blues Brothers 1962, playing London clubs paralleling acts like Alexis Korner, Yardbirds and the embryotic Rolling Stones. Musically part of early British r&b though with a slightly more jazzy style, including vibraphone and flute. Later development went towards pop and eventually melodic prog which generated bigger sales, but here it's still day one and I imagine this LP sounds a lot like what the audience heard at Flamingo Club or The Marquee at the time. Already the front cover image with a bunch of sober guys in black turtlenecks shows this is serious stuff. And it is, but at the same time so well performed I can't help smiling. A young uninhibited Paul Jones showing he was one of the better white blues singers then and backing adaptable to the point breed and come alive. That together with the vibraphone used on some of the tracks, the partly inventive piano and the jazzy instrumental pieces make me wanna call this an early prog album. Before the genre was properly coined, but all ingrediences are there. Favorite tracks - "Untie Me", "What You Gonna Do?" and "I'm Your Kingpin". US 1965 version (Ascot ALM 13018/ALS 16018) as a twelve track only had two songs in common, for the rest choosing '45 cuts and a much lighter orientation. 1964 Canadian (Capitol T/DT 6093) same as UK, except "Do Wah Diddy Diddy" replacing "Got My Mojo Working". First UK had label as shown here with "Recording first published 1964" and laminated flip/back cover. There's also a stereo number on lower flip - CSD 1539 - so a two-channel may have been planned, but I doubt any was made. (MÄNÄ*)

THE GLENN MILLER STORY DLP 1024 (-54) UK

The US Decca release of "The Glenn Miller Story" was a straight on soundtrack to the movie, made of new takes recorded by a studio orchestra directed by Joseph Gershenson. A big success with long time at #1 on Billboard. Apparently British HMV couldn't get the rights to the original tapes from Decca, so they made their own version. With ten cuts instead of eight, omitting "St. Louis Blues" instead adding "I Know Why", "Chattanooga Choo Choo" plus "At Last". And as they didn't have access to the remakes all was made by transference from the original 78:s, recorded between April 4th 1939 and May 20th 1942. Haven't heard the US original, but however good that is I seriously doubt it's even close to here. Or maybe it would be unfair to compare since this isn't the actual soundtrack, just a compilation carrying the same name. I'm listening to it over and over as I write and at the moment couldn't think of a better way to get in a pleasant mood. The legendary songs, the "weeping" brass and the original audio of the classic recordings enhanced by a modern analog equipment. I especially like the vocal cuts - "I Don't Know Why" with Paula Kelly in lead backed by The Modernaires and "At Last" sung by Ray Eberie both give me goosebumps this early Sunday morning. If you ever feel the urge for a Glenn Miller compilation close to the source it's highly recommended. Also issued in Germany 1956 on HMV/Electrola (WDLP 1024). First UK 10 inch had label as shown here and fully laminated cover with crescent flips. (PÖP*)(NYFÖ*) (CLÄZ*)

EASY RIDER : BORN ON THE ROAD E 443 (-70) GERMANY

German budget label with an agenda similar to UK Saga/Hallmark - doing low-cost recordings of otherwise unsuccessful/undiscovered acts or combos consisting of studio musicians presented as existing bands. Often released as compilations in sync with the most popular genres and fashion of the times. Quality varied due to shifting musical and/or audiophile quality. This is one of the better. Obviously an attempt to cash in on the Easy Rider movie and success of the soundtrack LP issued earlier though the only things in common are the "Born To Be Wild" cover and front sleeve image. Forgetting the heist it's a fine compilation blending hard rock cuts and cute pop, perfromed by five German combos and one British. "Black Kids" and "The Automatic Blues Inc." seems to be studio constellations. "Petards" was a r&b/psych band quite popular in Germany and parts of eastern Europe. "Ten O'Clock Bubble Gum Train" an alias for then domestically renowned German pop act "The Tonics". "John Deen & The Trakk" a UK band that failed at home, but after playing Hamburg clubs gathered a local following and got to record a couple of singles on this label. So far so good, but what really makes it worth having are the five "Electric Food" cuts - three covers and two self-penned. They were a struggling band through the sixties performing under at least a half-dozen different names before getting a final breakthrough as "Lucifer's Friend" just after this release. Especially the covers get me going. Both "Born To Be Wild" and "Up Around The Bend" are a lot rawer than the originals with disted guitars and garage feeling and "House Of The Rising Sun" closer to Frijid Pink's version than Animals. Good listening - rude and tight with clear and distinct audio. Also released in Italy (EUR 443). German re-issue on green label (111 506.5). First had label as shown here, thick vinyl and glossy cover. (GÖXÄ*) (SÄM*)