GLORIOUS 20/HISTORY OF POLYDOR MP 8007/8 (-73) JAPAN

Japanese only 2-LP issue. Polydor released a large number of samplers in the seventies all around the globe, many of them almost identical. This is a little different as it's not tied to any specific genre, only thing the cuts have in common is they were popular in Japan sometimes between the late fifties and early seventies. So it's a diverse blend of latino rythms, Euroschlager, Britpop, r&b, soul and psychedelia. Udo Jurgens, Jimi Hedrix, Richardo Santos, Cream, Shocking Blue, James Brown, Bee Gees, Bert Kaempfert and more put together. What really turns me on here is the audio. Absolutely clear with top separation and every nuance coming through. All cuts seems to have been treated with the same love and skill, resulting in consistent audiophile quality. So even if "Purple Haze" is about the same semi-fake stereo I've heard hundreds of times this one sounds so good I forget all about that. Further true stereo cuts as "Massachusetts" and "White Room" comes more revealed and average hits like Danyel Gerard's "Butterfly" and Shocking Blue's "Venus" get a whole new meaning. As a bonus it's also nice to hear the first made version of "Mamy Blue" - sung in Italian by Ivana Spagna. While later recordings with Pop-Tops, Joel Dayde', Nicoletta and others all became hits, hers is still rather unknown. Don't know anything about issues for the album, but guess this is early with label as shown here, matt cover and lyric/credit insert. (SÄM*) (ÄZÄ*)

HARVEY ANDREWS/WRITER OF SONGS HIFLY 10 (-72) UK

For more background check post on his premiere LP http://monolover.blogspot.se/search?q=harvey+andrews . Shown here was the follow-up two years later, but since the actual debute hardly sold at all and often forgotten this is sometimes seen as his first. Maybe the initial public fail was the reason he decided to do a remake of the song "Boothferry Bridge" for this. I like the first version best, but they're both very nice. Although larger part of the cuts are soft with finely tuned melodies they also carry resolute veiwpoints and strong feelings. The backing is often sparse, only supporting the melodies and letting the vocals take charge. List of guest musicians includes names as Ralph McTell, Danny Thompson, Rick Wakeman and Cozy Powell. Overall it's a very good album, but one track makes it outstanding. "Hey Sandy" is the true story of Sandra Lee Scheuer, who was killed by a stray bullet during demonstrations at Kent State University in Ohio 1970. She didn't even participate, but was hit in the neck walking over a nearby schoolyard when the soldiers shot at the demonstrators. There's been a couple of songs about the Kent State shootings since. What makes this special is he's concentrating on the individual rather than political circumstances. He describes the death of an innocent teenage girl almost from her veiwpoint and instead of just another victim you get a real person, presented with so much empathy it hurts. Musically carried by Richard Thompson's perceptive double bass counterpointing the melody and a sharp electric guitar by Paul Keogh towards the end. I don't often get goosebumps from songs nowadays and almost never tears in my eyes, but this gives me both http://www.youtube.com/watch?v=xe-22-BajRA . To my knowledge never released in US. German on Cube (2326011) and Intercord (126.304). UK reissue on LP and CD (Beeswing LBEE 002/LBEECD 002). First UK had label as shown here, glossy cover and lyric insert.(SYSÖ*) (FXÖ*)

THEY CALL US AU GO-GO SINGERS R 25280 (-64) US MONO

Au Go-Go Singers were a nine piece acoustic/vocal combo, performing at and taking their name from the legendary Cafe Au Go-Go night club in Greenwich Village, where they worked more or less as a house band the first year after the club opening 1964. The music was a kind of perky folk/country/pop, a style popular at the time with big selling bands as The New Christy Ministrels and The Serendipity Singers. This was the combo's only LP. Musically not my cup of tea, but interesting as a beginning for members Steven Stills and Richie Furay a few years before they met Neil Young and formed Buffalo Springfield. Best tracks on the album are from those two - Steven Stills' handeling "High Flyin' Bird" and Richie Furay's version of "Where I'm Bound" shows some not yet fully developed talent and a small foretaste of what to come. I don't know anything about other issues or if it was re-pressed. Guess this is rather early with label as shown here, thick vinyl and glossy cover. (FÖGÄ*) (YZÄ*) (ÖXCÅ*) (ZHÄ*)

THE PRETTY THINGS/GET THE PICTURE? TL 5280 (-65) UK MONO

Their first album was the cheekiest debute of the sixties and probably one of the rawest r&b LP:s ever made   https://monolover.blogspot.com/2012/04/pretty-things-tl5239.html   . Unpolished and ill-mannerd with an almost criminal rage. By the time this follow-up was recorded two months later things had already started to change. Drummer Viv Prince was being phased out of the group due to his unstable psyche and aberrant behaviour and only participated on a few of the cuts - the rest handeled by John "Twink" Adler (later with Tomorrow and Pink Fairies) and legendary studio musician Bobby Graham (1940-2009), who also co-produced the album together with studio engineer Glyn Johns. Apparently Jimmy Page did guitar on some of the cuts and is also credited as co-writer to one - "You Don't Believe Me". While the debute was like a force of nature let loose in the studio this sounds a bit more tamed, still rude in comparison to other contemporary acts. It has been called a step towards the soul and psych oriented style they went through later in the sixties. Maybe in a way, but I can hardly hear it. The following 1967 LP - "Emotions" - would be completely different, with other type of songwriting, brass and orchestrations more fitting the summer of love. Here it's still 1965 and very dirty. Favorite tracks - "Buzz The Jerk" and "We'll Play House". Recorded and mixed in mono only. For the UK fake stereo issue check separate post http://monolover.blogspot.se/search?q=swl+1164 . Eariest Dutch came with different sleeve design. In France it was called "Midnight To Six Man" with yet another cover variation. Australian on Philips (PD-207). Not issued in US before the 1998 Snapper CD(155492). Premiere UK had structured label with "RECORDING FIRST PUBLISHED 1965" as shown here and laminated cover.

SOUL TOGETHER 218 005 (-70) UK

UK compilation of US funk/soul '45 cuts released 1968-69, including two posthumous from Otis Redding. One of many UK collections of American sixties music back then. Around this time the British pop band invasion to US had petered and new genres like English glam rock and Europrog didn't make it on the other side of the Atlantic. Instead there was an effort by American companies to turn the flow and increase their sales in England and on the continent. Part of that drive from a number of different labels was compilations like this. The aim wasn't to make a profit on the issues themselves, but serve teasers and evoke curiosity. I didn't ponder much about corporate strategies back then, just saw it as a blessing. As a poor student I couldn't afford all LP:s or singles, so twelve top tracks at budget price was welcome. And it's still a boon having so much good music in one place on vinyl. Apart from legends as Otis Redding, Aretha Franklin and Wilson Pickett I get oddities from Billy Vera & Judy Clay, Clarence Carter and Sweet Inspirations that probably never would have hit me otherwise. All cuts in true stereo with very good audio. To my knowledge issued in UK only. First had label as shown here, thick vinyl and laminated cover. (SÄM*)(ÄTHP*)

DIANA ROSS AND THE SUPREMES/ PRESENT SFTM 340642 (-68) FRANCE

French only Motown compilation. Cover and title fronted by Diana Ross & The Supremes, but it's actually a compilation with fourteen different Motown acts. Apart from Martha & The Vandellas "In My Lonely Room", initially a 1964 single cut, and Junior Walker's "Tune Up" from the 1965 "Shotgun" album, all were recorded and/or first issued around 1967. The track list is a little different from what you'd expect with a US or UK big hits collection, more focusing on what did best in France at the time. Some of the albums or '45:s these cuts came from can be hard to find today in original shape. Here's one way to get early press for least a few of them. All true stereo as "gravure universelle", meaning "compatible". Don't know if they all were mixed that way in the first place or some got adjusted for the format, but it works just fine. A couple of the two-channel mixes aren't very good so pushing the mono button makes it a much better listening. First had label as shown here and laminated flip/back cover. (TÖMÖ*)(FÄV*)(MFÄX*) (ZYZÖ*)

A YOUNG PERSON'S GUIDE TO KING CRIMSON ISLD 7 (-76) UK

Released about a year after the "USA" live album and the last original issue as King Crimson before the 1981 "Dicipline". It is a compilation, but made by Robert Fripp and so thorough and detailed it's more like a final closure for the original band. I will always see it as part of their regular issues rather than just another collection. With so much good stuff to choose from for a 2-LP set it would have been hard to please everyone, but on the other hand impossible to get a bad result. And since Fripp himself made the picks you can't really argue with the tracking. Most cuts are the album versions. New for this was a different version of "I Talk To The Wind", recorded 1968 during a Giles, Giles & Fripp session with Judy Dyble on vocals. "Cat Food" is the shorter '45 version and also "Moonchild" and "Lark's Tounges In Aspic (part 1)" have shorter edits. "Groon", originally B-side of the "Cat Food" single, here for the first time on LP. Frosting on the cake is a twenty page booklet providing a comprehensive guide to the bands history. Eightysix pictures, a full list of concerts from April 9 1969 to July 1 1974, including dates, cities and locations, and a day by day diary starting with the press release for Giles, Giles & Fripp June 1968 and going on to the presentation of this album in New Musical Express November 1975. Who could ask for more? Released in Canada and Europe, but not in US before the 1987 EG edition reissue (EGKC 10). Japan CD 1990 on Victor (VJCP 3001/2). First UK had label as shown here, thick matt fold/out cover, booklet and black inner sleeves. (KYK*)

BOBBY COMSTOCK/TENNESSEE WALTZ S-S-R-001 (-6?) US MONO

US teen pop/rock singer who had some success on the lists from 1959-63, as a solo artist or with his band The Counts. Biggest hits were a rock cover of "Tennessee Waltz" 1959 at Billboard #52 and "Let's Stomp" reaching #57 1963. Today forgotten by all except fans and collectors of American fifties rock'n'roll. A nice voice, well produced and arranged recordings and good looks gave him a period of fame before the "british invasion" bands took over. From 1964 touring as supporting act to UK bands as Rolling Stones, Dave Clark Five and Gerry & The Pacemakers. Around 1970 they became a regular part of the Rock'n'Roll Revival movement in Madison Square Garden, playing a large number of gigs there on to the eighties. Comstock and the band issued at least fifteen singles from 1958-64 on nine different labels. This compilation has five A-sides and three B-sides first released 1959-61. It's a 7 inch 33 rpm eight track issued with yet another label variation. First time I see this format and not sure if it's called mini-LP, maxi-EP or something else. Don't know anything about "Star-Shine" label or this particular issue, but guess it's early sixties. All cuts original mono and the audio is surprisingly good considering they squeezed in four cuts on each side. If anyone reading this have more information - please comment and tell. (MÖRS*)(FÖGÄ*) (YZÄ*) (ÖXCÅ*)

SCAFFOLD/L THE P PCS 7077 (-69) UK

UK artist combo formed 1962 in Liverpool, consisting of John Gorman, Roger McGough and Peter Michael McCartney (soon after changing his name to Mike McGear to avoid confusion with his more famous brother Paul). Not a rock or pop band per se, but with a multi task performance including sketches, poetry, impersonations and comic songs. From 1967-75 they had three top ten singles on the UK list and released five LP:s - first as "McGough And McGear". This was the third, issued as a follow-up to the UK #1 hit "Lily The Pink". Side two of the album is a happening, performed as a serie of monologues, poems and sketches, with some musical support from acousitc guitar or piano. Recorded live in the studio before a bunch of students it sounds like they had a lot of fun, but you probably had to be there to fully appreciate it. Side one has seven regular songs with top production by Norrie Paramor. Same kind of vaudeville psych as contemporary Bonzo Dog - adventurous and witty, still within the boundaries of almost regular arrangements. Favorite tracks - "1 2 3", "Oh! To Be A Child" and "Today". Non of them were musicians so backing on the albums was made by various guests. Originally uncredited due to contractual problems, but some subsequently disclosed names are Jimi Hendrix, Dave Mason, Paul McCartney, Tim Rice, Graham Nash, Elton John, Mitch Mitchell, Zoot Money and Jack Bruce. Don't know which ones, or if any of those participated on this particular album, but that may be revealed later. Early release in UK only. Most of the tracks can be found on the CD compilation "The Scaffold At Abbey Road 1966-71" (EMI 7243 496435 2 9). Premiere press had label as shown here and flip/back cover with matt front and laminated back. Also issued as mono (PMC 7077). I haven't heard that, but judging from this stereo being a very careful mix and perfectly compatible it may be a fold. (PÖX*) (MÖK*)

BEST FROM BELL SBLL 111 (-68) UK

With the habit of transfering analog recordings to digital that's been going on since the mid-eighties, vinyl compilations are steadily losing value. People say - why buy a fourteen cut on a heavy, spacious piece of vinyl when I can get twice as many or more and it hardly takes any place at all. Obviously I don't agree, but from a selfish point of veiw it's not all bad. In the shops I go to there's hardly any demand for vinyl compilations anymore, which allows me to get tons of good music for a bargain. This is an exemple what you can buy for just a few bucks nowadays. Sixteen top numbers including a pop/psych marvel by Reparata & The Delrons - "Captain Of Your Ship" - and The Toys original version of "A Lovers Concerto" - one of the catchiest pop songs ever. There's also rarely seen stuff with Ronny & The Daytonas, Merrilee Rush, James & Bobby Purify, Syndicate Of Sound and a lot more. I dig every second of it. As far as I can hear all cuts are true stereo. Also issued in mono (MBLL 111). May be the CD:s and downloads gives more with sometimes better sound quality, but this is what I want. Analog sound close to first makes, thick vinyl, beautiful label design and laminated flip/back cover. (SÄM*)

T.REX/DANDY IN THE UNDERWORLD BLN 5005 (-77) UK

Suffering almost three years of mediocre sales without one high charter this was the big comeback for Marc Bolan and the band. After various excursions into US type soul and heavily orchestrated pop they were back to basic - catchy and simple with tons of charm. Some of the arrangements are a little more elaborated and the lyrics darker than their early seventies work, but it's the same formula - repetitive melodies to appealing lyrics that either hit you at once or grind their way into your brain eventually. "Crimson Moon", "I Love To Boogie", "Visions Of Domino" and "Jason B. Sad" reminds a lot of what they did on "Electric Warrior", "The Slider" or "Tanx". Title track and a few others shows a more mature style, but still captivating. The audio is very good all through and especially on "I Love To Boogie". A crude mix of the song was done for Bolan to take home and listen to on his reel-to-reel, made at half speed using an Ampex 16 track insted of the ordinary 24 track. It was meant to be remade the next day, but Bolan liked it so much he decided to use it as it was. Good choice. Listening on an OK equipment today it's so close and natural you can almost feel and taste it. One of the best sounding of the analog era and way above anything digital. A fitting exemple of - less is more. The album itself did well among critics and sales were good. It seems Bolan was on the right track again with a lot more to come. Sadly he was killed in a car accident six months after release and that was it. Originally issued in Europe and Australia. Not released in US until the remastered 1997 PolyGram CD (314 534 360-2). Premiere UK had label as shown here and die-cut sleeve with glossy picture/credit/lyric inner. (RÄX*)