JOHNNY CASH/GREATEST! SLP 1240 (-59) US MONO

Never been a big country fan, but this man was so much more and getting close to his beginnings through a collection of early recordings feels just right. This was his third LP for Sun issued a year after he left the label for Columbia. A compilation mostly consisting of picks from a bulk of earlier unreleased sessions. Usually when labels issue leftover tracks the quality don't match the first approved ones, but to me those here sounds exactly like the early hits - same licks, same expression and same blend of country, boogie and rock. All mono recordings carried by fine audio with nice atmosphere. Good listening - simple and sincere with lots of presence. 1959 issues in US and Canada only. Don't know what year this copy is from, but guess it's early with ridged label as shown here, thick vinyl and stiff laminated cover. (SYSÖ*) (YZÄ*) (ÖXCÅ*)

URIAH HEEP/THE MAGICIAN'S BIRTHDAY ILPS 9231 (-72) UK

Recorded by the same gang at the same location with the same producer as Demons And Wizards and released just six months later you'd expect it to be exactly the same, but it's not. It builds on a similar "sorcerous" foundation, has a kindered Roger Dean sleeve design and a couple of strong pop/prog songs. Title track is a ten minute novel told by using all the right tools - theme changes, catchy melodies, Byron-Hensley antiphony and a long gripping guitar solo. Only downside is it sounds too trimmed and could have been developed more - there's enough power there to make it last an entire side or maybe the whole album. The rest is also appealing, but to my taste lacking some of the warmth and depth of the DAW numbers and I don't get the same connection. First US on Mercury (SRM-1-652). Premiere UK had label as shown here with "i" logo, matt fold/out cover and picture/lyric inner. (ÖRHÄ*) (PRÖZ*)

ELECTRIC ROCK - IDEE 2000 LBS 83372/73X (-70) GERMANY

After posting "Electric Rock '71" a while ago I was told it wasn't one of a kind but part of a sampler serie released by German Liberty/UA from 1970 and on. So hungry for more odd stuff from UK and US bands and the early continental kraut/psych scene I went looking for the others. This was issued one year earlier and as far as I know the first in line. There's so much goodies here I don't know where to start. Maybe with The Can "Thief" - recorded 1968 as a part of their planned "Prepared To Meet Thy Pnoom" LP with setting including American poet Malcolm Mooney on vocals. However no label wanted to release the album and it remained mainly unheard till the 1981 issue as "Delay 1968" on Spoon Records (Spoon 012). Don't have a clue how this cut ended up on a 1970 sampler, but it did and it's a beautiful example of early kraut with a true garage atmosphere. Here's also very good stuff from a couple of today amost forgotten US rock bands - Valhalla, Floating Bridge and Pookah. Further hard-core jazz prog numbers by Klaus Doldinger and Jean-Luc Ponty plus kraut/psych from Amon Duul, Petards and Krokodil. Audio shifts a little between tracks, but non is bad and most excellent. Totally charmed by it and will certainly try to get more of the serie. German reissue on SR International (92636/37) First had label as shown here and laminated fold/out cover. (ÄZC*) (SÄM*) (GÖXÄ*)

GEORGIE FAME/FAME AT LAST 33SX 1638 (-64) UK MONO

When sacked as backing band by Billy Fury 1961 Fame took over the leading role for The Blue Flames. Inspred by early ska music and contemporary US jazz/blues combo's they developed a British variant founded on Fame's hammond play and personal voice. After building a reputation in London clubs the band got to record their debute "Rythm & Blues At The Flamingo" 1963 which may have strengthened their position as a must-see live act, but didn't sell a lot. It's clear this studio follow-up is played by an already very experienced band. They take a couple of more or less standard covers and make them come alive by their own terms - hip and groovy at the same time. Though part of early mod fashion I also get a picture of mid sixties night clubbing, women using cigarrette holders and men drinking Ballantine's on the rocks. Lots of flowing Hammond and Fame's cozy vocals to a soft r&b backing. So cool it transcends all trends and sounds as obvious today as fifty years ago. Favorite tracks - "I'm In The Mood For Love" and "Point Of No Return". US 1965 release as "Yeh Yeh" in both mono and true stereo (Imperial LP-9282/LP-12282) omitted "All About My Girl" and "Green Onions", replacing them with "Yeh Yeh" and "Preach And Teach". This UK issued in mono only. First had label as shown here with "Recording first published 1964" and laminated flip/back cover. (MÖRS*) (FGÖ*)

GAMMELTJO MED BORDELLMAMMA KONDOM 2 (-73) SWEDEN

Follow-up to "Bordellmammas Julvisor" (Brothel Madam's Christmas Carols), made by the same gang with similar agenda - to cash in on the not yet faded Johnny Bode hype (title is hard to translate, but "Old Time Whoopee With The Brothel Madam" ought to be close). Another theme album, this time concentrating on styles popular in Sweden during the thirties and forties - hambos, polkas and waltzes with plots about sailors, railway builders, midsummer celebrations and folklore. All melodies includes recognizable traditonal motifs and the lyrics depicts various sexual practices using a vast battery of four letter words. As the former nicely orchestrated and arranged with sometimes clever and funny turns, but lacking the sincerity and tattered genious of Bode's originals. As far as I know never re-issued in any form. It came with label as shown here and thin fully laminated cover. (SCÄ*) (ÄXÅH*) (CCÖ*)

BLACK SABBATH/PARANOID 6360 011 (-70) UK

Wasn't going to post this since there must be enough about it on the net already, but then I found one to me earlier unknown indication for a very first press cover on Marcel Koopman's Vertigo page which I happen to have on this copy, so I might as well pass that on and add a few personal thoughts. It is known that apart from matrixes you can also distinguish an early press from the large swirl on b-label and the matt cover, but apparently the very first had a credit inside fold/out - "Management /Jim Simpson, Big Bear, Birmingham" - that was removed from all later (as management changed shortly after release when Patrick Meehan took over). So if a dealer is selling you a "first press" - be sure to check for that before shell out to avoid swaps. Musically it fascinates me as a proof of the holistic saying - the whole is greater than the sum of its parts. Take the simplest of melodies, a couple of basic riffs and shallow lyrics about war and the occult. Then add a crude performance and what do you get? In this case - pure magic! Non of the components would have done it in any posher constellation, but put together here it's beautiful and axiomatic. Whatever dissents I may have otherwise, as soon as I start to listen they all seem petty and I'm caught. Maybe its power has to do with Ozzy's vocals, Iommi's exact fill-ins, the natural analog audio or all of those, or perhaps it's that mysterious "it" factor. Not sure I wanna know, some stones are better left unturned... (WLÖ*) (BLÄC*)

THE CARETAKERS/HAVE A BALL WITH THE CARETAKERS SWELP C 51 (-66) SWEDEN

Swedish combo started 1959 as an instrumental group in the same vein as Ventures and Shadows. From 1962-65 working as backing band for Amercan-Norwegian singer Jack Dailey. 1965 UK vocalist Mike Wallance joined and they got a minor breakthrough in Scandinavia and parts of Europe by excessive touring and a couple of charters - with a cover of Skeeter Davies' "The End Of The World" reaching #1 in Sweden 1966 - before breaking up 1967. This was their only album. A mix of r&b, uptempo pop, ballads and one "old style" guitar instrumental. Eight songs written by Wallance and guitarist Lars Starck, the rest covers. Instrumental setting common contemporary rock embellished by some very nice organ. What makes it stand out is Wallance's bright fragile vocals, at a few occations so high pitched they reach an almost operatic mode. I wish he had done more of that. The recordings have a garage atmosphere - though efficiently performed and with clear natural audio much of it seems captured by direct takes, roughly produced with a couple of flaws here and there. All together very attractive - for the time and place high quality yet personal and connective. Released in France as "Danse Party" on Président (KVP 186). To my knowledge never reissued on vinyl or CD. Swedish issue, as compatible stereo, had label as shown here and thin fully laminated cover. (SCÄ*) (ÖGÄ*) (CCÖ*)

JACK BRUCE/HARMONY ROW 2310-107 (-71) UK

For background check post on his debute - "Songs For A Tailor". To my taste that was almost perfect - mixing remaining notions from the Cream period with new innovative songwriting and backed by top of the line UK prog musicians. On this follow-up (not counting the 1968 sessions released as "Things We Like" 1970) the crew was reduced to guitarist Chris Spedding and drummer John Marshall. Bruce produced himself and wrote all songs together with lyricist Peter Brown. Even if not as groundbreaking as SFAT there are lots of other impressive qualities. The songwriting is about the same with Brown's insightful poetry to slightly odd and beautiful melodies. This is a lot cooler though, less strained like he don't have to prove himself anymore. More personal and maybe not as commercial, but a pleasant blend between deviant and amiable providing very good listening. Favorite tracks - "Escape To The Royal Wood (On Ice)", "Folk Song" and "The Consul At Sunset". First US on ATCO (SD 33-365). Premiere UK had label as shown here and matt fold/out cover. (The red sticker on sleeve wasn't part of the UK issue but shows this copy originally was sold in US - "imported & distributed by Peters International, New York".) (CÄRÄ*)

HARVEST SPECIALS 1C 048-04226 (-69) GERMANY

German sampler issued a few months after the UK "Harvest Sampler Of The Initial Four June Releases" (SPSLP 118), with only one coinciding cut - Pete Brown And His Battered Ornaments "Station Song". This also has two picks from Pink Floyd's "More", two from Edgar Broughton Band "Wasa Wasa" as well as different choices from Deep Purple "Book Of Taliesyn" and Shirley & Dolly Collins "Anthems In Eden". A collection of tasty bits from the label's early days with a few tracks that can be hard to find on original vinyl today, conveyed by very good audio. It came with label as shown here and laminated cover. (SÄM*) (GÖXÄ*)(HÄVL*)

STATUS QUO/PILEDRIVER 6360 082 (-72) UK

After leaving Pye for Vertigo 1972 the band stayed with the new label for twenty years and became its most reliable cash cow. During that period generating thirteen top ten albums, where of four #1, and nineteen top ten singles in UK only plus an unprecedented number of big sellers in the rest of the world. Up to this they were more or less a one hit wonder with the 1968 high charting "Pictures Of Matchstick Men", while four albums and a couple of other '45:s didn't do as well. Later on they would develop their own very successful boogie rock formula - tight, melodic and repetitious - by some considered best party music ever while others just call it mind numbing. Personally I find their Pye period more rewarding and some of the later boogie machinery not so much. This is somehwere inbetween. The formula is already there, but with a remaining bluesy feel enhanced by very good audio - open and well separated in a cozy atmosphere, far from the compressed and glossy sound that would cripple some of their later recordings. It's simple but also very honest and inviting. Favorite tracks - "O Baby" and "Paper Plane". First US on A&M (SP-4381). Premiere UK had labels as shown here, matt fold/out cover without maker credit and swirl inner. (WLÖ*) (STÄQ*)

THE BEST OF THE BEAT GROUPS OF SOFIA BTA 1437 (-72) BULGARIA

Bulgarian compilation including three domestic pop/beat acts - Sreburnite Grivni (The Silver Bracelets), Glasovete (The Voices) and Shturcite (The Crickets). Can't say for sure if the numbers involved are earlier recordings, re-makes or brand new for the album, but it's probably the latter. The one cut by Glasovete "You, Serene Moon" starts and ends with a hymn-like setting including heavy organ and elaborated vocal harmonies, while the mid section is organ driven prog reminding of Nice or early ELP. The six contributions from Sreburnite Grivni are very diverse in style. From soft pop - like the cover of Shocking Blue's "Venus" or the self penned "Proxima" - to what can only be described as Bulgarian folk/prog. "Give Me, Vusse, Your Little Hand" has a folky structure with complicated rythms performed to rock backing with fuzz guitar while "Zarezan" - connected to local wine harvesting festivities - is interpreted as r&b including vocal harmonies and a psych solo by guitarist Valentin Stefanov. Shturcite does very charming garage style covers of Kinks' "Picture Book" and Cream's "NSU" plus two Yardbirds/Who inspired rock numbers, whereof "Song For The Crickets" has very good psych guitars. There's lots of skill involved all through, impression enhanced by the simple right-on recordings and a pressing bringing clear and natural audio. So if you're into garage, folk, prog or freakbeat and don't mind the Bulgarian lyrics there's probably something here for you. Checking the net there seems to be confusion about release year. This copy has a date etched on matrix - "6.5.72" - so I'll go with that. As far as I know never reissued in any form, but some of the tracks can be found on the 2001 Red Beat issue "A Psychedelic Trip To Bulgaria". First had label as shown here and thin laminated cover. (BÅC*) (ÖGÄ*) (SÄM*)