THE FORTUNES LK 4736 (-65) UK MONO

Birmingham combo forming in the early sixties by merging members from small local bands. They got a contract with Decca 1963 and issued four singles without any big public respond. It was was first with the fifth - the Greenaway/Cook composition "You've Got Your Troubles" - sales started to boom with #2 in UK, #7 in US and top ten on lists all over the world. Next single "Here It Comes Again" managed #4 in UK and high in a couple of other countries, but didn't do as well in US. As the main musical scene transformed towards psych and white blues around 1966 sales started to drop. In 1967 they changed label to United Artists, continued to release singles and also did advertising jingles, but now at a downslope. After changing label again - this time to Capitol - they made a short comback with a couple of top 10:s in UK and one #15 in US 1971. Since then the band has continued to play clubs and nostalgia shows through different settings and probably will for a long time yet. Out of four original albums - remaining three issued 1969 (where of one for Coca Cola) - I've always seen this as their best and most honest. It's the only one with original setting, firmly tied to the times in which it was made and without any trials adjusting to latter days common changes in musical directions or commercial realities. It's good 1965 pop, kind and soothing with elaborated vocal harmonies. Topped by the two most successful UK '45:s with the rest in about the same mode. A style today by newer generations often considered unmodern or obsolete, but still working for us who were there. It sure gives me flashbacks from mid sixties school dances - nervous invites, sweaty palms and first kisses. First US on Press Records (PR 73002/PRS 83002). CD reissue on Deram came with six single cuts as bonus. Premiere UK had ridged label as shown here and laminated cover. Also as stereo (SKL 4736).

ROD STEWART/SMILER 9104 001 (-74) UK

His fifth solo album and third and last on Mercury. Made with about the same core as the two former - the enitre Faces crew, Micky Waller and Mark Quittenton plus assorted guests this time including Elton John. It's the same formula - a mix of self-penned material and covers with about 50/50 rude rockers and languishing ballads. Nothing new or revolutionary, more clinging to a winning concept which took it to the top of the UK list and #13 on Billboard. Though the whole set sounds a little calculated it's still the Rod Stewart I like and even if I wished him best of luck with the Atlantic crossing this was the last of his albums I bought. The transition had already started here, but more apparent on the sleeve than in the music. While the inside cover and all over Scottish plaid design reminds of heritage, the pics on front and inner exhibits the newer posher avatar and you can almost smell the perfume. First US on Mercury (SRM 1-1017). Premiere UK had custom label as shown here, laminated fold/out cover and picture/info inner. (SXÅH*)

VOODOO DRUMS IN HI-FI 1296 (-58) US MONO

A record that by now has gathered following in jazz and world music circuits due to the drummers involved. "Ti-Joe", "Ti-Marcel" and especially "Ti-Roro" is claimed to have had significant influence on parts of the US jazz scene because of this and a couple of other issues. Be that as it may, but for me it also provides an insight to Haitian society in the fifties. At the time ruled by Papa Doc Duvalier by means of secret police Tonton Macoutes, voodoo, bokor-zombie subjugation and the president himself posing as "houngan" (voodoo priest). That time and place is the origin of many later horror stories - from Dennis Wheatley to a large number of Hollywood movies - and with this vinyl you're there. Recordngs made at location in Port-au-Prince by radio personality Herbie Widmaier with technical consultation from Atlantic producer Tom Dowd in New York. He caught live performances from cult gatherings and street music and then they kept it as it was, just transferring from master tapes to master laquers (using the classic Ampex 300) without further tampering. Music reminds a lot of African tribal, maybe with slight influence from French 17th century culture due to early colonization. All drumbased, but now and then embellished by flute, accordeon, rythm sticks, chimes, mbira and diggeridoo. Most tracks have female vocals performed solo or as quires. The lyrics are in Haitian Creole and the subjects chants or prayers connected to voodoo or eveyday life. I wouldn't call it primitive (a word too frequently used by conceited westerners to put down other cultures) - "pristine" is a lot better description. So if you're fed up with the modern adjusted picture of voodoo and zombies and want the real deal this is it - part dark and enthralling, part bright and affirming. Recommended to lovers of folk, jazz, world music and some of the cuts may even do it for die-hard fans of modern dubstep https://www.youtube.com/watch?v=Hlaaz0y-lyU . As far as I know this US is still the only issue. It came with label as shown here and thick fully laminated cover. (FÄV*) (YZÄ*) (ÖXCÅ*) (GZÅ*)

YES/CLOSE TO THE EDGE K 50012 (-72) UK

I first discovered Yes through their third LP - "Yes Album" - with the former two coming into my life much later. I devoured every note of that and the follow-up "Fragile" and remember thinking there was no way they could top those - the enticing blend of catchy tunes, elaborated passages and equibrilistic performance - but they almost did here. Back then I was totally mesmerized by the title track and couldn't get enough of Steve Howe's long, almost violent guitar intro sliding into the beautiful lead theme or Chris Squires counterpointing bass play in "Siberian Khatru" (I even listened through the whole album a few times just concentrating on the bass - worth it!). From a later perspective it's clear this was the first step into a progressively introvert phase where individual skills, complicated structures and groovy messages became more important than actual songs - as shown on following "Tales From Topographic Oceans" and "Relayer". I couldn't care less then, but when listening today the set-up seems almost too pretentious with some parts making me feel disconnected. More expert but also less inviting. Still like it a lot and keep it as one of the best prog efforts of the period, yet IMO not as warm or melodic as "Yes Album" which also remains my Yes favorite. First US on Atlantic (SD 7244) with similar label, sleeve and insert. Premiere UK had label as shown here, fully structured cover and thin paper inner. (JÄZ*)

JIMI HENDRIX EXPERIENCE/THE BEST OF JIMI HENDRIX 2499.043 (-71) GERMANY/SCANDINAVIA

German pressing for Scandinavia, also released domestically and in a couple of other countries. While non of the others had a publishing year on labels this has 1968 on both, which doesn't make any sense since the supposed release year is 1971 and some of the tracks were 1967. There's also a title error where "Foxy Lady" is presented as "Foxing Lady" on both front and back cover, not appering on any other issue. Maybe more odd than truly interesting, but just enough to make it collectible. With that in mind I wish I could love the whole package, but I can't. I don't mind some of the earlier '45 cuts are fake stereo - that's how we got them back then. More serious is they've obviously tried to clarify and widen the sound picture by lowering the bass and turning up the treble everywhere, making the whole thing come through weaker and squeekier than on any other early compilation I've heard. It is part of my Hendrix collection and a keeper for above mentioned reasons and the pop art cover design, but an almost painful listening experience. (JHÄ*) (GÖXÄ*)

ROD STEWART/NEVER A DULL MOMENT 6499 153 (-72) UK

My first acquaintance with Rod Stewart was him doing vocals with Jeff Beck Group and Faces. JBG:s early hard rock and Faces sloppy pub rock were on most of my late teen parties and thus part of many fond memories. Still that's the Rod I like most - as part of jolly band's, not the posh solo artist. I didn't buy his Vertigo solo LP:s back then. My first became "Every Picture Tells A Story" (see earlier post) which in many aspects reminded of the Faces collaborations - band enhanced, but at least partly same backing and atmosphere. On this follow up a year later it's even more so. About the same personel though now a little less elegant and more rock'n'roll. Three of the cuts co-written by Stewart and Ron Wood, one by Stewart and Mark Quittenton (Steamhammer) and four covers. Up to now this has been my favorite of all his solo albums - because I don't get it as a solo effort. Even if Kenney Jones just plays on one track (Micky Waller doing the others) the rest of the band is there most of the time and the attack and whole ambience makes it almost entirely like a Faces album. And that does it for me. First US on Mercury (SRM-1-646). Premiere UK black label issues in matt triple fold/out cover - either imported US, or UK made by Howards Printers (Slough). (SXÅH*)

THE SHADOWS SCX 3414 (-61) UK STEREO

After over two years as backing band for Cliff Richard and a couple of hit singles on their own they got to record their first album. As later stated by producer Norrie Paramor there were bad feelings within the band from the beginning which brought disturbance to the sessions and eventually led to both initial members Tony Meeham and Jet Harris leaving the band, making this the only solo album by the original Shadows. There's certainly no traces of animosity in the final result - the band sounds tight and the vocal harmonies works beautifully. Six of the tracks written by group members, eight covers. Greater part instrumental building on Marvin's guitar and three vocal cuts showing they also did very well without Cliff even this early. As it seems the UK public thought so too and the album stayed on top of the list for over a month. So it's a good exemple of early British pop, but what makes this especially collectible to me is the first press stereo. Though with sparse instrumentation and few overdubs they managed to keep it together with crystal clear audio. Balance not all natural, still with enough spread to make it enjoyable - e.g. vocal harmonies in "Baby My Heart" and "All My Sorrows" shared between the channels. And of all label designs over the world through the years this Columbia stereo has to be among the most attractive. Used between 1958-62, before the common mono/stereo was introduced, and then mostly for classic music. The modern fifties layout with pistachio/silver colors is a true piece of art. First UK on thick vinyl and laminated flip/back cover with large "stereo" on front. (CXÄ*) (FÖGÄ*)

URIAH HEEP/SALISBURY 6360 028 (-71) UK

Of all they've done this remains my absolute favorite and one of the best British hard rock albums ever. After a very promising but somewhat tentative debute, here on this second LP everything falls into place. The rude organ, the creative guitars, the heavy backing, the riffs and Byron's trained voice ranging from baryton to high falsetto - clean and seemingly effortless. All that helps to make a masterpiece, but it would be nothing without the tophole material. Six tracks - three rockers, two ballads and one long orchestrated suite - each blending catchy melodies with innovative elements. For exemple the operatic vocals to heavy backing in "Bird Of Prey" and "High Priestess" or the slowly growing intensity conveying "Lady In Black". And I never get tired of the "Time To Live" intro - initially held back, almost captured, then suddenly set free into a beautiful guitar part leading on to the verse (in perfect sync with the lyrics where he's released after twenty years in jail). The audio on this press is very enticing - big, bouncy and natural - and even if not the best I've heard from Vertigo swirl, still trumping most others. Love everything on it and after fortyfour years I still spin it a lot. First US (Mercury SR-61319) came with another cover design and omitted "Bird Of Prey", since an earlier version had surfaced on the US debute, replacing it with "Simon The Bullet Freak" - originally a non-LP B-side to "Lady In Black". Very first UK on Vertigo, early reissues on Bronze. There are at least thirty later reissues on CD or LP - most of them with bonus cuts. Premiere UK had labels as shown here, matt fold/out cover and "0171" dated swirl inner. (ÖRHÄ*) (WLÖ*)

WILSON PICKETT/IN THE MIDNIGHT HOUR 8114 (-65) US MONO

For more background check post on the debute "It's Too Late". This was his second, the first of ten albums for Atlantic, and as carrier of the big selling "In The Midnight Hour" (#1 on the R&B list and #21 on Billboard) also part of his breakthrough. Perceived as an original album back then, but from today's perspective a very good compilation. Nine of the twelve tracks released on single 1963-65 - five A:s and four B:s - the ealiest from the Falcons period. As expected lots of good sixties US soul with powerful vocals, but what surprised me when I heard it for the first time was the ambience. Far from the potent expression of later power soul this is actually rather cool. As with the title track. The still primitive studio facilities, sparse instrumentation, balanced mix and natural untainted audio of the mono provides a contrasting background to the intense performance and makes it real, something else and a lot more honest than many later remakes or cover versions. Exactly how I want it - more soul to me. First UK on Atlantic (ATL 5037). Premiere US had label as shown here and thick glossy cover. (YZÄ*) (ÖXCÅ*)(ÄTHP*)(PÖC*)

ROD STEWART/EVERY PICTURE TELLS A STORY 6338 063 (-71) UK

His big breakthrough with album as well as a '45 pick from it - "Maggie May" - reaching #1 in both US, UK and in many other countries. It would also help to pave the way for further international success. Most of all it was a US breakthrough and after Faces dissolvement 1975 he moved to Los Angeles, changed label and musical direction - but that's another story. Here he's still surronded by his old drinking buddies from Faces with addition of earlier band mate drummer Micky Waller (together in Steampacket and Jeff Beck Group) and a star cast including Danny Thompson, Long John Baldry, Ray Jackson and quire girls Maggie Bell and Madeline Bell. Though with partly additional setting, more emphasis on ballads and slightly posher production I've always seen this as a Faces album. Not only due to personel but the whole atmosphere is there and title track as well as the "That's All Right" and "I'm Losing You" covers could easily have shown up on the "Long Player" or "A Nod..." albums. Also front cover design, including fonts, is in the exactly same thirties style as the UK "Long Player" sleeve. In a way the start of a transition period that would go on for two more albums till he made the Atlantic Crossing. Here still more the dirty local pub than a fancy L.A. bar. First US on Mercury (SRM-1-609). Frequently issued and reissued all over the world through the years on vinyl or CD. Premiere UK had label as shown here and thin matt cover, some with poster. (SXÅH*)

EL PEA IDLP 1/2 (-71) UK

The last of four Island compilations with samples from some of the label's most successful acts coupled with at the time odder stuff. You get Traffic, Cat Stevens, Mountain, Free, Jethro Tull, Emerson Lake & Palmer and other big selling bands, but also cuts by Mike Heron, Nick Drake, McDonald & Giles, Tir Na Nog and Quintessense. Twentyone tracks, most of them very good and non bad, conveyed by excellent audio all though. All that would be enough to make it part of any decent sampler collection, but there's more. As with "Bumpers" they apparently wanted to get tasters out as early as possible so some of the cuts are earlier versions than on the final albums. It is known Sandy Denny "Late November" here is a different mix than on "North Star..." and as far as I can hear also Fairport Convention "Lord Marlborough" has a bit other outcome than on Angel Delight. Alan Bown "Through The Night" (last recording with Robert Palmer) didn't make the Stretching Out LP as intended and remained otherwise unissued up till the 2010 Esoteric CD release. Further Bronco's "Sudden Street" sounds like a slightly different version than the Ace Of Sunlight one. There may be other deviations, but these are the only ones I can distinguish at the moment. Contemporary releases in Germany, Holland and Spain. Unfortunately this initial UK issue suffered from the same "foamed" PVC inners as for exemple Colosseum Live, destroying many first press records. It had label as shown here and cover as thin matt fold/out sheet environing the PVC inners. (SÄM*) (FÄHZ*)

TWINK/THINK PINK 2310 057 (-70) GERMANY

When doing research for this post I found a very interesting article covering about everything on background for and making of the album, building on an interview with the man himself http://ugly-things.com/the-making-of-think-pink/ . I got nothing to add on those subjects so following is personal only. Long time ago I saw a critic calling this album "the last gasp of the UK sixties psych scene". True in a way - the songwriting, performance and total ambience are a lot more 1967-68 than 1970 - but it's certainly not a gasp, more of a roar or a very loud moan. The setting alone is christmas for this old psych enthusiast, collecting members from Deviants, Pretty Things, Junior's Eyes, Tomorrow, Edgar Broughton Band, Tyrranosaurus Rex and adding Twink's then g/f "Silver Darling". Though Twink denys any acid dropping was made during recordings the whole outcome ooze of LSD. "The Coming Of The Other One" and "Fluid" sounds like vinyl trips and the lack of consinstency, the whims and unexpected turns, the long raunchy guitar solos and the groovy lyrics makes it an excellent acid psych album, performed by some of the best in the game. With the people involved it's not surprising you can hear echoes from all bands mentioned, but also quite a lot inspiration from Barrett's Floyd. Favorite tracks - "Ten Thousand Words In A Cardboard Box", "Tiptoe On The Highest Hill" and "The Sparrow Is A Sign" - all because of the raw, offensive guitars. Premiere UK on Polydor (2343 032). First US on Sire/London came in a fold/out cover (SES 97022). Sunbeam reissues on LP with original tracking (SBRLP 5095) and CD with eight bonus tracks (SBRCD 5095). First German had label as shown here, fully laminated cover and lyric insert. (GÖXÄ*) (ÄZC*)