T. REX/THE SLIDER BLN 5001 (-72) UK

Wheather is finally getting warmer in this northly province so it's time to pull out my stack of summer albums. Common for those are an all positive aura - simple and catchy without any kind of low moments and always putting a smile on my face. Suitable for lazy mornings in the garden as well as midnight sun parties. This is perfect for any seasonal occation. After the big breakthrough with "Electric Warrior" the band went back to studio six months later to make a follow-up - basic tracks recorded in just five days in Copenhagen and Paris, while the Mark Volman/Howard Kaylan backgrund vocals were taped in Los Angeles. Then put together and arranged by producer Tony Visconti with help from Danish recording engineer Freddy Hansson. Made after the same success formula as Electric Warrior - unique mix of utterly simple melodies, partly unintelligible lyrics and quirky yet beautiful vocals. Even if you don't understand half of it you still get it 100%. Hard rock without being "Hard Rock" and concerned ballads about absolutely nothing. The details worthless taken separately, but put together it's magic. Empty and full at the same time and probably as close to Zen you'll get in the rock'n'roll world. Had copies of it since first release, but never got tired of it or stopped loving it. Pure feeling without hung-ups. First US on Reprise (MS 2095) came with fold/out sleeve. Issued and reissued all over the world on LP, cassette, 8-track and CD, some with bonus tracks. Premiere UK had label as shown here and thin matt cover with lyric/credit inner. (RÄX*)

LOS GRANDES CONJUNTOS MALLORQUINES MOCL 5.303 (-66) MONO SPAIN

Spanish sampler containing fourteen cuts from four of many bands active on Mallorca mid-sixties, most of them drawn there due to the island's booming tourist industry. Don't have much background info on any of the combos. Los Javaloyas, founded 1952 and still active 2014, toured Europe as a beat group in the sixties and has represented Spain in the Eurovision Song Contest. Mike And The Runaways was at the time fronted by singer "Mike Kennedy" (born Michael Volker Kögel in Germany). Shortly after this the band consolidated with Madrid combo Los Sonor, reshaped as Los Bravos and with Michael Kögel as lead singer released the million selling single "Black Is Black". The two remaining acts - Los Beta Quartet and Los 5 Del Este - are still unmapped territory for me. All tracks here previously issued on single or EP, ranging from rock/freakbeat over regular pop to languishing ballads. The Mike And The Runaways tracks - Curtis Mayfield cover "Um Um Um Um Um Um" and the uptempo rocker "!!! Ja Ja !!!" - sung in English, the rest in Spanish. Los 5 Del Este cover Beatles "Yesterday" (Ayer), Rolling Stones "Satisfaction (Satisfaccion) and The McCoys "Hang On Sloopy" (Sloopy). Los Javaloyas do two romantic Salvatore Adamo songs which together with the four slow Los Beta Quartet tracks probably were used for late night amorous dancing. Even if the groups and genres differ I get a common cozy feeling tying it all together, enhanced by superb audio - very close and natural. Most of the tracks also include or build on prominent organ, adding to the atmosphere. In all a very pleasant exemple of latin music in the sixties. Though odd as a rock/pop album I guess it could work for scholars in rock history, garage collectors, latino aficionados, people reminiscing their Mallorca holidays or just music lovers in general. Don't know of any other issues. This had label as shown here on very thick unflexible vinyl and fully laminated flip/back cover. (SÄM*) (ÖGÄ*) (SXÖX*)

ROLLING STONES/GOATS HEAD SOUP COC 59101 (-73) UK

Always regarded this as their last great album. Not that I think the following five or ten are bad, but it's the final providing the original Stones atmosphere - rock'n'roll in a carefree almost sloppy manner where message and attitude seems more important for the final result than production and audio. For them I see a kind of reversed connection between modernized studios providing means for sound alterfications and the ability to come true. In short - the better studios the less dirty rock'n'roll and thus farther away from the band I grew up with and loved. This is still old style. Most of it recorded in Jamaica (according to Keith Richards one of few countries that would let them all in at the time) and produced by a Jimmy Miller on hard drugs. Most of the songs grew out of jamming or ideas developed in the studio as they went along. As the story goes the sessions were both relaxed and chaotic, including lots of guest musicians. So even if from another place it was about the same circumstances as for the making of "Exile On Main St." and the result so alike this could have been the third in an "Exile" tripple album. I can do without "Angie" (always could), but the rest is magic to me. Fast messy rockers as "Silver Train", "Star Star" and "100 Years Ago" mixed with slow dirty ones like "Dancing With Mr. D.", "Can You Hear The Music" and "Hide Your Love" plus a couple of surprisingly melodic ballads. All with the exact right ambience - dynamic and connective rather than posh and perfect. Issued and reissued all over the world on LP, cassette and CD through the years. First UK had label as shown here and thick matt fold/out cover with small "goat head" poster and picture/credit insert. (RÅ*)

ALVIN LEE/PUMP IRON CHR 1094 (-75) UK

This was Alvin Lee's (1944-2013) third album after quitting Ten Years After 1973 due to miscontent with the band's new pop oriented style. Following a collaboration with Christian rocker Mylon LeFevre - "On The Road To Freedom" (see earlier post) - he formed a new band "Alvin Lee & Co." which more or less stayed with him for three albums - a Rainbow concert released 1974 as "In Flight", this and "Let It Rock" (both 1975). Listening here it's clear whatever studio or setting, band or instrumentation he went through over the years, it most of all sounds - Alvin Lee. His vocals, guitar style and songwriting are so dominating they totally set the agenda. Even if there's another crew here and some of the instrumentation is different from the old days this could as well be another TYA album and probably not disappointing to any remaining fans of the group. A mix of heavy blues rockers and somewhat poppier stuff, all cuts written and produced by Lee and almost entirely permeated by his familiar voice and guitar licks. Favorite tracks - the heavy blues "You Told Me" and the rocking "Julian Ride". US and Canadian first on Columbia (PC 33796), various European on Chrysalis and 1998 CD issue by Repertoire Records (REP 4703-DG). Premiere UK had label as shown here and thin matt cover. (XYÄ*)

THE WHO/WHO'S NEXT 2408102 (-71) UK

Album tracks initially written for a rock opera called "Lifehouse", intended as a follow up to "Tommy". But as the project grew more complex and their manager/producer Kit Lambert at the time was going down on hard drugs they decided to cancel the large undertaking and instead use some of the material for an ordinary LP. Apart from "Won't Get Fooled Again" - which was recorded on Rolling Stones mobile studio - all were made at Olympic Studios, London, and in Lambert's absence produced by the band with assistance of engineer Glyn Johns. From that background the result could have been half-baked or mediocre, but instead it became their most successful LP - topping the UK list, reaching #4 on Billboard and charting high in a large number of other countries. Today also widely considered one of the best rock records ever made and all real rock fans have or can access it in some format. It feels pointless trying to make some kind of review here. Had issues of it to and from since first release and nowadays one of those albums that's so part of my musical world I use it as a reference. Hard rock carrying catchy melodies with concerned lyrics. Production is elaborate but with kept natural atmosphere making it sound direct with a borderline live feeling. Combine all that with top audio and I couldn't ask for more. First US on Decca (DL 79182) came with same sleeve design. When checking "facts" about early UK:s on the net I get many different messages. Following is just common sense. All of the earliest issues have a side one stamped A#1matrix number besides an etched US type "MG 12888". Side two stamped matrixes can be either B#2 or B#3 (I even heard of a B#4 to the A#1, but can't confirm it). The labels are matt as shown here and the vinyl medium thick. Cover is thin matt with "pinched" spine having the record number printed at the low end, some with a common Polydor/Track "head hunters" inner. (WÖH*) (TRÄC*)

THE MIRACLES/RECORDED LIVE ON STAGE TM 241 (-63) US MONO

Part of the Motown "Live On Stage" serie issued 1963 which also included artists as Stevie Wonder, Marvin Gaye, Marvelettes and Mary Wells. In this case with performances recorded 1962 at Apollo in New York and Regal Theater in Chicago. This is the seventh album I'm posting by the group and the earliest so far. At the time they had their first million seller - "Shop Around" - and released another Billboard top ten - "You've Really Got A Hold On Me" - but as a black band at the time still struggling for wider acceptance. What you get here is a very tight and already experienced live combo - from lead vocals down to smallest part of the backing. All songs written by Robinson and so well performed if it weren't for the public noise and atmosphere it could have been a studio session. Audio is as good as expected from 1962 live takes made right on with a couple of mikes without further tampering. It's like an old snap-shot, somewhat unclear still as an original far more connective than any later re-make however embellished that may be. Favorite tracks - "A Love She Can Count On" and "I've Been Good To You". To my knowledge first released in US and Canada only. A couple of the cuts included on the UK 1963 Stateside "Recorded Live"sampler (SL 10065) together with other selections from the serie. Premiere US had label as shown here and thick sleeve with laminated front. (YZÄ*) (TÖMÖ*) (ÖXCÅ*) (SXÖM*) (LYBÖ*)

THE 1969 WARNER/REPRISE RECORD SHOW PRO 336 (-69) US

Another one from the US Warner Bros. "Loss Leader" serie (concept referring to a sales strategy where an item is sold under marketing cost to promote more profitable articles - in this case single samplers for $1, doubles for $2 and triples for $3). This 2-LP set was the second of thirtythree such from the label issued between 1969-80. The four sides each present a theme - country style, soft pop, mixed pop and what they call "Hippie Creep Rock'n'Roll" - showing on the label's amazing musical width at the time. Here's the whole spectra - from non household acts as Mothers Of Invention, Fugs, Grateful Dead and Mephistopheles over contemporary teen idol names like KInks, Neil Young, Joni Mitchell, Peter Paul & Mary and Jimi Hendrix to older artists Ella Fitzgerald, Fats Domino and Everly Brothers. All high quality so no need for the acceptive music lover to jump tracks - just turn sides and take it in. You also get a couple of rare cuts. As far as I know Geoff & Maria Muldaur's "All Bowed Down" and Hamilton Camp's "Star Spangled Bus" have remanied unissued otherwise and this may still be the only place for them. Everly Brothers "Empty Boxes" was a 45 only cut. Kinks "Nothing To Say" from the "Arthur" album is presented as mono on the info sheets (explained by - "...that's the only kind of tape we got from Granada TV, which commissioned the project"). The cut here is the mono version, but slightly enhanced for better width. Pressing the mono button narrows it down a little, but whichever you choose it sounds better than the one on the UK "Arthur" mono album. Fats Domino's cover of Everybody*s Got Something To Hide Except For Me And My Monkey" also an enhanced mono version - probably from the 45 edit. Rare or not there's enough here to get me through the day -checking track history, reminicing and enjoying all the good music. Audio shifts a little depending on original recordings, but it's pleasant listening all through. First had label as shown here, thick glossy fold/out cover with info sheets and custom artist pic inners. (YZÄ*) (SÄM*) (LÖZZ*)

JOHN LENNON/WALLS AND BRIDGES PCTC 253 (-74) UK

Counting early Yoko collaborations and the 1969 live this was his ninth LP. It topped the US list, reached #6 in UK and sold millions world wide. Backing and production top notch, songwriting quite all right and he sings as good as always. From a marketing viewpoint it's like he finally got it together for success. But it didn't work 100% for me and still don't. As a fan I followed Lennon's solo efforts through good and bad from "Two Virgins" and on, loving or at least accepting the outbursts of anxiety, the quirks and experiments, the political trials and controlled madness. To me it was about the rebel and genius, but also the ordinary guy who never really managed to fit in. Some of his albums came to me directly while others craved special attention. Whatever the style or message there was always something significant, something to make me melt, get off or at least sit straight. I don't get any of that here. Even if the problems he's dealing with are real I miss tension, excitement, humor and his ability to communicate strong feelings. All that aside it's still a good album and if by any other artist I probably would embrace it harder, but from Lennon I expected so much more - or a least different. Favorite tracks - "What You Got" and "#9 Dream". Premiere US on Apple (SW 3416), First UK had label as shown here and gimmick cover with picture inner and picture/lyric/info booklet. (BÄ*) (JYZÖ*) (ÄPLÄ*)

T.REX/BOLAN'S ZIP GUN BLNA 7752 (-75) UK

UK version of the US 1974 "Light Of Love" album (see earlier post). Side one has same tracking, while the side two cuts "Teenage Dream", "Explosive Mouth" and "Venus Loon" - already issued in UK on "Zink Alloy" - was replaced by "I Really Love You Babe", "Golden Belt" and "Zip Gun Boogie" - originally recorded for an intended but cancelled US follow-up. The common tracks has some audiophile differences. The US pressing comes out more even and somewhat sharper, while the UK has bigger bass and is slightly more dynamic. Even if I'm not all in with Bolan's soul-glam merging trials of the period I actually like the three new songs here. Less soul and more quirky glam puts him on home turf and with the boogie it's like he never left. Not that I dislike soul music, but there were about 5000 Americans doing that ten times better then so he shouldn't have meddled. Cobbler, stick to thy last! Even if T.Rex still had a considerable fan base in Britain at time for release this didn't sell at all, mostly because the US original already had been imported in large quantities to reduced cost and few wanted to pay full album price just to get three new tracks. Originally also issued in Australia (EMI - same no.as UK) and Germany (Ariola 88679 XOT). Premiere UK had label as shown here and fully laminated die-cut sleeve with glossy picture inner. (RÄX*)