SUPER STARS - SUPER HITS/24 ORIGINAL ALL TIME GREATS D 348 (-67) US MONO

US Columbia record club sampler with one for me unexpected collection of artists from a vast variation of labels. Lots of goodies here. To start with it's nice to get earlier non-LP tracks gathered in one place - e.g. Aretha Franklins 1965 version of "Sweet Bitter Love", Sonny & Cher debute "Baby Don't Go" and Four Seasons "Spanish Lace". But here's also a number of excellent cuts from albums that today can be hard to find - like Count Five "Psychotic Reaction" and The Young Rascals "Come On Up" - topped with a couple of then prominent hits - Doors "Break On Through", Sam & Dave "Hold On I'm Coming" and ? & The Mysterians "96 Tears". Audio shifts a little due to original recordings, but it's enjoyable listening all through. Cover painting by US "pop" artist Bill Bell. Still quite common on auction sites and possible to get a fine copy under $10. So if you can look past the rather cheapish appearance and just want good period music at a low cost it's recommended. Also released as stereo (DS 348). First had label as shown here and thick glossy cover. (SÄM*) (ÖXCÅ*) (YZÄ*)

PETER SARSTEDT/AS THOUGH IT WERE A MOVIE UAS 29037 (-69) UK

For background check post on his debute. This is about the same - singer/songwriter mode reminding of Donovan, Harvey Andrews and early Cat Stevens, mixing contemporary genres as ballads, baroque pop, psych and rock'n'roll. All very British with a cozy atmosphere. Orchestral arrangements, as on the debute made by Ian Green, are sparser here but not less adventurous. It's like he's trying to sqeeze most contemporary genres into one piece of vinyl attempting to please both hippies, conformists and all inbetween. The album has been criticized for being too self-aware and even pretentious, but which late sixties singer/songwriter wasn't? It's almost a sign of those times. I get a smorgasbord of contemporary pop music styles tied together by pleasant vocals, concerned lyrics and partly quirky arrangements conveyed by warm embracing audio. Maybe not all up there with his more famous British peers, still odd and good enough to be worth a fair chance. Favorites - the pop psych title track, the humoristic "Take Off Your Clothes" and the country rocker "Sunshine Is Expensive". Also issued as UK mono (UAL 29037). Haven't heard that but since the stereo is a perfect compatible I'm guessing a fold. First US on World Pacific (WPS-21899). Premiere UK had label as shown here and laminated fold/out cover. (SYSÖ*)

ROLLING STONES/IT'S ONLY ROCK'N'ROLL COC 59103 (-74) UK

Up to and with the previous "Goat's Head Soup" I was all in with Rolling Stones. This album was the first I couldn't connect to 100%. The title is a damn lie - a couple of mushy ballads, disco funk, a Temptations cover and a raggae. So however you turn it it's not only rock'n'roll. Two good rockers - title track and "If You Can't Rock Me" - but both with introspective lyrics (rock about rock) showing on a growing distance to the craft. For me this is the album where the Stones started to loose that special "it" factor. Maybe it had to do with the absence of Jimmy Miller, deep down on drugs at the time, forcing them to be more in charge, or a kind of awakening to the situation. Or maybe it's just the band adapting to new circumstances - the seventies music scene with posher studio equipment and a number of other genres masquerading as rock. In any case it's not dirty enough for me. Title track, "If You Can't Rock Me" and "Luxury" still has it, but the rest doesn't do it for this old sixties fan of the band. 1974 issues all over the world on vinyl, cassette and 8-track. Premiere UK had label as shown here, matt cover and stiff pic/credit inner. (RÅ*)

SUMMER BREAK

Still time left of the sunny season so I'm taking a short vacation from regular indoor life and will try to be outside as much as possible the rest of July. That means no new posts in the nearest week or two. Back in a while and then it's business as usual. Happy Holidays/Erik

UNDERGROUND '70 SPR 35 (-70) GERMANY

One of many "Underground '70" samplers issued in the wake of the UK "Fill Your Head With Rock" and "Block Buster" compilations - all with differing track choice adjusted to contemporary domestic music scenes. This blends then popular US acts still appreciated today - as Al Kooper, Chicago, Flock, Moby Grape and Sprit - with now lesser known outfits like Aorta, Illinois Speed Press, Appaloosa and Jacob's Creek. For me an opportunity to reaquaint with idols from forty years ago, but also discover bands that for some reason stayed unknown to me all this time. The Aorta track "Heart Attack" is lovely psych with howling guitars and jazzy organ, Illinois Speed Press "Hard Luck Story" heavy guitar blues, Apploosa "Rosalie" an orchestrated country ballad and Jacob Creek "Behind The Door" odd soul/prog/psych. All good tasters making me wanna hear more. Premiere German issue had custom silver label on purple vinyl as shown here, fully laminated cover and tophole audio. Highly recommended both for the interesting tracking and high class package. (SÄM*) (GÖXÄ*)

T.REX/FUTURISTIC DRAGON BLN 5004 (-76) UK

Together with "Bolan's Zip Gun" long time filler, one of those records I keep for completist reason only. But after reaquainting with BZG and actually starting to like some on it I might as well give this a second chance too. It's been the hardest for me to grasp through the years. Always liked about everything Bolan from first Tyrannosaurus Rex album up to "Tanx" and the come back with "Dandy In The Underworld", but his American mid seventies soul adventure not so much. At this time Bolan had worked on an ambitious multi-media project titled "Billy Super Duper", which was cancelled just before take off. Instead they decided to release a bunch of earlier unissued cuts, as they were or partly remade. So though the public recieved it as a newly recorded T.Rex album what they got was a collection of leftovers. That would explain the variation in arrangements and style. Songwriting is the same procedure as last year, but you can hear the cuts originally were made from varying circumstances - shifting between psych, soul, boogie and rock'n'roll. I guess the all over dense production and audio was an attempt to hide the track's differing origins thus enabling to present them as a coherent set. It's by far the least well sounding of all "original" UK T.Rex albums, partly almost muddy. Still you can discern a couple of very enjoyable numbers - "New York City" a reliable Bolan rocker, "Casual Agent" has nice string arrangements, "Chrome Sitar" and "All Alone" simply good songs...in fact the more I listen today, almost forty years later, the more I like it. Back then it couldn't compete with "The Slider", "Electric Warrior" or "Tanx", but from a later perspective compared with much of the crap poring out of radios and computors today it sounds fresh, almost like a novelty. So I hereby upgrade it - from filler to cherished item. Original releases in Europe and Australia. First US LP and CD 1987 on Relativity/Marc On Wax (88561-8252-1/2). Premiere UK had label as shown here, thin matt cover and stiff matt lyric inner. (RÄX*)

ROLLING STONES/NOW LL 3420 (-64) US MONO

Rolling Stones third American studio album. Back in the mid sixties there was hardly any US LP import to Sweden, so when the RS ones started to show up late sixties, early seventies we already knew most of the songs from English or German albums. Still exciting with the thick paper covers, different trackings and sometimes alternate versions or audio so most band fans bought them anyway. As I remember both "Surprise Surprise" and the alternate version of "Everybody Needs Somebody to Love" were new to me at the time I got my first copy and I also thought the cuts from the UK "No. 2" sounded better here. In fact still today I rather listen to this because of the audio and more interesting track list. I give up trying to place all the different London label designs in time order for this album. There must be at least five different for the mono only. It seems the dark maroon here was pre-1966 and the remaining back cover notes - Loogham's "blind man" text and the Ian Stewart credit for "Time Is On My Side" (not on the album) - later removed from most issues, shows on an early press. The Australian version I posted earlier had "I Can't Be Satisfied" instead of "Mona (I Need You Baby)" and also slightly different audio. Will be back with a more thorough comparison between the two later. (RÅ*) (YZÄ*) (ÖXCÅ*)

WILD TURKEY/BATTLE HYMN CHR 1002 (-71) UK

Glenn Cornick (1947-2014) was a cofounding member of Jethro Tull and as the only one with some kind of musical education contributed a lot to the band's early sound as bassist and arranger. 1970 after the "Benefit" recordings sacked by Ian Andersson because of his wild drug/party life style. Following a short stint as studio musician he formed the "Wild Turkey" outfit which lasted 1971-74, releasing two albums - this and the 1972 "Turkey". Vocalist Gary Pickford-Hopkins came from psych combo "Eyes Of Blue" and drummer Jeff Jones had been a member of "Man", playing on their debute - "Revelation". Guitarists Tweke Lewis and Jon Blackmore (no Purple relationship) didn't have background in any known bands and while Lewis went on to join "Man" later on Blackmore returned into oblivion. This debute fits the description "forgotten gem". Forgotten - because it seems to have disappeared soon after release with very low sales (though it did make a short visit at Billboard #193) and even today hardly acknowledged by others than the most die-hard prog fans. Gem - because it has all the ingredients of a great prog album. There's a couple of bass licks and a sometimes folky atmosphere reminding of "Benefit", but apart from that this has little to do with Jethro Tull. Diverse and adventurous with complicated melody lines and theme changes, borderline jazzy still including some raw rock/blues moments. Clearly a team effort, but to me the guitars stand out - electric as well as acoustic. On the negative side - though with good songwriting all through I miss catchy moments and some hit feeling. Also the audio on this first UK press is a little too blunt for my taste, not muddy but it would have benefited from better separation and dynamics. Favorite tracks - "Butterfly" and "Gentle Rain". 1971 European releases on Chrysalis. First US and Canadian 1972 on Reprise (MS 2070). 2004 remastered CD on Mason Records came with two (live) bonus tracks. Premiere UK had label as shown here with "i" logo on top, thick matt fold/out cover and lyric inner. (YÖHT*)

TOM JONES/DELILAH LK 4471 (-68) MONO SOUTH AFRICA

Tom Jones compilation only issued in South Africa. Named after his biggest domestic hit, so when the ordinary "Delilah" album came out there somewhat later - having same cover design, tracking and number as UK - that was renamed "One Day Soon" to avoid confusion. It's an unusual collection of picks from earlier issues as it doesn't have any of his biggest hits apart from the title track. Maybe because EMI already had the national rights to some of his early stuff or the pro-segregational cultural censorship common there at the time - or a little of both. I guess original UK tapes were used, but the pressing isn't as good as on the UK issues. The calmer cuts plays OK while the up-tempo ones sounds a little messy at parts. Nothing serious and if I want perfect audio for the songs I can easily get that elsewhere. What makes it worth having for me apart from the track list is the uncommon Decca label design, the thick unflexible vinyl and the laminated flip/back cover with the early b/w pic on front. Very nice package. (TÖJX*)

HERMAN'S HERMITS 33SX 1727 (-65) UK MONO

Continuing the summer theme. Always liked Herman's Hermits. In the sixties that was one of my guilty pleasures. With friends, as we constantly searched for new exciting music from US and UK like Zappa or Pink Floyd, they were a definite no-no. It's first later years I've come out of the closet and made it public. Back then I thought the music reflected their background and personalities as well bred happy-go-lucky guys, but obviously they were a project by producer Mickie Most who picked up a an ordinary Manchester r/b band, gave them clean-cut personas and very "English" repertoire - mixing innocent uptempo with romantic ballads and pop versions of old British vaudeville and comedy numbers. All aiming to take part in the flourishing UK music export to America at the time. And success it was. From this debute album two of the songs were released as singles in US - "Mrs. Brown You've Got A Lovely Daughter" (remake of a song from a 1963 British TV-play) and "I'm Henery The Eighth I Am" (pop version of a Harry Champion Music Hall number from 1910) - both topping Billboard, where they also had ten more top 10 and seven more top 50. Non of the tracks from this UK debute were released as singles in England due to the EMI "no singles on album" policy. The album itself reached #16 on the UK list and remained their best selling LP there up to the 1971 "The Most Of Herman's Hermits" at #14. To me this is perfect summer pop. Happy, positive, funny and so self-evident it's impossible to get tired of. A little bit of Beatles, some Gary & The Pacemakers, but also reminding of old British 78 rpm heroes like George Formby or Flanagan and Allen. Love it all, maybe with some reservation against "For Your Love" since I can't help comparing it to Yardbirds version. Mickie Most production and audio top notch - so clear it's almost like a visit. First US "Introducing Herman's Hermits" (MGM E/SE 4282) included the UK "Hermania" EP and only had three cuts in common - "Mrs. Brown...", "Walking With My Angel" and "I Wonder". Premiere UK, issued in mono only, had label as shown here and laminated flip/back cover. (HÄHX*)

CREEDENCE CLEARWATER REVIVAL/GREEN RIVER LBS 83273 (-69) UK

Another of my seasonal LP:s. CCR was probably the last band to reach world wide success and topping lists through a number of rock'n'roll singles and albums produced according to the sixties garage formula - direct takes without further studio embellishments, pressed with a minimal use of limiting or compression. As this - simple swamp rock with captivating vocals to sturdy backing carried by a true garage quality. It was their third album in about a year with pretty much the same kind of outcome. Not sure why this in particular has become my summer record, but it probably had to do with a certain girl I was making out with summer 1970 who had it and played it over and over, especially their cover of Nappy Brown's "The Night Time Is The Right Time" (which seemed promising at the time). Anyway there's a lot more to love here. Two of their biggest hits "Bad Moon Rising" and "Green River" plus the two tophole B-sides - "Lodi" and "Commotion" - so ripe they could have been A:s anytime. Remaining five tracks hold the same high standard - perfect blend of catchy melodic and unrefined, braided by John Foggerty's raw yet pleasant voice. No need to jump tracks here, just turn sides. Good enough to last the entire hot season and many after this. Premiere US on Fantasy (8393). Issued and reissued all over the world on LP, cassette, 8-track and CD through the years. First UK had label as shown here and thin structured cover. (XLÄ*) (CÖR*)