WINGS GREATEST PCTC 256 (-78) UK

Lately I've had three McCartney/Wings compilations - "All The Best!", "Wingspan" and this. The other two a lot more comprehensive - ATB having seventeen tracks and Wingspan forty - both remastered with very clean audio. Still this twelve track is the only one I keep returning to and truly enjoy. One reason is I want retrospective collections to be as early and thus as close to the originals as possible...and this was first. Another is the authenticity - all cuts here are the original analog mixes, the audio is stunning and to my ears a lot warmer and more connective than any digital conversion. And I do get four songs for the first time on LP - "Hi Hi Hi", "Another Day", "Juniors Farm" and "Mull Of Kintyre plus "Live And Let Die" earlier only on the soundtrack album. He had enough material for a double album and I wish he'd done that, but it's too late now so I'm settling with what it is. First US on Capitol (SOO-11905). Premiere UK had label as shown here and glossy cover with picture inner and poster. (BÄ*) (PÖP*) (PÖX*)(MÄCC*)

FATS WALLER FAVORITES - A PROGRAMME BY FATS WALLER AND HIS RYTHM DLP 1008 (-53) UK

UK compilation of eight cuts recorded 1929-41, transferred from 78 rpm records to vinyl. You get the original instrumental recordings of "Ain't Misbehavin" and "Honeysuckle Rose" - each here presented as "piano solo" - and one more non-vocal "The Minor Drag". "I Can't Give You Anything But Love" a duet between Waller and his thirties protege Una Mae Carlisle (1915-56), remaining sung by Waller alone. When I go for 78 rpm recordings conveyed to later formats I always try to get it as early as possible, with cuts directly transmitted from record to record, without any cleansing or other embellishing procedures. That way I get closer to the original audio and atmosphere. If you modernize the past you'll kill it and the roots get lost. This however is nigh to the source and I'm there. There's been lots of Fats Waller compilations through the years, but to my knowledge this variation was UK only. First had label as shown here and glossy sleeve with crescent flips. (NYFÖ*) (PÖP*)

FUTURE STAR EXPLOSION - NEW FACES OF THE 70's SE 8004 (-70) UK

Very odd 1970 sampler from budget label Ember, larger part consisting of cuts now almost entirely unknown from acts long forgotten. After hardly keeping up with the more successful UK labels in the sixties it seems they were trying to get ahead in the new decade by signing a large number of artists, refused or neglected by other companies, hoping to get at least a few breakthroughs. Album topped by tracks from three then at least semi-famous names - Desmond Dekker & The Aces, Blonde On Blonde, and Julie Rogers - probably meant as tractors for the venture, but the rest is unmapped territory...at least for me. Checking the further destinies for most of the acts involved you might say it was a brave project that failed. The Polly Niles and Alan Lake songs remained sampler only tracks, Davey Payne and Good Ship Lollipop issued one single each and that was it, London Jazz Chamber Group had a one-off album, Lee Lynch sold a few copies in Belgium and Portugal and if you add a couple of B-sides or EP tracks from flunking '45:s - that's it. Most of the tracks are covers, not reaching up to the originals but still nicely performed, produced and providing good listening. And that goes for the whole album - decent pop, nothing outstanding but very well done. Best tracks are the ones from the more well-known Desmond Dekker, Blonde On Blonde and Julie Rogers, but non of the rest is bad and if you're like me and enjoy digging for oddities and "unknown" obscure acts it's a must. Reissued as an extented twentyone track CD 2009 - "Rainy Day Mind (Ember Pop 1969-74)" on Fantastic Voyage (FVCD020). First had structured label as shown here and thin matt cover. (SÄM*) (FÄV*)

GEORGE HARRISON/LIVING IN THE MATERIAL WORLD PAS 10006 (-72) UK

This is the one of his Apple albums I've had hardest to connect to through the years. At release high on lists all over the world and hailed by many critics as a worthy follow-up to "All Things Must Pass". I don't think it is. That was seminal in a way, combining heavy production with well written songs and filled with catchy moments as well as uncommon ideas. In comparison this is rather ordinarily produced pop melodies with few hooks and the lyrics far more private - most of them dealing with his struggle for personal enlightment by hinduist strategies. I don't mind religious lyrics in general, but this gets too personal for me. Not that I think it's bad, just to my taste not up there with ATMP, "Extra Texture" or "Dark Horse". Good guitars and vocals though, top audio and I love the plush package. Issued world wide on vinyl, 8-track, cassette and CD through the years. First US on Apple (SMAS-3410). Premiere UK had custom labels as shown here, thick heavily laminated fold/out cover, picture/lyric sheet and brown inner. (BÄ*) (ÄPLÄ*) (GÄÖ*)

MAGGIE BELL/QUEEN OF THE NIGHT 2383239 (-74) UK

Her first solo album after Stone The Crows split due to band guitarist Leslie Harvey's accidental death on stage from electrocution 1972. The group's manager Peter Grant had remained with her since and now oversaw she got to record in Atlantic studios New York with producer Jerry Wexler. I've always seen this as sibling album to "Dusty In Memphis". Five years apart, but the likeness is there. British female vocalist going to America, recording in an Atlantic studio with label crew and using the same producer - Jerry Wexler. And while Dusty Springfield appears as the older sister, coming through soft and mature, Maggie Bell in comparison sounds like the cheeky lil sis, faster and more unbridled. "Dusty In Memphis" is today considered a soul/r&b classic while this has wind up in the backwater. Seems unfair to me. Dusty is a lot cooler and Bell's intensity can be challenging, but they're both great vocalists backed and produced by the best in the genre. Same high level just different moods. All tracks are favorites, but I especially like her cover of "After Midnight" - not standing back to Clapton's version or the J.J. Cale original. She also puts a lot of power in Ringo Starr's "Oh My My" and turns it from a charming pop bagatelle to heavy soul. Good listening all through. First US on Atlantic (SD 7293). Premiere UK had label as shown here and matt slightly structured cover. (FÄV*)

THE ROLLING STONES/GREAT HITS ND 265 (-69) GERMANY

One of many period Rolling Stones collections, of which some were part of internationally common issues and others domestic only. This was originally German with an unusual track choice. Side one has three songs from "Between The Buttons" and three from "Aftermath" - both albums previously issued in Germany not long before this. Side two contains four cuts from their debute and two earlier part of the German only "Around And Around" LP, still re-pressed and sold at the time for this. Side one are all common stereo takes while side two is mono, sometimes sounding slightly enhanced but with remaining original mixes. So when it comes to rare tracks or odd versions there's nothing special here. Still worth having because of the very good audio, especially on side two, and the exclusive front cover pic. Also released in Switzerland and Holland. German 1975 re-issue on Decca Nova. First press had label as shown here and fully laminated cover. (RÅ*) (GÖXÄ*)

BUDDAH IN MIND 2349008 (-70) UK

I could never resist a good sixties or seventies sampler. Even if not exactly my songs it's something extra to get hits and/or rarities from my earlier more perceptible years - to listen, reminisce and maybe rediscover. Like this UK collection with cuts originally from Kama Sutra, Red Bird and Buddah labels. Some long time favorites - Loving Spoonful "Jug Band Music" and "Summer In The City, Lemon Pipers "Green Tamburine" and tracks by Johnny Winter; Melanie and Captain Beefheart. Others I never heard or barely remember from back then - by Shangri-Las, Tokens, Five Stairsteps, Moe Hoffman and Curtis Mayfield. And even though the track genres differ between psych, soul, pop and rock it's all coosen and presented with the same nice atmosphere, like a candy box where all sweets are covered in the same layer of chocolate, but having different fillings. Not a record I'd pick for close listening, but a lovely background and mood setter. First had label as shown here and laminated fold/out cover with a "99p" price sticker on front. (SÄM*)

BOW WOW WOW/I WANT CANDY EMC 3416 (-82) UK

For more on the band check post on their debute LP. This sixteen track EMI compilation was presented as a kind of single collection, which it was in a way since most of the tracks had been released on '45, but more important it contains all eight cuts from their actual debute - the 1980 cassette "Your Cassette Pet" (WOW 1) together with the 1980 cassette single A+B "C 30, C 60, C 90 Go"/"Sun Sea And Piracy" - here for the first time on 33 rpm. There's also an A-side recorded for Markthalle cultural center in Hamburg - "Mile High Club" - and a couple of other previous non-LP tracks - part by courtesy of RCA who owned the rights some of the songs. I like their musical fashion blending post modern, african drums and fifties guitar style. Even though most of their songs sounded about the same through the years the style was so odd they remain as novelties. The very young singer Annabella Lwin handling sexual subjects has been seen as some kind of pop pedophilia and may leave a bad taste, but the lyrics aren't very clear and much drowned by the music anyway, so it's not disturbing if you don't look for it. US and Canadian on Harvest (SK-12234) as twelve track, omitting "I Want Candy", "Cowboy", "Bow Wow Wow", and "C 30, C 60, C 90 Anda! (Spanish version)". Premiere UK had label as shown here and thin glossy cover. (PÖP*) (FÄV*)(FÖP*)

TWIST A LA STAR-CLUB E 83 567 (-64) MONO GERMANY

German only compilation consisting of fourteen single and EP cuts recorded between 1961-63, originally issued by British EMI labels and most of them through the "HMV Pop" serie. Going from early Cliff Bennett & Rebel Rousers, Screaming Lord Sutch and Mike Berry over Johnny Kidd, Bruisers and Dean Shannon to Dave Clark Five, Hollies and Beatles. For me an amazing journey back to the time when the British sixties pop formula started to emerge from covering and imitating contemporary US artists and eventually taking shape as something unique. Also very rewarding to have those rarities on an early issue in one place, all original mono cuts with top audio. And there's so much good music. Both sides of Screaming Lord Sutch & The Savages "Till The Following Night"/"Good Golly Miss Molly" '45, one of the earliest Cliff Bennett & The Rebel Rousers recordings "That's What I Said", Mike Sane "Just Like Eddie" and Mike Berry "A Tribute To Buddy Holly". The Beatles, Hollies and Dave Clark Five tracks more common, but nice to see in this company. Favorite track - Screaming Lord Sutch "Good Golly Miss Molly"- has to be the rudest UK recording made before the Pretty Things debute. Audio shifts a little depending on original takes, but all over very good listening. First had label as shown here, thick vinyl and fully laminated cover. (SÄM*) (GÖXÄ*)

THE BEATLES/20 GOLDEN HITS 7C 070-07030 (-79) SWEDEN

One of many sixties and seventies Beatles collections released with same tracking and package, or just small variations, in almost every part of the world except UK and US. In this case probably unreleased there not to clash with the large number of boxes and other compilations planned or issued in those countries same period. What I get through this is the earliest version of a #1 compilation, idea later reused on the US/UK "20 Greatest Hits" and the 2000 "1" CD. Here not so much reflecting US/UK sales, but also including list topping A-sides in other places, some not even issued on single in America or Britain. Still it's the same takes as spread on many other records and only novelty is the track list, so why bother? "She Loves You" is rechanneled and the rest true stereo. As on most Beatles records the audio is a-ok and this cover rather lush, but the thing that makes it special to me is the '45 "organ" cut of "Let It Be", one that can be hard to find on 33 rpm. As I'm trying to get all Beatles original single cuts on reasonably early LP that makes it a keeper. First Swedish had label as shown here and cover with embossed golden fonts on front. (BÄ*) (CCÖ*) (LGÅ*)

THE ORIGINAL LONDON CAST/SING A RUDE SONG 2383018 (-70) UK

Record containing parts from a short lived London West End musical about the life of British singer and comedian Marie Lloyd (1870-1922), known for her rude and cheeky songs and called "Queen of the Music Hall". Performed by Barbara Windsor and Dennis Quilley among others, but what makes it interesting to me is the production and participation of BeeGee Maurice Gibb as Lloyds husband Bernard Dillon. While the band had temporarily broke up with Robin launching a solo carrer and Barry concentrating on the "Cucumber Castle" endeavor, Maurice took a chance to perform at the theater by part handeling and coact in a classic style musical. However this is nothing like BeeGees, a lot more "My Fair Lady" than "Odessa" and the only similarity I can find are the elaborate string arrangements and the superb audio. Maurice Gibb does three of the songs, two in duet with Barbara Windsor and backing crew - "We've Been And Gone And Done It" and "Waiting For The Royal Train" - and one solo - "Leave Me Here To Linger With The Lady". Far from the BeeGees' vocal idiom his voice sounds much more mature and expressive here and can be hard to recognize . May do it for die-hard band fans and musical lovers in general. Record produced by Maurice Gibb in arrangement with Robert Stigwood. To my knowledge this British was the only vinyl release. Reissued on CD-R 2003. First had label as shown here and thin glossy cover. (BÅXÅ*)

DR. DEMENTO PRESENTS THE GREATEST NOVELTY RECORDS OF ALL TIME RNBC 490 (- 85 ) US MONO+STEREO

Six album box consisting of novelty recordings picked from DJ Barry Hansen's (a.k.a. Dr Demento) radio show, which was aired in US between 1974-2010 and famous for playing wierd, comic, parodic or just bad songs recorded during the 20th century. On this issue carrying samples from early twenties up to the late eighties, shared between six albums - first covering the early years, one each for the fifties, sixties, seventies and eighties and one with christmas songs. I'm usually not much for retrospective boxes, but this seems necessary...at least if you have a taste for the bizarre, I can't imagine the effort and cost it would take to get all originals. Found it rather recently and so far the one closest to my heart is the sixties record. Many pop/rock original classics there I didn't have before - "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini", "Alley-Oop", "Gitarzan", "Surfin' Bird", "They're Coming To Take Me Away, Ha-Haaa" - and more. Nice to have them all on one LP. For the rest I'm jumping tracks, but doing it frequently between artists as Grouch Marx, Jimmy Durante, Tom Lehrer, Steve Martin, "Wierd Al", Spike Jones, Tiny Tim and more anonymous acts like Lonzo & Oscar, Barnes & Barnes, Spencer & Spencer and Homer & Jethro. A box full of smiles from over sixty years of music. Good to have. All cuts original mono or stereo and the audio is smashing. As far as I know only issued in US. All records in separate covers hosted in a "leather" box together with a sixteen page pic/info booklet and a stiff glossy track sheet, each numbered and signed by Dr. Demento himself. Presented as limited edition, but in that case limited to a large number. (SÄM*) (YZÄ*)