FRANCOISE HARDY NPL 18094 (-64) UK MONO

Probably the most prominent lasting female artist in French pop culture from the early sixties up to this day, with fame also spread outside the latin sphere. Apart from issuing twentyseven original albums, some with vocals in English or German, and countless 45:s she'd also starred in a number of movies and been involved in the fashion industry through the years. Early inspired by chanson stars, but eventually also by fifties and early sixties US and UK pop/rock. B-side of her first single "Oh Oh Cheri" - "Tous Les Garcons Et Les Filles" - became an unexpected succes and not only sold millions domestically but also eventually made impact in US and UK. This debute LP - first released 1962 on Vouge in France (LD 600-30) and a couple of other French speaking countries - wasn't issued in UK until two years later when TLGELF got on the list there, using the same tracking and front cover. It's good period pop with rather sparse instrumentation, all cuts but two written or co-written by Hardy. Even if some of the tracks are up-tempo it's all rather cool and relaxing with her personal and sensitive vocals on top. I don't understand much French, but it doesn't matter here - most of the message comes between the words anyway. Favorite tracks - "Tous Les Garcons Et Les Filles" and "Le Temps De l'Amour". US 1966 issue as "The Yeh-Yeh Girl From Paris" on 4 Corners Of The World label (FCL/FCS 4208). First UK had label as shown here with Pye logo on the left (later on top) and laminated flip/back cover. (FÄV*) (SYSÖ*) (GZÅ*) (PÖY*)

THE EDDIE COCHRAN MEMORIAL ALBUM LBY 1127 (-63) UK MONO

First issued on US Liberty (LRP 3172) as a twelve track - "12 Of His Biggest Hits" - but after his tragic death in a car accident while touring England later same year title was changed to "Memorial Album" and song list changed and enhanced to fourteen tracks when issued on UK London (HA-G 2267). Besides Elvis and Buddy Holly the white US rock'n'roll artist with greatest impact on the early British rock scene, cruisal for the development of the Merseybeat sound and further "british invasion". Not only as songwriter and musical rebel with a cause, but also a developer of studio methods and early user of multi tracking. Not only was his songs frequently covered, many also copied the attitude and atmosphere. So it's only logical this second UK issue came in the middle of the first Beatles breakthrough and Merseybeat boom. Not sure how much impact the LP had at the time, but for me today it has become down right necessary. I get one of the main sources of modern rock, in mono as recorded and with top audio. There are one or two unoffensive ballads on it I could do without, but most important I get the classics - "Summertime Blues", "C'mon Everybody" and "Somethin' Else" - as first made and intended. That's history! Early UK had label as shown here and laminated flip/back cover. (FÖGÄ*) (XLÄ*)

RINGO STARR/RINGO PCTC 252 (-73) UK

His third studio LP. At release sometimes recieved and even advertised as a Beatles reunion album. And that is how I wanted to hear it back then, loving the fact that all four participated. Not at the same time or tracks...but still. Most of it recorded in Los Angeles with McCartney's part made at Apple Studios in London - as he wasn't let in to US due to former drug charges. In fact the closest you come to The Beatles here is the track "I'm The Greatest", written by Lennon and perfomed by Ringo, John and George assisted by Billy Preston and Klaus Voorman. There's also George participating on three more cuts and Paul on two, but not the same ones. In total three tracks written or co-written by Harrison, one by Lennon and one by McCartney - only coinciding being "Photograph" (Harrison/Starkey). So "Beatles album" only from a very large perspective, still with enough other renowned names to keep up interest. Apart from the already mentioned - Marc Bolan, Harry Nilsson, Nicky Hopkins, Martha Reeves, Bobby Keyes, Merry Clayton and members from The Band. Produced by Richard Perry with additional arrangements by Tom Scott and Jack Nitzsche. It was a big success, charting high on lists all over the world and spawning three million-selling singles - "Photograph", "You're Sixteen" and "Oh My My". Though not challanging in any way, carrying simple melodies with unoffensive lyrics and sometimes less than beautiful vocals, it's so well performed and put together with such stunning audio it's still enjoyable listening and to me very much a feel-good album - warm and cozy. Premiere US on Apple (SWAL-3413). Frequently issued and reissued on vinyl, cassette, 8- track and CD all over the world through the years, with or without bonus tracks. First UK had label as shown here and matt fold/out cover containing a stapled 24 page booklet with lyrics, credits and ten Klaus Voorman drawings. (BÄ*) (ÄPLÄ*) (RYNX*)

URIAH HEEP/RETURN TO FANTASY ILPS 9335 (-75) UK

Not the band's own favorite album and certainly not mine of theirs, but at the time very popular with critics and public making it their biggest selling LP in Britain at #7. Gary Thain (1948-75) had been sacked already during rehersals due to drug problems and died shortly after from a heroin overdose. He was replaced by John Wetton (earlier in Family, King Crimson and Roxy Music). You'd think that would bring some new excitement to the group after the rather off "Wonderworld", but no - at least not to my ears. In fact I felt cheated at the time. After hearing the beautiful title track on the radio I ran to the store, expecting more of the same and a return to the atmosphere on "Demons And Wizards" or "Magicians Birthday" for immediate connection. "Prima Donna" and "Shady Lady" are OK rockers, vocals and guitars are excellent throughout, but to me the rest just sounds like another day at work - dutiful, almost uninspired. Disappointed forty years ago, but I still miss it when it's not there. It is a nice cover, the audio very good and "Return To Fantasy" one of the best songs from one of the best seventies bands. I usually go for a lot less so...a keeper it is. Frequently issued and reissued on LP, cassette and CD all over the world through the years. First US on Warner Bros. (BS 2869). Premiere UK had label as shown here with "i" logo below, matt fold/out cover and glossy lyric inner. (ÖRHÄ*)

CREEDENCE CLEARWATER REVIVAL/BAYOU COUNTRY M.40.010.S (-69) SPAIN

"Green River" early became my CCR favorite due to personal circumstances (see earlier post). But honestly not much happened with the band musically between the 1968 debute and their next five albums up to the 1970 "Pendulum". Makes sense - if you have a catchy million dollar sound that keeps selling, why change it? It was an almost perfect meeting between well made selfpenned and covers, simple recordings with garage style backing and attractive vocals, conveyed by direct natural audio. This second album is no exception, also including top hits "Born On The Bayou" and "Proud Mary". Never had a US first press, but kept the UK version almost since first release and always thought that was the most connective - like an invitation to the studio. This Spanish original may not beat that. In comparison to a British Liberty 1st the bass is even more prominent, giving an all over darker sound and slightly different balance. Probably an attempt to make it further more compatible and fitting for the many one-channel equipments still in use there at the time (should play OK even with ordinary mono pick-ups). Sounds rawer and more primitive, like some obscure mid-sixties garage mono, but to my ears fitting the music rather well. Premiere US on Fantasy (8387). First UK on Liberty green/blue label (LBS 83261). Also issued as mono in Australia and a couple of south american countries. First Spanish with label as shown here and fully laminated cover (using original US rear sleeve on both front and back). (SXÖX*) (CÖR*)

HEP STARS/SONGS WE SANG 68 LPO 07 (-68) SWEDEN

The Hep Stars sixties albums are often considered important because they were breeding grounds for Benny Andersson's talents as songwriter and musician, which eventually would show in ABBA. But this also has another relation which at least I find very interesting. Philadelphia girl soul combo The Sherrys, founded 1961 and early on including Tammi Terrell as a member, may today be described as a US one hit wonder. Their 1962 single "Pop Pop Pop-Pie" reached #25 on the R&B list and #35 on Billboard, but the follow-ups didn't do well at all and the album "At The Hop With The Sherries" sank without a trace. In Europe however they went on to a more lasting success with excessive touring. When playing Sweden 1966 one of the members - Charlotte Butler - met Hep Stars vocalist Svenne Hedlund at a gig, they fell in love and she decided to leave The Sherrys and emigrate. After getting engaged and learning the language in record time she became vocalist in Hep Stars, which from then on would have two lead singers. A couple of singles followed, but this was the first LP with the new setting. It shows very clearly there were no Yoko syndrom or hard feelings among the others. On the contrary it seems most of the album is a homage to their love affair. It's divided in one live and one studio side. Among titles on the live one are "Svenne I Love You", "We Say Yeah", "Charlotte's Children Game", "Can't take My Eyes Off You" and Let It Be Me" - either sung together or from one to the other. The oddest one being "Svart-Vit Calypso" (Black-White Calypso) formed as a lovers quarrel which is best - being black or white. It has frequent use of the n-word, but as she is black PC after all. Studio side is ordinary rather mushy pop - five tracks sung in English, one in Swedish and one in German. As a whole not my favovorite Hep Stars album. It's the surrounding history that makes it worth having. Released in Sweden only. Seventies vinyl reissue on Efel (LPE 015). 1996 Dutch CD on EMI/Olga (7243 4751882 9). First had label as shown here and thin fully laminated cover. (HÄH*) (SCÄ*) (FÄV*) (CCÖ*)(ÄBBÖ*)

ROLLING STONES/SOME GIRLS CUN 39108 (-78) UK

It was a major commercial success, topping lists all over the world and becoming their biggest US seller, hailed by critics who called it their best since "Exile". For me another Stones disappoinment and after hearing it at a friends the first album by the band I decided not to buy immediately. Doesn't make any sense - if you forget about the silly disco pastisch "Miss You", the funk trial "Shattered" and the unoffensive country "Faraway Eyes" there's lots of good rock'n'roll going on here. Exactly how I want my Stones, still can't connect. Maybe it's the ambience. I'm pondering...the cuts appear as limited to give about the same audio, thus further controlled than before, probably to make it more radio friendly and fitting for easy listening. That way a very good studio result, but for me something goes missing. While many of their earlier LP:s brought a kind of "devil may care" attitude - sometimes sloppy or unfinished but always personal - this comes out more like a ready made product. Attractive surface yet a lot harder to get in and really feel it. Or maybe it's just me being to sensitive. Early issues came with a (Sgt Pepper inspired?) "celebrity" inner, but after protests and threats from many of the involved - i.e. Lucille Ball, Farrah Fawcett, Raquel Welsh and the estates of Judy Garland and Marilyn Monroe - that was withdrawn and replaced. Created by renowned graphic designer Peter Corriston (who also made covers for Led Zeppelin, Jethro Tull, New York Dolls and Procol Harum among others) it remains my favorite "Some Girls" constituent. Issued and reissued on LP, 8-track, cassette and CD all over the world through the years. Premiere UK had label and Garrods & Lofthouse printed cover/inner as shown here. (RÅ*)

CAT STEVENS/CATCH BULL AT FOUR ILPS 9206 (-72) UK

It's getting crowded on my own top 20 list of best LP:s ever, but this certainly belongs there. Ten great tracks and not a bad moment. As it seems a product of his inner journey with title and some of the lyrics concerning zen practice, but never clearly expressed or showed down your throat. Instead you get "regular" songs where the quality in songwriting and lyric expression is enhanced by some kind of self realisation - at least that is how I understand it. To me it's one of those records where everything fits. A couple of cuts with direct hit feeling - "Sitting" and "I Can't Keep It In" - coupled with beautiful poetic ballads - "Silent Sunlight" and "Boy With The Moon & Star On His Head". Others dealing with the cold harsh reality - "18th Avenue" and "Freezing Steel". "Angelsea" has a very catchy rythmic moog and "Ruins" almost heartbreaking. Though the backing is relatively simple throughout it's so on the spot you sense it as fully fledged and his vocals pleasently open and honest. Also the album title is stimulating, package beautiful and audio on this UK press tophole. I couldn't ask for more. Issued and reissued on LP, 8-track, cassette and CD all over the world through the years. First US on A&M (SP-4365). Premiere UK had labels as shown here and fully laminated fold/out cover.

BEATER'S HITPARADE 75283 P.13 (-67) GERMAN RECORD CLUB ISSUE

One of many German record club issues from the sixties - here through "Club Sonderflauge" in collaboration with Star-Club label. What I like most with these German compilations is that they often included cuts by UK, US and domestic beat bands that can be almost impossible to get on early vinyl otherwise. This is no exception. Sixteen cuts where of a couple ordinary UK recordings from Dave Dee, Dozy, Beaky, Mick and Tich, Spencer Davies, Walker Brothers, Ian & the Zodiacs and Wayne Fontana & the Mindbenders. The rest apparently original German Star-Club productions (see the ones marked with stars on track list below). Two domestic beat bands - The Rattles and The Rivets - and two Liverpool Merseybeat combos who didn't make it at home but through touring and TV appearances got a career i Germany. "Liverbirds" was probably the only early all female Merseybeat band on record. Their two cuts here have a true garage quality and are very charming, especially "It's So Exciting" uptempo with simple instrumental backing and strained unison vocals. At least this old lover of garage and female vocal find it exciting. Lee Curtis & The All Stars did one non-selling single for UK Decca, but the cut here was German only. After Pete Best got sacked from Beatles Brian Epstein helped him to get a place in the band and he's the one on drums here. "Ecstasy" sounds very fifties with Lee Curtis singing Elvis style, but there's certainly nothing wrong with the drumming. All cuts are true stereo. The audio shifts a little but is very good trough out. Don't know of any other issues. This came with label as shown here and thin fully laminated cover. (SÄM*) (GÖXÄ*)

HONEYCOMBS/MEEK AND HONEY DOW 16 (-83) UK MONO

Don't know if to call this 10 inch a compilation or just a diminished reissue. It contains their biggest hits, yet all eight cuts were also on the UK debute album so it's either way. You'd think this kind of directly recorded early sixties pop wasn't comme il faut when this was released 1983, but as I remember there was a Joe Meek (1929-67) revival going on among certain groups of collectors at the time, hailing the legendary producer and raising prices for his original offspring, so that's probably the reason for this and that they put his name in the title. The tracks were originally issued on Pye, which was renamed PRT (Precision Records and Tapes) 1980, so what you get here was made from the original tapes through the same label core. Not much to say about the song picks. To my taste some of the best from their first album - especially the hits "Have I The Right" and "That's The Way" - all over very good early British pop. Original mono mixes with audio maybe a little more limited than first issues, but close enough. Good listening bringing tons of memories for us who were there. To my knowledge only issued in UK. It came with label as shown here and glossy cover. (PÖP*) (FÖGÄ*)