THE CORE OF ROCK SE 4669 (-70) US

Usually label samplers were sold and used as ads to improve sales of contemporary issues. But that couldn't have been the purpose here since most of the tracks were around four years old at the time for this release and some of them already withdrawn 45 only cuts. Anyway to me today a chance to get a couple of really rare recordings on resonably early LP with top audio. The Enemys 1966 "Mojo Woman" A-side and 1965 "Too Much Monkey Business" B-side - very good garage, both including the Cory Wells that later would make success with Three Dog Night. Van Dyke Park's "Number Nine" A-side - pop version of the lead theme from Beethoven's ninth symphony sung in German - and his promo only 45 "Come To The Sunshine" (reissued by Sundazed 2013). There's also young Janis Ian's beautiful 1966 A-side "Society's Child" about interracial relationships - at the time causing public bans and serious frowns in US. All this coupled with two from Richie Havens "Mixed Bag" album, two from Blues Project's "Projections" and two Tim Hardin album cuts, making it valuable both for specialized collectors of US sixties recordings and music lovers in general. To my knowledge only issued in US and Canada (same label and number). First US had label as shown here and matt cover. (SÄM*) (YZÄ*)

PINK FLOYD/WISH YOU WERE HERE SHVL 814 (-75) UK

Got nothing to add on the enormous bulk of info surrounding the record. This is personal. Up to the 1972 "Obscured By Clouds" Pink Floyd was one of the bands I had easiest to connect to - they were experimental, quirky and sometimes unintelligible, but always with a kind of intimacy like it was directed especially to me. But from "Dark Side Of The Moon" and on as they set aim on a more commercial and arena friendly expression I started to lose contact. It wasn't "my" band anymore, from being the most important listener I was now degraded to an anonymous face on a back row (not trying to be dramatic here, just describing the feeling). On this I can admire the long guitar parts, feel moved by the Syd Barrett bond and so on, but still only half-in. Three of the cuts saves it for me and makes it a keeper almost worth the overprice. First and formost Roy Harper's singing on "Have A Cigar" - a true piece of vocal art, turning a rather ordinary song into something else. Title track is tophole too with the very emotional guitars as is the catchy vocal core of "Shine On You Crazy Diamond", but that's it. I rather return to a time when he actually was there. Frequently issued and reissued, as two-channel or quad, through the years on vinyl, 8-track, cassette and CD. First UK had label as shown here, matt cover wrapped in stickered black plastic, picture/lyric/credit inner and postcard. (PÅX*) (HÄVL*)

COLOSSEUM/THE COLLECTORS COLOSSEUM ILPS 9173 (-71) UK

Though the band only existed three years in that short time they succeeded to create an almost unattainable standard for the early prog scene through a perfect blend of masterful performance and true feeling. I can't think of any other combo that could combine such complicated tonal and lyrical arrangements with catchy melodic structures and making it sound like the most natural thing in the world. This compilation, released just after the band broke up, has three cuts from their debute album and one - "I Can't Live Without You" - previously unissued from those 1968/69 sessions. "The Grass Is Greener" is a different take than on Valentine Suite. A similar version can be found on the US The Grass Is Greener album, but with slightly alternate edit. Both "Rope Ladder To The Moon" and"Jumping Off The Sun" did show up on the US TGIG LP, but the ones here sounds like largely different versions with the latter having Chris Farlow on vocals instead of the original Dave Clempson. So there are rarities for everyone here, no matter what other issues you're accustomed to, and enough good music to satisfy even the most discerning listener. Originally issued all over Europe, downunder and Japan on Bronze or Island. UK 1993 CD on Sequel Records (NEX CD 255). Premiere UK had label as shown here and structured cover. (CÖL*) (PRÖZ*) (PÖP*)

SUMMERTIME

Due to seasonal obligations I have to take it easier for a while. First a short break and then when back I wont be able to be here all the time as now. I still have a large stack to go through and will continue to post, but for a while not as regular as before. Hoping to be on a more steady schedule in a month or so. Wishing You a wonderful summer with many new exciting finds. Kindly/Erik

THE HOLLIES/DISTANT LIGHT PAS 10005 (-71) UK

With their previous LP "Confessions Of The Mind" (see earlier post) produced by John Burgess instead of their old companion Ron Richards the classic sixties Hollies sound was almost gone and though songwriting and vocals remained high class the softer more ordinary audio made it blunter and less touching to my ears. For a while then I thought the change in audio only depended on producing tactics, but seen in retrospective it probably more had to do with the common paradigm shift going on in the studios at the time. As recordings became more complex with an increasing number of channels allowing almost infinite overdubs there was also a growing use of compression/limiting to be able to fit the vinyl engraving. It would have made the manufacturing process simpler, but also resulted in a sometimes damper and less natural audio. On this Richards was back as co-producer and though it doesn't have the exact sixties sound I like so much it's close enough. I've seen the album getting bad or lukewarm reveiws, but to me it's still commonweal Hollies - a mix of rockers and ballads with a touch of soul and some psych. Good pop with enough twists to make it interesting. It also spawned their highest US charter up to date - the CCR pastiche "Long Cool Woman In A Black Dress" at Billboard #2. My favorites - "Pull Down The Blind" psych rocker and the eclectic "You Know The Score". US vinyl on Epic (KE 30958). French 2007 CD (Magic Records 3930631) came with two bonus tracks. First UK had label as shown here and matt fold/out cover. (HÖLY*) (PÖX*)

GENESIS 855 840 (-81) EAST GERMANY

Very nice DDR release merging six tracks from "...And Then They Were Three..." with four from "Duke". Well worth collecting because of the tracklist, the exclusive front pic from a water color by Karl Gross and also for the audio. Top pressing with clear and distinct sound exhibiting the band while still in a rather adventurous mood doing good. I don't have any of the corresponding original LP:s yet, but till I get them this will sure do and definitely remain in the collection as a novelty after that. Favorite tracks - "Down In The Motherload", "Burning Rope" and "Behind The Lines". Issued in DDR only. Early pressings either with maroon or blue label in a thin glossy cover. (GÖXÄ*) (BÅC*) (ÄMY*) (GYÄ*)

ROY HARPER/VALENTINE SHSP 4027 (-74) UK

Never got truly aquainted with Roy Harper. Though he's had a large cult following through the years and been acknowledged as infuence to bands as Jethro Tull, Pink Floyd, Led Zeppelin, The Who and others I've been much more interested in those he inspired than the man himself and the closest I came for a very long time was through his vocals on the Floyd song "Have A Cigar" and Zeppelin's tribute "Hats Off To (Roy) Harper". Feel I have to do something about that, so I'm making a small start with an LP I happen to have in my collection. This was his seventh studio album, apparently written and prepared at the same time as the two previous for Harvest - "Stormcock" and "Lifemask". Haven't heard any of his earlier stuff so I'm just diving right in without prejudice. The style is singer-songwriter and with exception of one cut - "Male Cahuvinist Pig Blues" - all support sounds acoustic, some tracks having orchestral backing. It's cool, melodic and very personal, sometimes with unexpected arrangements. I don't get all in at first listen and it'll probably take some time to connect 100%, but there are already a couple of cuts that feels good - the messy rocker "Male Chauvinist Pig Blues" where he's backed by Jimmy Page, Keith Moon and Ronnie Lane and the beautiful "Forbidden Fruit" with its soft strings and girlish background vocals. Thought I was making my final post on this, but as I'm listening right now I hear there's more to contemplate eventually so there will be a follow-up later. US and Canadian on Chrysalis (CHR 1163). UK 1989 CD on Awareness Records (AWCD 1015) came with three bonus tracks. First UK had label as shown here and thin matt cover. A corresponding photo/lyric/credit booklet wasn't enclosed, only sent by special request (see pic below). (HÄVL*)

IT'S THE SEARCHERS NPL 18092 (-64) UK MONO

For background check post on their debute     https://monolover.blogspot.com/2013/10/meet-searchers-npl-18086-63-uk-mono.html    . This was the band's third album in just a little more than a year and they were still going strong with high charters in US, UK and other parts of the world. At about this time the UK music scene started to change. Eventually bands went from doing covers of US hits to performing selfpenned songs and the classic merseybeat sound was mixed up with blues, vaudeville and art music, partly enabled by growing studio capacities. But there's still not a trace of that here. Fourteen cuts blending soft up-tempo and sincere pop ballads, much in the style of Everly Brothers or Buddy Holly, sung in harmony with rudimentary rock backing. All very bright and kind. Don't know if you must have been there to appreciate it, but I do. Apart from old-timer gems like "Needles And Pins" and "Don't Throw Your Love Away" I get top audio and a friendly atmosphere all through, enough to put me in a good mood. Original mono issue also in Germany (Vouge LDV 17008). US had their own versions, but most of the tracks showed up on "This Is Us" (Kapp KL 1409/KS 3409). Vinyl and CD reissues all over the world on Pye, Marbel Arch, PRT and Castle. First UK had label as shown here and laminated flip/back cover. (PÖY*)

THE HOLLIES/WOULD YOU BELIEVE ? PCS 7008 (-66) UK STEREO

Had the mono version of this for decades and always loved it (see earlier post). Stylewise a transition album, mixing covers with selfpenned, carrying some of the old rock feeling but at the same time moving towards a more elaborate melodic songwriting with a psych taint. No doubt inspired by their label mates Beatles, yet with a personal sound. For a while in the seventies I also had an original UK stereo issue, but didn't like that at all. Through the years I've lost track of why it didn't attract me, so when I found this copy in a used bin a while ago I decided to give it another chance. Thought that with more mature taste and better equipment I would find it more pleasing. Only counting pressing quality and clarity it's very good, but all tracks are mixed exactly the same way - most of the instuments to the left and all vocals to the right. You get the impression it was made in one stressed-out sitting without considering the music. It is true stereo, still as such only slightly better than a fine rechanneling. I'll probably keep it as a filler but when it comes to listening and enjoying the mono remains best choice. As I understand the cuts from this that showed up on the US Imperial stereo versions of "Beat Group" ( LP 12312) and "Bus Stop" (LP 12330) didn't use the same mixes. Japan 2014 Parlophone CD/mini-LP (WPCR-15418) came with both mono and stereo versions plus a couple of French only edits. First UK had label as shown here and laminated flip/back cover. (HÖLY*) (CPYC*) (PÖX*)

BLOOD SWEAT & TEARS/CHILD IS FATHER TO THE MAN CS 9619 (-68) US MONO PROMO

Band formed by former Blues Project members Al Kooper and Steve Katz together with Jim Fielder (earlier with Tim Buckley, Mothers Of Invention and Buffalo Springfield), Fred Lipsius (previously with Ron Metcalfe), Randy Brecker (who'd played with Clark Terry and Thad Jones), Bobby Colomby, Dick Halligan and Jerry Weiss. In a way a US supergroup, built around an Al Kooper idea of a rock band with a prominent horn section. Today this debute is widely considered a classic album and forerunner both to seventies prog and the more list friendly brass pop and rock later developed by groups as Chicago and later BS&T settings. However it didn't do great at the time, halting at #47 on Billboard, and after some disagreements on creative matters Kooper got sacked. The band's musical direction changed towards a more crowd pleasing outcome for the following albums, eventually resulting in list toppers and Grammy awards. So this is the only BS&T album with the originally intended sound. Songs seemingly as much a product of studio jams as preset conditions and though there are some artificial overdubs - as the backward guitar in "My Days Are Numbered" - the overall impression is live in the studio. Very good listening, honest and heartfelt, with top performances. Favorite tracks - "I Love You More Than You'll Ever Know", "Somethin' Goin' On" and "Just One Smile". Had the UK mono fold earlier, but it didn't come out totally right - somewhat unbalanced with partly fallible separation. Considering the stereo's lack of compability this mono promo has to be a totally different mix - strong with perfect balance and separation all through. Album issued and reissued on vinyl, reel and CD all over the world through the years. First UK on CBS (S/63296). Japan 2012 CD (Sony SICP 20411) came with three previously unissued mono takes as bonus. Premiere US had "two-eye" label as shown here and glossy cover. (ÖXCÅ*) (YZÄ*) (ÄLCÖ*)(ÖRJ*)

JIMI HENDRIX & CURTIS KNIGHT/STRANGE THINGS HA 8369 (-68) UK MONO

It would be impossible even for the most fanatic Hendrix completist to keep track of or collect all separate issues with pre-fame recordings. The records may have differing copywrites, labels or sleeve designs, but most of them sharing about the same tracks. As a fan it is important to know origins and history, even if musical and audiophile qualities are rather low, and with this huge panoply one have to choose. The earliest I've seen so far are the US 1967/68 Captitol issues "Get That Feeling" (ST/T 2856) and "Flashing" (ST 2894), the German/Scandinavian 1968 "Soul" on Telefunken (PPX 1) and two 1968 UK ones on London - "Get That Feeling" (SH/HA 8349) and this. All those were released on major labels with high quality sleeves, have surprisingly good audio and above all they're not posthumous but were contemporary with "Axis" and "Electric Ladyland". Both UK built on the US Capitol issues with interrelating track choices. Not sure if Capitol used separate mono mixes for GTF or if that was a fold, or if this is true mono or not, still the audio here is amazing - loud and clear with big bass giving an authentic front row feeling. It couldn't improve the performance, but the sound and total package makes it one of the better choices. Favorite tracks - "Love Love" and "Simon Says". First had label as shown here and laminated cover. (JHÄ*)

BLACK SABBATH/NEVER SAY DIE 9102 751 (-78) UK

(A continuation of yesterday's "Technical Ecstasy" post). At the time the band was deep down on drugs and alcohol, having a hard time to keep a straight line. As the story goes - just before recording this album Ozzie left and was replaced by Dave Walker (used to the superceder role as he earlier had replaced Jeff Lynne in Idle Race, Danny Kirwan in Fleetwood Mac and being part of Kim Simmonds renewed Savoy Brown line-up 1971). A couple of fresh songs were written and rehersed, but as they were going in to the studio to finish the job Ozzie returned and wanted his place back. Walker went out and since Ozzie refused to sing any of the songs co-written by him they were forced to compose new numbers while recording, a fact used to explain the album's somewhat uneven outcome. Putting the background story aside and just listen it's still a pretty good LP. As with "Tecnical Ecstasy" audio is too compact for my taste, damping the classic Sabbath sound and making it less dangerous, but you get lots of fine guitars, on the spot backing and signatue Ozzie vocals. Though some of the songs may be regarded as fillers there are others that would have embellished any previous album, if they'd got the same studio treatment - as "Never Say Die", "Johnny Blade" and "Over To You" - those alone making the album worth having. Premiere US on Warner Bros. (BSK 3186). First UK had label as shown here and thin fully laminated cover with glossy picture/credit inner. (WLÖ*) (BLÄC*)

BLACK SABBATH/TECHNICAL ECSTASY 9102.750 (-76) UK

An album I didn't like on release, but that has grown on me through the years and today doesn't seem bad at all. It got tons of negative hype back then - critics dissed it, band members were far from satisfied and it didn't sell as much as their previous - and I went along with all that. Bought the album, gave it a couple of spins and put it away. Listening now and concentrating soley on songwriting and performance it's totally ok Sabbath - kind of melodic and very raw with top guitars, strurdy backing and Ozzie in really good nick. Sadly most of it killed by bad mixing, production and audio. Not pointing fingers here, but imagine the songs with same separation and transparency as on "Sabotage" - letting it all out with full power - and you have an almost as good album. For exemple "You Wont Change Me" could have been an epic, if not so compressed it sounds like recorded under water with a drowning Ozzie hardly audible at parts. But that's the way it is and there are fine moments here even for the old Sabbath fan. My favorites - "Back Street Kids" and "Gypsy", both classic heavy riff rockers with some of the old feeling. Premiere US on Warner Bros. (BS 2969). First UK had label as shown here and thin matt cover with picture/lyric insert. (WLÖ*) (BLÄC*)