HOOKFOOT DJLPS 413 (-71) UK

Group consisting of session musicians, existing between 1970-74 and at that time also working as backing combo for Elton John. This was their debute album as a band and though it didn't sell on release and now has become very rare it's never in high demand and if you happen to find an OK copy don't expect to pay a lot. I don't fully understand why it's not considered more collectible since it has lots of things going for it. Musically diverse mixing jazzy prog with country rock and melodic ballads. Style sounds more American than British, some reminding of contemporary Stephen Stills and Steely Dan (or maybe Steely Dan reminding of Hookfoot as this predated "Can't Buy a Thrill" with about a year). Performance excellent all the way, vocal as well as instrumental, but especially the guitars of which there could have been a lot more (Caleb Quaye once dubbed "the world's best guitar player" by Eric Clapton himself). Mix and audio perfect - big with top separation and a natural feeling. Only downer I can think of is it's almost too well done, elaborated to a point where it becomes impersonal. Perfection can be boring, at least when it comes to rock'n'roll, but this is still good listening. Favorite tracks - the jazz/prog instrumental "Wim-Wom" and the heavy uptempo cover of Stephen Stills' "Bluebird". First US on A&M (SP-4316). 2004 CD on Sunrise Records (40120022) came with two bonus tracks. Premiere UK had label as shown here, thick unflexible vinyl and fully structured fold/out cover.

PINK FLOYD/ANIMALS SHVL 815 (-77) UK

As a follow-up to the 1975 "Wish You Were Here" this was an even larger project. An attempt to describe Britain's socio-economic reality at the time, using George Orwell's "Animal Farm" as outset for an attack on capitalism. Followed by a grand tour through Europe and US, playing arenas with a multi-art setting. So you could expect the music on this album to be like the two former - a kind of blown-up larger than life outburst where the structure itself creates a distance to the listener, but it's not. I hear a lot more personal here - "Meddle" rather than "Dark Side..." - allowing me to get intimate with the tunes. I'm probably alone thinking this was the best since the 1972 "Obscured By Clouds" and the last Floyd album worth effort. Maybe too much into their earlier stuff to be able to cope with some of the later developments...yet quite content with that. Favorite track - "Pigs (Three Different Ones)". Frequently issued and reissued, as two-channel or quad, through the years on vinyl, 8-track, cassette and CD. Premiere UK had label as shown here and thick glossy "wide spine" fold/out cover with stiff glossy lyric inner. (PÅX*) (HÄVL*)

THE LOLLIPOPS/DO YOU KNOW...THE LOLLIPOPS KALP 1016 (-65) MONO SWEDEN

Danish pop/rock group founded 1960 by two guitar playing siblings - Jörgen Lundgreen (1951-2003), his brother Torben (1950-) and their cousin, drummer Poul Pedersen (1948-2002). They got a contract with Swedish Karusell label 1963 and scored a Scandinavian hit with their second single - the 1964 "Do You Know (How Much I Love You)". This debute album was recorded later same year and due to the boys low age you could expect a large part cover versions played by studio musicians, but to my knowledge all cuts were written and performed by the band with just a few additions from guests. I visited an outdoor concert with them 1965 and was amazed by the tight performance and wild stage show. While jumping, screaming and crawling around on the stage floor they somehow managed to sound good and very together at the same time. So there's no doubt they could play and though this has a softer angle I get about the same feeling from these studio recordings as hearing them in the open. Songs very much influenced by Beatles and early sixties UK or US pop - blending rock, r&b and ballads - simple, melodic with a borderline garage atmosphere. Even if I mostly keep it for the ambience and memories there should be enough here to also satisfy many other collectors of early sixties music. The clash between up-tempo pop/rock and the young brittle voices, the fresh untainted arrangements and direct audio - all together very catchy. Favorite tracks - "Do You Know", "I Want Her Back" and "Two Chips And One Fish". As far as I know this Swedish was the only original release. Withdrawn after a year or so and replaced with a budget issue having same tracking, but totally different sleeve design (I'll get back to that later). All cuts can be found on the 2-CD collection "The Complete Lollipops 1963-67" (Rock-In-Beat-Records RB 216). First press had label as shown here, thick unflexible vinyl and laminated fold/out cover. (SCÄ*) (ÖGÄ*) (CCÖ*) (LÖLÖ*)

LOU REED/BERLIN RS 1002 (-73) UK

Looked at in retrospective an almost impossible project. By part rewriting and recycling songs from his Velvet Underground period and earlier solo albums generating a sort of rock opera about a couple - Jim and Caroline - deep down in drugs, prostitution and violence and making it commercial. It wasn't recieved well in US at first, scolded by crirics and only managing #98 on Billboard, while it did fine in Europe with top ten in many countries. Now considered a true classic and inspiration spawning dokumentaries, stage happenings and cover versions. As the world has changed while the album remained it sounds even better in today's context. The odd libretto conveyed by an art rock atmosphere, well performed and arranged yet personal, fits and makes it catchy in a strange way. Produced and arranged by Bob Ezrin, recorded in London and New York and guested by top names on both sides of the Atlantic - Jack Bruce, Aynsley Dunbar, Steve Winwood, B J Wilson, Michael Brecker, Steve Hunter and Tony Levin among others. With such a crew it just couldn't go wrong in the long run. Favorite tracks - "Lady Day", both "Caroline Says" and "Men Of Good Fortune". Issued and reissued all over the world on vinyl, 8-track, cassette and CD through the years. First US on RCA Victor orange label (APL1- 0207) with booklet. Premiere UK had label as shown here, thin matt cover and lyric insert. (RÖKÖ*)

DIANA ROSS STML 11159 (-70) UK

I was a die-hard Supremes fan in the sixties all the way from "Meet The Supremes" to "Cream Of The Crop", but after the split - not so much. To my ears the Ross-deprived combo lacked a lot of the old magic and her own efforts often became too pompous and mushy for me. However this solo debut is still so stuck in classic Motown it moves me - not as a new start, but the last of an era. All cuts but one - the Johnny Bristol "These Things Will Keep Me Loving You" - written and produced by long time Motown mainstays Nickolas Ashford and Valerie Simpson, backed by the ever present Funk Brothers, with seven of the eleven tracks covers of songs recorded by other Motown acts in the sixties. I feel at home here. All together a little softer than in the old days, but also moments that take me back. Favorite tracks - "Dark Side Of The World", "These Things Will Keep Me Loving You" and the remake of "Keep An Eye" (originally on Supremes "Love Child" album). Premiere US on Motown (MS 711). Reissued on Motown CD 1986 as "Ain't No Mountain High Enough" (374 635 135-2) and again 2002 on Motown as "Diana Ross" (440 016 818-2) with eight bonus tracks. First UK had label as shown here and thin structured cover. (TÖMÖ*) (ZYZÖ*) (FÄV*)

MY GENERATION NUT 4 (-76) UK

UK EMI sampler digging deep in the vaults with lots of oddities from the late sixties, mixing single cuts with ones from rare LP:s. Tomorrow "My White Bicycle", Locomotive "Mr Armageddon" and Love Sculpture "The Stumble" came from regular albums and Yardbirds "Happening Ten Years Time Ago" showed up on a US "Greatest Hits" almost simultaneously, but the remaining twelve cuts were 45 only. Artwoods "What Shall I Do" a 1967 A-side with Jon Lord and Keef Hartley. "Light Of The Charge Brigade" an obscure 1966 instrumental from Pretty Things former drummer Viv Prince. "Baby's Rich" a non-LP A-side by Ken Hensley's sixties band The Gods. The 1966 A-side "I Could Feel The Whole World Turn Around" by Shotgun Express, at the time including Rod Stewart, Peter Green and Mick Fleetwood. "The Moles" were a temporary pseudonym for UK band Simon Dupree & The Big Sound before they reformed as Gentle Giant and the combined A-B side "We Are The Moles" included here is very good period psych. Further The Action's 1966 A-side "Baby You've Got It", Roulettes "The Long Cigarrette" with a young Russ Ballard, Rod Stewarts "Shake" A-side before he joined Jeff Beck Goup, Tony Rivers & The Castaways 1966 "God Only Knows" cover and Terry Reid & The Jaywalkers 1967 A-side "The Hand Don't Fit The Glove". Sure a lot to take in at the same time, but in all a very tasty candy bag for the sixties lover with additional value for us also interested in modern music history. Audio shifts from ok to excellent depending on quality of the original recording. As I can hear a couple of the original mono cuts have been enhanced, still carefully done and not too disturbing. To my knowledge only released in UK and never reissued in any form. It came with label as shown here in a thin matt cover. (SÄM*)

THE HOLLIES/IN THE HOLLIES STYLE PMC 1235 (-64) UK MONO

For background check post on their debute "Stay With The Hollies". While that fits as a garage style cover album, this follow-up has seven tracks written by the band (under pseudonym "Ransford") with a more directed outcome. Listening closely it's easy to figure out producer Ron Richards had a past as assistant for George Martin and at the time still a disciple, since many of the songs come with Beatle-like arrangements and production. That could be something good, but here it's more of an obstacle. When the sound is so similar you can't help collating and measure it as copying. In this case a pity cause there are lots of good things going on behind that surface - the harmony vocals, songwriting and sheer energy of it all - still somewhat unredeemed but with enough magic to please. So...again...I'd wish for less Beatles influence and more...in the Hollies style. Favorite tracks - "Too Much Monkey Business", "To You My Love" and "It's In Her Kiss". Contemporary releases in a couple of European countries and downunder, but to my knowledge not issued in any form in US. Canadian 1965 on Capitol (T 6143) came with same title and similar cover design, but was in fact a compilation, coupling five tracks from this with five UK non-LP 45 cuts, one from their third eponymous album and one previously unissued. Reissued as vinyl (BGOLP 8) and CD (BGOCD 8) on UK BGO Records. Japan 2014 CD in mini-LP sleeve on Parlophone (WPCR-15416) came with both mono and stereo versions plus seven bonus tracks. Premiere UK, in mono only, had label as shown here with "Recording first published 1964", laminated flip/back cover and rice-paper-lined Emitex inner. (PÖX*) (HÖLY*)

STARK NAKED LSP 4592 (-71) US

A band and LP I discovered recently and don't know a lot about yet. Apparently they were a group of childhood friends originating from Long Island, New York. With members still in their teens or early twenties they were signed by RCA and recorded this debute which also became thier last. As the tale goes - while doing promotion tours and already preparing for a follow-up the manager disappeared with all their money leaving them without founds. Disappointment and lack of monetary backing led to the band split and the members went in different directions. Keybordist Paul Venier and drummer John Fragos to hard rock band Salty Dog and guitarist Richard Belsky went on to be a glass designer, don't know what happened to the rest. It's such a sad story. This has to be one of the most mature, well played and at the same time catchiest debutes ever. Fantastic blend of hard rock, psych and prog - dark and elaborate with brilliant guitars and attractive vocals. Sometimes reminding of Black Sabbath or Black Widow, sometimes Jefferson Airplane but with a unique agenda. Favorite tracks - the 8:50 "All Of Them Witches" starts with a partly Debussy inspired piano/drum piece, moves over to heavy hard rock and ends with a howling guitar solo to uptempo backing, the wild outspoken "Sins" so rude it makes most other "hard" rock from then on sound mellow and the eleven minute "Look Again" with its theme and rythm changes crowned by a long cheeky guitar solo. To my ears it's all good and I can't believe the album isn't mentioned or hailed more today. Highly recommended to all psych, prog and hard rock lovers. To my knowledge this US was the only original issue. 2006 CD on Fallout (FOCD 2012) came with two 45 mono mixes as bonus. First had label as shown here, thin vinyl, glossy cover and "dynaflex" inner. (YZÄ*) (FÄV*)

BEATS/THE MERSEYSIDE SOUND SDLP 170 (-64) US

Originally issued in UK as "Merseymania"  https://monolover.blogspot.com/2017/05/billy-pepper-and-pepperpotsmerseymania.html  with band name Billy Pepper & The Pepperpots. Ad hoc combo set up by Pye employee Bill Shepherd, previously responsible for a couple of uncredited easy listening albums. Non of the musicians have been positively identified so far, though rumours have flourished Lou Reed, John Cale or even Pete Best may have been involved. I don't think so. If there has to be some kind of famous connection my best guess is members of the band Gaylords before they became Marmalade. The record clearly a trial to cash in on the then fluorishing Beatlemania, mixing two Beatles covers with a couple of standards and self-penned songs mimicking the Fab Four style. Seen them described as bad clones and the album as a hoax and maybe so, but as part of the early sixties beat scene it's not all bad. Many aspiring bands back then were Beatles sound-alikes and the performance here isn't the worst I've heard from a sixties beat LP. Vocals a little impersonal but the playing totally OK with a fine period feeling. The stereo label says it's "In AuthentiPhonic Stereo Process". Just another euphemism for fake or rechanneled, still the balance and audio here isn't very disturbing, most of all sounding like wide mono. Not an album I'd chose for close listening, but a fitting moodsetter to any sixties related conducts. Originally issued on a number of labels including Hurrah Records in UK and US, Rondo and Design in US, Allegro in UK and Barclay in France. Not sure how this stereo Design issue corresponds in time and place to the mono since the labels differ. In any case I guess this is the first stereo, having gold label as shown here and thick matt cover. (YZÄ*)

ROLLING STONES/BETWEEN THE BUTTONS LL 3499 (-67) US MONO

US mono version of the band's fifth UK original studio album, though in America counted as number seven due to the US habit of having less tracks on each LP and also including UK 45 only cuts, allowing them to release more albums from the same bulk of recordings. This has ten of the tracks as UK, but omitting "Back Street Girl" and "Please Go Home" and replacing them with "Let's Spend The Night Together" and "Ruby Tuesday". That alone makes it a collectable and as important as the British original to any Stones fan. But there are also significant deviations in audio for the common tracks. The US mono is loud, warm and wide open while the UK comes through as slightly further compressed. As I understand it's about the same takes and mixes, but treated differently in the late process - making the UK version somewhat more "packaged" and leveled while the US sounds natural and less balanced at parts. All the above put together makes this a separate album rather than a second hand variation and thus impossible as ground for a fair comparison. Which to chose? I don't know, couldn't be without any of them. This version also issued in Canada and a couple of South American countries. Very first US mono on a ridged maroon label, this flat red came somewhat later. (YZÄ*) (ÖXCÅ*) (RÅ*) (CPYC*)

ROCKPILE/SECONDS OF PLEASURE XXLP 7 (-80) UK

An album met with great expectations at the time because of the various members earlier adventures as solo artists, producers and participants in backing bands, with Dave Edmunds topping the bill due to his Love Sculpture years and a couple of solo hits. However the zeitgeist seems to have failed them. At a time filled with punk, dirty new wave and synth rock this heartfelt and simple homage to late fifties and early sixties US rock didn't go well with all critics or the large public and though reaching #27 on Billboard and #34 in UK it was a short pleasure and the band broke up soon after. I've always loved this record. As new generations of listeners supplant the old with constant changes in public preference well performed classic style rock always remains and never get dated. And this is such a fine exemple. Twelve great uptempo tracks, every single one with a hit feeling - melodic, catchy and memorable. Overall feeling is humorous and generous, without problems, making it one of the happiest rock'n'roll joyrides ever. Audio excellent - strong with perfect separation letting it all out. Favorite tracks - "Teacher Teacher", "Play That Fast Thing (One More Time)", "Pet You And Hold You" and "Wrong Way". First US on Columbia "retro" label (JC 36886). US 2004 CD (Columbia CK 36983) came with booklet, bonus EP tracks and three live cuts as bonus. Premiere UK had labels as shown here, glossy fold/out cover and bonus EP. (DÄWÄ*)