NAZARETH/GREATEST HITS TOPS 108 (-75) UK

Excellent compilation carrying something for all concerned fans of seventies rock. You get three 45 a-sides for the first time on LP, which should be reason enough for the completist, but above all tons of good music, well performed with great audio. Typical for the best hard rock of the period was a sincere melodic core covered in crusty layers of raucous attack and Nazareth sure could nail that combination. To my taste the band's regular albums at the time were a little uneven, all having their fair share of fillers, but this has top numbers only and truly deserves the "greatest hits" billing. Every track is a favorite, but I'm especially fascinated by the covers - Joni Mitchell's "This Flight Tonight", Tomorrow's "My White Bicycle" and "Everly Brothers' "Love Hurts" - all updated as they'd be Nazareth's own songs and in the end not standing back to any of the originals. Issued and reissued on vinyl, 8-track, cassette and CD world wide through the years, some with bonus tracks. The Americans released their own variation with totally different cover design and alternate tracking - the 1976 "Hot Tracks" on A&M Records (SP 4643). Premiere UK had label as shown here, thin fully laminated cover and stiff glossy picture inner. (PÖP*)

THE LOLLIPOPS KP 3012 (-67) MONO SWEDEN

I've seen this erroneously listed as a compilation at many places on the net, but it's really a second pressing of their first LP, or to be correct - still a first pressing in brand new drag. Made from the exact same matrixes - KALP 1016 A/B - with identical audio, having same thick quality vinyl and ridged label. Only differences would be the title, label fonts and sleeve design. The band had a very young fan base at the time with limited economy so while their singles and EP:s sold a lot the full price first press of the LP didn't do as well and was soon withdrawn. Continuing pressing it as part of a budget serie seems like a good idea in many ways. Most important - even less fortunate kids could afford a copy back then. But also from a modern perspective as the ones sold early on had very fragile sleeves and then mostly treated by children on cheap turntables, making it hard finding a decent copy today. This was pressed in larger quantities with a more durable fully laminated sleeve and when you find an OK copy it'll be to a fraction of a first release price. So If you don't mind the cheapish ad-back cover design and just go for the core it's a good alternative. (SCÄ) (ÖGÄ*) (CCÖ*) (LÖLÖ*)

THE MIKE RAVEN BLUES SHOW XTRA 1047 (-66) UK MONO

Blues sampler compiled by UK radio man and jack-of-all-trades Mike Raven (born Churton Fairman 1924-97). During his time as DJ for various pirate radio stations he did a lot to spread knowledge on the traditional black American blues among European listeners. This issue was an answer to requests from the growing fan base for the genre in UK. I never get tired of finding and/or learning about origins for the music I grew up with and still keep close to my heart and there are a couple of interesting originals on this. Beatles recorded "Matchbox" as a Carl Perkins original, but his was actually a reworked cover of the much older Blind Lemon Jefferson's "Match Box Blues", which in its turn built on a section of the Ma Rainy song "Lost Wandering Blues". On here is the BLJ version. You also get the original recording of one of the most covered numbers in history - Gus Cannon's Jug Stompers "Walk Right In". Another much covered song as r&b and white blues is "See See Rider". Originally a traditional tune first recorded by Ma Rainy as "See See Rider Blues", here's a somewhat later Leadbelly version. One of my favorites from Cream's debute album is the cool "From Four Until Late", on this I get Robert Johnson's original make from 1937. The audio shifts a little, but over all surprisingly good concerning the primitive circumstances for some of the recordings. So enjoyable listening not only for us deep into history, but all concerned music lovers. To my knowledge this was the only issue. It came with label as shown here and laminated flip/back cover. (SÄM*)

ROLLING STONES/BETWEEN THE BUTTONS SKL 4852 (-67) UK STEREO

Never really cared about this stereo version in the past. The US and UK monos both have so much going for them they've been good enough for me last forty years or so (see earlier posts). But now after finding a 1st press UK stereo copy and getting in on it I hear qualities that hasn't occured to me before. It may be because I listen differently nowadays. Then it was all about if the songs came through clear and natural and hit me the right way. Today it's more like examining and enjoying an artefact on its own terms. Not valuing good or bad, but seeing it as a part of history, mirroring the circumstances in which it was made. In comparison to the mono most of the mixes appears rather odd or unnatural - unbalanced or too panned. That could take some of the magic away from the songs, but the combination of strong audio and amazing clarity on this press also allow you to hear the parts better separated, flaunting things not as audible on the mono thus altering the emphasis. While the mono still can be perceived as a kind of strange rock album the stereo sounds more psychedelic to me, making it something else. There was a time when I would have discarded a two-channel like this after first hearing, but now I think it's a lot of fun and even if not up there with the mono, still a necessary complement. Early UK issues had ridged label as shown here, heavy vinyl and laminated cover. (RÅ*)

THE HOLLIES/ANOTHER NIGHT 2442-128 (-75) UK

Big fan of about everything they did in the sixties, but after "Hollies Sing Hollies" I lost interest for a long time and it's only lately I've started to collect the posterior albums. Listening to them today from an older perspective puts me between hope and dispair. "Distant Light" was quite ok while the Mikael Rickfors period "Romany" and "Out On The Road" didn't do it for me. On their 1974 self-titled LP Alan Clarke was back, but the result wasn't a lot better to my ears. One great hit song - "The Air That I Breathe" - mostly surrounded by fillers. So I didn't have high expectations for this when I found it in a used bin a while ago, but after a couple of days close listening I'm convinced. A very good album and qualitywise a worthy follow-up to HSH. All songs but one - "4th Of July Asbury Park (Sandy)", by the then young unknown artist Bruce Springsteen - self penned. Recorded in Abbey Road studios, produced by Ron Richards and engineered by Alan Parsons. There's some orchestration and occational Parson moog, but not overdone in any way. Very confident by a band that obviously got it together. No self-evident hits, still good listening all through. Audio on this 1st UK press is perfect - very loud yet clear and natural with top separation. Favorite tracks - "Lonely Hobo Lullaby" and "Lucy". First US on Epic (PE 33387). 2008 EU CD on EMI/Electrola came with seven bonus tracks. Premiere UK had label as shown here and matt fold/out cover. (HÖLY*)

THE SAVAGE ROSE/ I'M SATISFIED 2499 010 (-71) GERMANY

For more on the band check post on their debute http://monolover.blogspot.se/2012/10/the-savage-rose-184-144-68.html. This compilation, pressed in Germany for the Scandinavian market, has five cuts from their second album - "In The Plain" - and five from the third - "Travelin". If you already have those it may still be interesting as a supplement because of the label and exclusive cover. Can also be used as a budget introduction to their early years and unique interpretation of late sixties psych/prog, filled with brilliant guitars, odd lyrics and Anisettes unbridled vocals. Has some resemblance to US bands like Jefferson Airplane or Electric Prunes, but with a very personal twist making it one of a kind. Pressing and audio tophole conveying a close garage feeling. Favorite tracks - "My Family Was Gay" and "Long Before I Was Born". Don't know of any other issues. It came with label as shown here and fully laminated cover. (SCÄ*) (FÄV) (GÖXÄ*) (SÄWÖ*)

JOE COCKER/COCKER HAPPY HIFLY 3 (-71) UK

Collection consisting of album tracks - four from his first and five from the second - coupled with two B-sides and one A-side previously non-LP. Even though I wish they'd added a couple more odd 45 cuts to make it full pot for the Cocker collector set on early pressings it's still a killer as it is. Not one bad or even mediocre cut - all heartfelt, fullfilling and catchy, carried by that beautiful voice. No need to jump tracks on this one, every single song grabs hard, showing on the all over high quality for his recordings in those early years. "The Letter" has the original mono mix, the rest true stereo and the audio is top notch. Hard to choose favorites, but if I have to - "Darling Be Home Soon", "She's So Good To Me" and "The Letter". Originally issued in most European countries and downunder, some with alternate titles and cover design but same tracking. To my knowledge never released in US. French 1991 CD on Castle Communications (CLACD 238) and Polish 2001 CD as "The Best Of Joe Cocker" on Accord Song (RC 83151). Premiere UK had label as shown here and laminated fold/out cover. (MÖRS*) (FXÖ*) (JÖC*)

THE CLASH/SANDINISTA FSLN 1 (-80) UK

The band's preceding twofer "London Calling" (see earlier post) was a very generous offer, not only because you could get a 2-LP set for the price of one but also for the all over high musical and audiophile quality. A Guy Stevens (1943-81) cultivated masterpiece since counted as one of the true classics. At first glance this self produced "threefer" seems even more charitable, containing thirtysix songs in a brutally designed package with booklet. Highly regarded by many period lovers today and occuring on "best album" lists. I also wanna embrace it and say it's all good, but I can't. Had copies from first release and after giving it full attention in the beginning I now always halt after side one. The important messages differs and there are slight variations in rythms and main genres, but apart from that it's like hearing the same song over and over. Same simple melodic structures, same cellar atmosphere, same vocal attack and backing mode. I need at least some variation and there's not much of that here. OK as deliverer of opinions I guess and a fine mood setter, but it doesn't touch me as a whole. I like the idea and the bounty, the looks and feel of the album, so a keeper it is. But for me not so much for the music. First US on Epic (E3X 37037). Japan 1999 2xCD on Epic (ESCA 7812-13). Premiere UK had label as shown here and matt cover with fold/out booklet.

THE LOLLIPOPS KP 3000 (-65) MONO SWEDEN

For background check post on their debute LP - "Do You Know...The Lollipops". As I recall this eponymous was released just a little later, at the time presented and recieved as their second original album. But it's actually a compilation of previous and contemporary 45 cuts, recorded 1963-65. Today valuable as such for true sixties aficionados and to me, who had and loved many of those singles and EP:s as a kid and here get a chance to reacquaint, it's pure joy. "Little Bad Boy" and "I'll Stay By Your Side" are enjoyable melodic period pieces. The more obvious Beatles pastiches "That's All" and "Look At This Boy" remains catchy. "Lollipops Shake" so intrusive with its annoyingly flat melodic pattern it sticks immediately and then impossible to get rid of. Their version of "All My Loving", though far from the original's quality, cute in childish kind of way. "Lollipops Boogie" as simple as it gets, winsome tempo changes included. Back in -63 they must have been the youngest recording rock band and it's neat hearing the pre-pubertal vocals reaching for rudeness in those early tracks...no problems though hitting the high notes in "Speedy Gonzales". Tons of charm guaranteed and highly recommended to lovers of the period. As far as I know this Swedish was the only original release, but all tracks can be found on the 2-CD compilation "The Complete Lollipops 1963-67" (Rock-In-Beat-Records RB 216). Premiere issue had ridged label as shown here, thick unflexible vinyl and cover consisting of a fold/out sheet in a plastic sleeve. (SCÄ*) (ÖGÄ*) (PÖP*) (CCÖ*) (LÖLÖ*)

THE LEATHER NUN/NUN PERMANENT WRLP 018 (-91) SWEDEN

There's a lot you can say about this unit. Following is my short version. Swedish underground band existing between 1978 and 1995, during which time they were known for bad behaviour and impudent performances, following the motto - "Every compromise is prostitution". Drifting between punk, industrial, goth and parody, without truly grounding in any of those genres the music can best be described as experimental. Clearly inspired by early Velvet Underground, but more developing and carrying the torch than copying. Even if some of their issues had a commercial potential the band's collective attitude and hard-core stage shows - including strippers, screening gay porn movies and selling condoms - effectively deterred a bigger breakthrough. Though popular in the club circuit on both sides of the Atlantic, favoured by MC gangs and getting air play by John Peel and on US college radio the record sales stayed low and while recording this album the label went bankrupt. Since there were little or non advertizing made for it and hardly any distribution the band was out of founds and it became their last original release. They continued to play live on occations for some time till the final break-up a couple of years later. Sad in a way. What became their last album could, all other things aside, have been at least a small breakthrough if the label had managed. As produced by Mick Ronson (1946-93), who also contributed guitars and background vocals, it's by far their most even and elaborated rock effort. The VU nerve remains but the outcome sounds more like a blend of Lou Reed solo and Tin Machine. Maybe less dangerous than some of the earlier stuff yet with an all over dark atmosphere making it special. Favorite tracks - "Take Me Home" up-tempo with nagging guitars and Bowie-ish background quires plus the hard country rocker "Big City". Also issued on vinyl in Germany (RTD 157.1246.1). Swedish CD on Wire (WRCD 018). Premiere vinyl had label as shown here and glossy stickered cover with picture/credit inner. (SCÄ*) (CCÖ*)