HOLIDAY BREAK

Taking a short break over Christmas. Back again 2018. Wishing You Happy Holidays wherever You are. All the best/Erik

BJÖRN J:SON LINDH/RAMADAN MLP 15.414 (-71) SWEDEN

In retrospective Björn J:son Lindh (1944-2013) stands out as one of the more productive and successful on the Swedish music scene, without ever being a big poster figure or household name. Student at Royal Swedish Academy Of Music 1963-71. Renowned studio musician as flutist, pianist and arranger in genres as jazz, rock, fusion and ethnic and composer of chamber music, symphonies and quire works. He also wrote scores for over thirty movies and a number of theater settings. Through the years playing with jazz/prog or experimental bands and artists as Jason's Fleece, Baltic, Hörselmat, Ralph Lundsten, Jan Akkerman, Mike Oldfield and Staffan Scheja. Furthermore releasing 30+ solo albums where of this was the first. It would be wrong to call it a debute since he already was well in the game and the guest musicians no spring chickens either - e.g. Georg Wadenius (who'd played with Solar Plexus and Made In Sweden among others and after this 1972-76 in Blood, Sweat & Tears), Kenny Håkansson (Baby Grandmothers, Mecki Mark Men, Kebnekaise), Ola Brunkert (already then the most hired drummer on home turf and later part of the ABBA team, playing on all their recordings). The music here can best be described as lounge prog with an eastern feel. Cool and experimental at the same time, offering a generous space for solo accomplishments, but those more part of the flow than wayward outbursts. Superficially smooth yet with enough odd turns to make it further interesting. Favorite tracks - "Lastbrygga" (eng. "Wharf") and "Kullens Fyr" (eng. "Kullen's Lighthouse"). Originally released on Metronome in US (DIX 3000) and Atlantic in Germany (ATL 40 428), but for some reason never legally reissued on CD though conterfeits exist. Second Swedish press 1972 with yellow label. First had blue label as shown here and laminated fold/out cover with ad inner. (SCÄ*) (CCÖ*)

THE ROLLING STONES/BIG HITS(HIGH TIDE AND GREEN GRASS) TXS 101 (-66) UK STEREO

(For more on the issue itself please check post on the corresponding mono...and sorry for the bad label pic...can't get my scanner to work with that green label surface.) Though first almost always is best from a collector's point of view, it may not be if you also consider audiophile quality. It is lovely to embrace a copy on the ridged green label combined with 1st matrixes and mother/stampers as it didn't sell a lot in mono loving Britain at first and therefore has become rare. But there the delight ends I'm afraid. Here only two of the tracks - "Paint It Black" and "Lady Jane" - comes in true stereo, the rest more or less rechanneled and some of them not in a very good way. But as the years went by re-releases got more actual stereo cuts, e.g. the seventies issue adding two-channel mixes of "It's All Over Now", "Heart Of Stone" and "Time Is On My Side" to the former two and thus providing much better listening. So a collectible original it is, but for better stereo play I'd choose a later issue. However if you wanna enjoy this great compilation to the fullest go for the original mono - all true with great audio and the exact right feeling. No stereo version can compete with that. (RÅ*)

THE TROGGS/FROM NOWHERE - THE TROGGS TL 5355 (-66) UK MONO

British band founded in Hampshire 1964 and following year signed by then Kinks manager Larry Page to his Page One Records. In just two years, 1966-67, they managed nine world wide hits, where of larger part #1 or at least top ten in many countries. From 1968 it seems the hype was over and though they're still at it in some form a 1993 re-cut of "Wild Thing" at UK #69 has been their only hit since. The Troggs original "Wild Thing" recording - version of a Chip Taylor composition first written for and issued 1965 by New York group The Wild Ones - has become one of the most covered sixties rock songs and seen as a great influence on later British punk rock and new wave. I guess for many fans that is the hight of this debute, but for me who's heard the song about a million times already not so much. So instead of focusing on that I like to take it all in in one long lap and then mainly for the audio and atmosphere. The mix of covers and self-penned, blending raunchy and cute, are made in the exact same way - simple and right on from a basic setting, sounding like a studio concert caught in the act and then conveyed with hardly any production or levelling. Much of it unbalanced with varying volume, sometimes bursting the groove, and a fair share of flaws. In other words - very good garage! Here enhanced by the clear audio not leaving many spots buried. Played on good equipment it's like you're in the studio and for better or worse getting it first hand. I prefer the harder tracks, where the simple setting gets it really raunchy - "Ride Your Pony", "I Just Sing", "From Home" and especially the cover of "Louie Louie" which in this shape has to be one of the rawest British recordings made in the sixties. So for those adjusted to today's smooth digital outcomes it might be a too shaky gallop, but for a garage lover like me - a joyride. Issued on vinyl all over the world in the sixties. Due to contractual problems the US first came on two different labels - ATCO (SD/33-193) and Fontana (SRF 67556/MGF 27556). Both those came with same tracking, different to UK, omitting "Ride Your Pony", "The Kitty Cat Song", "Jaguar And Thunderbird" and "Louie Louie", replacing them with "Lost Girl", "I Want You", "With A Girl Like You" and "Your Love". Premiere UK had label as shown here and laminated flip-back cover. (TRÖX*)

801/ LIVE 2302-044 (-76/-77) UK

Polydor reissue of the 1976 Island album (ILPS 9444). After Polydor took over the distribution for E.G. Records from Island in UK they continued to reissue a large part of of the Island/EG catalogue, most of the time resluting in upgraded audio. Haven't had the Island original of this for at least a decade and can't recall how that sounded, but when listening now this has to be an update. Big and crystal clear with very fine separation for a live take and if it weren't for the public noise most of the time borderline studio quality. I don't mean any disrespect to the other skilled musicians participating, all doing a superb job, but for me this is all about Eno and Manzanera. I get alternate versions of "Baby's On Fire", "Third Uncle", "Sombre Reptiles" "Miss Shapiro" and "Diamond Head", coupled with smashing covers of "Tomorrow Never Knows" and "You Really Got Me". Larger part vocals by Eno and excellent guitar work by Manzanera. Most of the time I forget it's a stage performance and just hear a well produced psych/art rock album. In some cases that could be a bad thing if you lose the live feeling, but here it works just fine. Favorite tracks - "T.N.K." and "East Of Asteroid". Issued and reissued on vinyl, cassette and CD all over the world through the years. UK 2012 CD and 2-LP reissue (Expression Records EXPCD 3/VIN180LP22) both with lots of bonus live cuts. First UK vinyl reissue had label as shown here and fully laminated cover. (ÄNÖ*)(LYBÖ*)(FÖF*)

BENNY ANDERSSON/KLINGA MINA KLOCKOR MML 01 (-87) SWEDEN

After ABBA dissolved Benny Andersson became even busier as producer, arranger, composer of film scores, participating in various group outfits and together with Björn Ulveaus writing for a number of musicals where of "Chess" probably the most internationally known. But checking early history I don't think it would be too off saying this first solo album (eng. "Chime My Bells"), where he interpret and in a way continue the Swedish folk music tradition, is the one closest to his heart. As growing up with father and grandfather both accordeon players into traditional folk and getting his first own accordeon at age six, he early must have learned to play the old tunes besides schlagers and rock'n'roll. All cuts here are self-penned. Title track a long symphonic piece with lyrics by Björn Ulveaus, mainly performed by The Swedish Radio Symphony Orchestra and a quire consisting of a large number famed Swedish female vocalists, including Anni-Frid Lyngstad (see list below). "Efter Regnet" (After The Rain) a wistful ballad with lyrics by Mats Nörklit, sung by Tommy Körberg and Karin Glenmark. The rest instrumental, either backed by Orsa Spelmanslag (Orsa Fiddler Squad) with Benny on accordeon, or orchestra. Never thought I'd call Swedish traditional type music catchy, but this is, carried by the same blend of archetypal and modern that shaped so many of his ABBA melodies though here with emphasis on the former. The orchestrated folk tunes in the same vein as the old masters Hugo Alfvén or August Söderman, the more traditional just that but with melodies seemingly adjusted to modern ears. Favorite tracks - the grandiose and beautiful title piece and "Födelsedagsvals Till Mona" (Birthday Waltz For Mona)- written to his wife Mona Nörklit - couldn't be more Swedish with its key somewhere between major and minor, making it melancholy and positive at the same time. As an album probably not for the rock fan, but folk lovers and/or die-hard ABBA fans should feel at home here. Also released as CD with same tracking (MMCD 001). Dutch LP and CD on Dureco (1150701/2). Premiere Swedish had label as shown here and thin glossy cover with lyric/credit/picture inner. (ÄBBÖ*) (SCÄ*) (CCÖ*)

DONOVAN/THE HURDY GURDY MAN BN 26420 (-68) SWEDEN

Apparenty Donovan wasn't as loved in Britain as he was on the rest of the globe through the sixties. E.g. no less than four original albums - Mellow Yellow, Sunshine Superman (the 1967 UK version using same tile was a different album), Barabajagal and this - were orignally compiled in US and then spread to be issued all over the world...except in UK. On here he continues to develop his very own melodic psych style - like in the title track, coupled with traditional folk in "Peregrin" and "Tangier", jazzy cuts as "Get Thy Bearings" and not least the beautiful "Jennifer Juniper". His vocals are breathy and soothing, the backing highly adaptable and most of the thirteen cuts catchy and memorable. It's a mystery to me why he's not more loved or considered further collectible today, cause this is a great album with almost everything you'd want from the period. And on a list with best 1968 psych 45:s "Hurdy Gurdy Man" must be at least top three - so raw and smooth at the same time once it's inside you it will never leave. I'm longing to one day find the US mono promo or why not the Sundazed mono reissue, but till then I'm very happy with the sturdy and well-sounding Swedish original. It came with label as shown here, thick unflexible vinyl and fully laminated cover. (TÖW*) (CCÖ*)

KEVIN COYNE/BLAME IT ON THE NIGHT V 2012 (-74) UK

The story of Kevin Coyne (1944-2004) is as much about the social worker and activist, working with and for the outsiders - the mentaly ill, addicts, homeless and institutionalized - all his life struggling for the less fortunate, which clearly shows in songwriting and expression. For a more detailed description of his life I recommend the Allmusic biography - very interesting. This was his third album as a solo artist after quitting the band Siren and second after leaving John Peel's Dandelion label for a contract with the then quite new Virgin. I've seen die-hard Coyne fans critizising it for being too produced or even commercial, but I don't get that at all. I hear 100% honest, angry and most of it certainly not fitting for common radio play or any mainstream activity. Way too personal and concerned to be a big seller. To my ears the very sparse additions - like brass, female background quires or even strings - just provides a balance to his usually naked and righ-on performance, making it a little less challanging to take in the message. One might need that spoonful of sugar to help the medicine go down. In any case if you're not familiar yet and longing for something blending genuine with catchy it's well worth a try. My favorite tracks - "Blame It On The Night", "Poor Swine" and "River Of Sin". Originally issued in Europe and Downunder, but to my knowledge never in US. UK 2013 2xCD on Turpentine Records (TURPD 5) came with nineteen bonus tracks. Premiere UK had label as shown here and thin structured cover with picture/lyric insert.

THE KINKS/FACE TO FACE NSPL 18149 (-66) UK EXPORT STEREO

After the badly faked export stereo of "The Kink Kontroversey" (see earlier post) I'm surprised to hear this is true...well at least parts of it...and then mostly pieces of those parts...and not even close to the quality of the corresponding mono...but still - not a straight rechanneling. It would take forever to sort out all peculiarities or differences to the mono and I don't have the time or audiophilic strength for such work, but here are a few exemples - "Party Line" starts with the phone signal and voice in opposite channels and then slides over to some kind of enhanced mono. Same with "Rainy Day In June" with initial thunder in true stereo but the rest monoish. "Holiday In "Waikiki" is the only cut that from my listening chair sounds close to true stereo almost all the way. As a stereo as a whole not as disastrous as "Kink Kontroversey". I get an ok alternate mono with some minor stereo effects and it doesn't sound too bad - wider and brighter than its conterpart and though inferior not entirely unpleasant. Version probably made by producer Shel Talmy on demand from US Reprise since stereo sales by then was growing in America, but as the British still fancied mono more it wasn't released domestically initially just pressed for export. UK 1st press labels came with "stereo" print either small to the right or larger above mid-hole. I've seen statements from sellers that the larger print was earlier, yet checking Pye discography you can as well claim the opposite. The smaller type did occur even on the earlier "left logo" label designs and the larger figures at least up to 1969. So there's no use getting hung up on that. Better verify the earliest matrixes - here stamped NSPL 18149-A1/-B1, both sides also with *T showing it was cut by Tony Bridge with Scully lathe tools. There are mother/stampers though I can't seem to figure them out - checking faint fonts with bad eyes. Had the US stereo (Reprise RS 6228) with same tracking some decades ago and vaguely remember that had more reverb (right me if I'm wrong). Early (first?)UK had label as shown here and laminated flip-back mono cover with stereo stickers on front and rear. (KYX*) (PÖY*) (ÖXÄP*) (MÅW*)

LULU/NEW ROUTES SD 33-310 (-70) US

Follow-up to the not so successful 1969 "Lulu's Album". For this she had left producer Mickie Most and the EMI contract to try on new things with the Atlantic team in America, not doubt inspired by her then husband BeeGee Maurice Gibb and probably also by Dusty Springfield who'd done the same journey a year or so earlier with her "Dusty In Memphis". And though not recorded at same location, but the newly finished Muscle Shoals studios in Alabama, she got the same top producers - Jerry Wexler, Tom Dowd and Arif Mardin. Add participation of the renowned Muscle Shoals Rhythm Section plus guitarists like Duane Allman and Cornell Dupree and you could anticipate something breathtaking. Maybe my expectations were too high, but to my ears there's nothing special going on here. I get uneven, partly overproduced and a Lulu that's mostly holding back rather than using her vocal strength. Don't know if that came from her trying a more mature output or she just being scared by the unfamiliar surroundings. In any case it don't hit me as I want. The cover of "Marley Purt Drive" is totally ok, not least as a reminder of a BeeGees highlight now almost forgotten. For the rest I dig when she can sing out at least a bit - like in Traffic's "Feelin' All Right" or the Fran Robins composition "Sweep Around Your Own Back Door" - reminding me of the old rockin' Lulu. As a whole a little too mainstream for me, but very well done if you want that sort and the audio on this US press is superduper, very good to the ears. UK on ATCO (228 031). 1970 issues also in Canada, Japan and a couple of European countries. Japan 2011 CD on ATCO (WQCP 1040). Premiere US had label as shown here thick vinyl and glossy cover. (FÄV*) (YZÄ*)(LÅL*)