CONTINUUM SF 8157 (-70) UK

One of the rummier plants in the early seventies prog jungle. Band was a relatively shortlived outfit, founded and led by Hungarian multi-instrumentalist and painter Yoel Schwarcz. After a number of member changes the combo on this debute incorporated classical guitarist John Warren, percussionist Dick Wildman and double-bass player Mick Heart. An album hard to describe. All instrumental and acoustic, some building on works by baroque composers like Bach or Händel and some touching even older medieval progressions. Performances are part improvised, at a few occations reminding of blues, but more often jazz or symphonic psych, including a fair share of atonal parts. Two cuts - "Invention" and "Release" - reminds of early Jethro Tull, while "Revelate", "Approach Of Judgement" and "Apodosis" make me think of the experimenting Don Ellis or a very playful orchestral Zappa. Introvert and not the least commercial, they just do what they do for not so obvious reasons. The five tracks on side two are bind together by a theme title - "Legend Of Childe Harold (Forestful of Music)" - maybe thought as some kind of instrumental symphonic/prog opera, but I'm afraid that doesn't add much to my understanding. Nothing for the faint-hearted, but if you're into the odd and particular it may be something. To my knowledge this UK was the only vinyl release. 2004 CD on Stoned Circle (STCCD 3008). First had label as shown here and matt fold/out cover.

FAIRPORT CONVENTION/WHAT WE DID ON OUR HOLIDAYS ILPS 9092 (-68) UK

The band's second LP, first with Sandy Denny and still by many considered their absolutely best. It was certainly the beginning of a creative and productive boost, among other things resulting in three new studio LP:s in just a little more than a year. It has been suggested it was the combo's efforts this short period that set the style for British folk rock through the seventies and on. I wont argue with that. The melodic mix of self-penned, covers and traditional remakes performed with rock setting and topped by emotional vocals would remain as a common standard for the genre a very long time. Of these three LP:s, all arriving in the shops 1969, my absolute favorite is "Unhalfbricking" (see earlier post), followed by "Liege And Lief" with this as a close runner-up. The reason this comes in third isn't that I think it's bad, but that the others are close to being bloody masterpieces. In comparison the contours are a little looser here as they're still trying to find their own path and shape. Trial and error yet on a high level. But now enough reservations. Some of the tracks really move me, like the beautiful Denny-penned "Fotheringay", the Dylan cover "I'll Keep It With Mine" and the traditional "She Moves Through The Fair". A top album indeed and in its kind this time only standing back to the band's two following ones. Also originally issued in US (A&M SP-4185) and South Africa (Fontana STL 233). Australian release in both mono and stereo (Festival FL 33356/SFL 93356). Japan 2003 CD (Island UICY-20056) came with three bonus tracks. Premiere UK had structured label as shown here, thick unflexible vinyl and thin laminated cover. (FÄHZ*) (ÖSÄP*) (BRYF*) (FÄV*)

THE ROLLING STONES/ENGLAND'S NEWEST HIT MAKERS LL 3375 (-64) US MONO

US version of the debute album, first issued there six weeks after UK. Only difference in tracking is "I Need You Baby" was omitted and replaced by their first US single "Not Fade Away" (Billboard #48), not appearing on a UK LP until the November 1966 compilation "Big Hits (High Tide And Green Grass)". Sleeve design is about the same as UK - front image is larger on this with a "Free full color photo of the Rolling Stones inside" stamp bottom left and "Start A Rolling Stone fan-club..." boxed on rear. Audio very similar though the US is a bit less bassy than a UK 1st, thus coming through slightly sharper and more offensive. Not a big difference, but it's there. I showed this to a friend the other day and he said - what's the use...if you have all UK pressings this just seems redundant. For me it's not that simple. I can get lost in the small details and also since it is an early press of the debute from the worlds most known rock'n'roll band made for the biggest record market it might be an obligatory for the collecting fan. This copy seems to be transitional. Cover is from the original 1964 "ffrr" issue, while the record has the first un-boxed, maroon non-ffrr label, probably early 1965. Sadly the promised color photo wasn't included, maybe they were out of them by then. (RÅ*) (YZÄ*) (ÖXCÅ*)

THE BEST OF LIGHTNIN', BROWNIE & SONNY EROS 8079 (-65) UK

Didn't expect much from this when I picked it up a while ago. Saga label had some interesting releases in the sixties with early stuff from artists that later would get international recognicion - e.g. Mungo Jerry's first setting and Sandy Denny - plus a couple of not bad psych and folk efforts, but their issues were also known for being handicapped by bad production, pressings and subpar audio. And as this seems to have used the same tapes as the 1963 US Horizone Ash Grove live album (WP-1617) and flaunted as "stereo" when the original was mono only, all warning signs are up. But though it may be rechanneled a tiny bit, yet still some kind of mono just wider with lots of atmosphere. To my ears it sounds beautiful - apart from the guitars and vocals given full space I also get a feeling of the room where it was played and the public at place. Tons of presence. So if these are your blues heroes this is an opportunity to be there and get to know them properly over fifty years after the fact, cause here they're still very much alive and doing lots of good. Never thought I'd recommend a Saga release for audiophile pleasures, but here it is. Also issued on various labels 1963-65 In US, Germany and downunder. Don't know how those sounds, but guessing this is at least as good or even better than any of the others. First UK came with label as shown here and laminated flip/back cover. (SÄGÖ*)

GENESIS/GENESIS LIVE CLASS 1 (-73) UK

If we're just talking live albums as such at large this is not my favorite. Cut too dense to let it all out (at least this 1st UK press) and the versions so faithful to the originals it's sometimes just like listening to the studio versions, but with subpar audio and audience noise. Still as a Genesis album it has a value for me as a fan. You can hear what great performers they were on stage, disciplined yet with nerve. I wish I'd been there in the front row getting it clear and direct and this doesn't put you there, rather at a place far back. So instead of a natural sound picture of the band in its former glory it's more a damp image of greatness. But at least it's there and that's better than nothing. Favorite track - "The Knife". Issued and reissued on all possible medias through the years. First US on Charisma scroll label (CAS-1666). Earliest UK reissue was distributed by Polygram with smaller "mad hatter" and laminated cover. Premiere UK had B&C label as shown here and thin matt cover. (LYBÖ*) (GYÄ*) (CÄX*)

DOWNLINERS SECT/THE SECT 33SX 1658 (-64) UK MONO

Today a band little known by the large public and mostly fancied by specialist collectors, but back in the early sixties one of the more influential on the London scene. Formed out of members from groups The Downliners and The Hood 1963. First recording was a self-financed live EP made at the legendary London club Studio 51, where they played two nights a week, often along with upcoming acts like Rolling Stones and Yardbirds. Early fan base included names as Van Morrison, Steve Marriot and Rod Stewart and rumour has both Marriot and Stewart auditioned for the band but were rejected. 1964 they got a contract with UK Columbia and recorded this debute album. If You haven't heard it - imagine a mix between vintage Rolling Stones and Pretty Things, just more primitive. Covers of US r&b standards and self-penned in the same style recorded live in the studio and it's clear producer Mike Collier or engineer John Wood didn't try to hamper the raw drive, just made sure it'd fit the vinyl groove. For a garage lover like me this is home - simple and cheeky filled with energy and good humor conveyed by clear and natural audio. Big smile. The rear sleeve notes say backing vocal on "Hurt By Love" belongs to "two well-known Showbiz personalities" and the piano in "One Ugly Child" is played by "another anonymous Great", but fail to mention any names probably because these "guests" belonged to other labels and shouldn't have been there due to contractual reasons. If anyone reading this knows any who, please comment and tell. Originally released in UK only. Different later European vinyl reissues on Charley, Line or Munster labels. German 2005 CD on Repertoire (REP 5035) came with ten bonus tracks. Premiere UK had label as shown here and laminated flip/back cover with "Emitex" rice-paper inner. (ÖGÄ*)

PERCY SLEDGE/WARM & TENDER SOUL 587 048 (-66) UK MONO

For background also check posts on "The Percy Sledge Way" and the UK 1970 compilation. This second album was issued soon after his breakthrough and hitherto biggest success "When A Man Loves a Woman", but though spawning a couple of more hits - "Warm And Tender Love" at Billboard #17 and "It Tears Me Up" at #20 - it didn't sell that much and is today almost forgotten, or at least by many not considered as good or collectible as the debute or the 1968 "Take Time To Know Her". I think it's well up with those. You get a very nice collection of tear-drenched covers performed by his heartfelt signature vocals to empathetic backing with tons of flowing organ. Perfect when pondering over lost loves, or just for sad moments in general. Audio is close and natural, bringing him near for your consolation. He was the king of blue soul and this is one of the albums that proves it. Favorite tracks - "Warm And Tender Love", "That's How Strong My Love Is" and "Try A Little Tenderness". Originally issued on Atlantic in US and Canada (Atlantic SD/8132), South Africa (ALA 9040) and a couple of European countries. 2013 Japan CD on Atlantic (WPCR-27668). First UK had label as shown here and laminated cover. (ÄTHP*)(PÖCY*)

HALLO '76 855 468 (-76) EAST GERMANY

Continuing my hunt for gems released behind the iron curtain in the sixties and seventies. Though sometimes lyrically handicapped by political censorship, the music itself blossomed and much of it is today in hindsight as enjoyable and/or interesting as anything from the western side of the wall. If in doubt try for example to get your hands on the East German Klaus Renft-combo album "Renft" from 1974 (see earlier post) - an eclectic and well performed blend of hard rock, psych and prog, filled with catchy moments. This Amiga sampler was one of at least sixteen in the "Hallo" serie issued by the label 1972-76. A mix of album tracks, 45 cuts and one-offs - some from long existing productive bands like Puhdys and Electra, others as it seems only appearing on this. Since most of the acts are largely unknown to me I can't go in deeper to their backgrounds or full discographies, just picking a few favourite tracks here and hoping to learn more in the future. GRH-Project "Bruder Da Vorn" - heavy riff-rocker with two counterpointing guitars, Transit "Ich Far An Die Kuste" softer rock with pleasant guitar licks and Karat "Mein Dorf" a beautiful string-driven ballad. These are the ones that at least hit me instantly, maybe a German-speaking would pick differently by understanding the lyrics. As with most Amiga issues the audio is very good all over - distinct and natural. This was the only vinyl release, but all tracks were reissued 2015 as part of a 16xCD box - "Hallo - Die Original Amiga Box" (Sechzehnzen 8490013). First had label as shown here, thin glossy cover and handeling/playing inner. (GÖXÄ*) (SÄM*) (ÄMY*) (BÅC*)

GEORDIE/HOPE YOU LIKE IT EMC 3001 (-73) UK

Band founded 1972 in Newcastle, England ("Geordie" was a nick-name for the people and dialect in that area). They quickly became a popular live act in Europe and downunder, including numerous appearances on BBC:s Top Of The Pops. However record sales failed the big league and they only managed one UK top ten hit in the seventies, commercially always in the backwater of compeating glam rock outfits Nazareth, Slade and Sweet. Today probably most known for being the starting point of AC/DC vocalist Brian Johnson, who remained in the band till 1976. This was their debute album. Listening today I'm feeling both positive and negative vibes. On the plus side you get one of the heavier glam attempts with layers of howling guitars to a steady and hard rock backing, crowned by Brian Johnson's outstanding vocals. Also the audio is tophole and might floor you if played on any permissive equipment. But I do miss some kind of hit feeling, or at least truly catchy moments like a couple of deeply touching melodies not drowned in sheer power. The only cuts that don't hit you like a glittery steamroller are the "Oh Lord" ballad, the rock revival "Old Time Rocker" and the quirky dialectal singalong "Geordie's Lost His Liggie". The latter also one of my fav tracks here, together with the cool title track. Perfect party record, but not all doing it for close listening, at least not to my ears. Originally issued on vinyl all over the world, some with different sleeve designs. First US on MGM (SE 4903). 1990 CD on Repertoire Records (RR 4033-C) came with four bonus tracks. Premiere UK had label as shown here and thin fully laminated cover.

THE HOLLIES PMC 1261 (-65) UK MONO

Their third UK album. In a larger perspective not much different from the surrounding "In The Hollies Style" or "Would You Believe?" (see earlier posts). A mix of covers and self-penned (credited to "L. Ransford"), most performed with signature multi-layer vocals, some coming through as simpler garage recordings while others seems more elaboratedly produced. Described that way it doesn't seem very special or worthy of particular attention, but for an already Hollies fan or someone just digging the period music, sound and atmosphere there's lots of beauty involved. It has all the warmth, energy and natural audio you can ask for in a mid-sixties recording. Though non of the tracks have remained as classics it's all together a very positive experience filled with presence and good will. I get the feeling they're all on their toes trying to perform the best they can. Guess a few false notes or a couple of untied knots can put the more sensitive listener off, but if you're like me and want it authentic such is just reinforcing. Got a lot of favorites here, but chosing three - the gospelish "Very Last Day" (at the time released as a single in Scandinavia where it became a huge hit), the self-penned "Too Many People" with quite uncommon lyrics for a 1965 pop song and "So Lonely" (the only UK 45 pick from the album as B-side to "Look Through Any Window"). Originally issued like this in Europe, downunder and a couple of African countries. Both US (Imperial LP 9299/12299) and Canadian (Capitol (D)T-6245) versions came with each having differing titles, track lists and sleeve designs. A stereo version was mixed, but not issued in UK until 1969 as "Reflection" (Starline SRS 5008). First had label as shown here, laminated flip/back cover and "Emitex" rice-paper inner. (HÖLY*) (PÖX*)