AGE OF ATLANTIC 2464 013 (-70) UK

The title don't lie. It sure was the age of Atlantic. With acts like Led Zeppelin, Buffalo Springfield, Yes, Iron Butterfly, MC5, Allman Brothers, Dr. John and Vanilla Fudge they had some of the most exciting and big selling issues at the time - and all those represented on this. The only two cuts here that may not be considered classics today - Cold Blood's up-tempo soul "I'm A Good Woman" and Dada's bombastic "Last Time" cover - fits in very well and not in any way subpar to the other more known. Audio shifts a little depending on original recordings, but most of it very clear and direct. To me a very palatable taster from the years 1968-70 when so much happened in the music world still echoing today. So if you can't get the original albums, but like it close to the source it's highly recommended. Also issued in Austria (same number) and Germany (SKMLP 333). UK reissue later in the seventies (K 20011) came with green/red label without the "99" logo top front cover. To my knowledge never released on CD. Premiere UK had plum label as shown here and laminated fold/out cover. (SÄM*) (ÄTHP*)

PAUL JONES - GEORGE BEAN GROUP /PRIVILEGE 3005 (-67) US MONO

Soundtrack to a Peter Watkins movie I'm almost sure I saw back then. As I recall a kind of 1984ish dystopia taking place in the then futuristic seventies, where a pop singer is used for political purposes to control and manipulate the masses. Don't remember any special scenes or mindblowing parts so I guess it didn't leave a lasting impression on me. Reason I bought this soundtrack is the Paul Jones lead. By then just out of Manfred Mann starting a solo carreer as singer and actor. Always liked his voice and my two favorite songs by him are "Privilege" and "I've Been A Bad Bad Boy". Got them in stereo before on a Swedish only 1968 compilation (see earlier post), but needed some original mono mixes with good audio...and here they are. He's also singing "Free Me", "Onward Christian Soldiers" has vocals by George Bean and the rest instrumentals. Not the best period Paul Jones LP, but as a soundtrack quite ok anyway...and I got the two mono cuts I needed. Also issued in UK (HMV CSD 3623), Germany (Vouge LDVS 17136) and Italy (CGD FG 5035). 2012 CD on Reel Time (RTCD 1014). First US had label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*) (ZÖNT*) (MÄNÄ*)

AMEN CORNER/THE NATIONAL WELSH COAST LIVE EXPLOSION COMPANY IMSP 023 (-69) UK

A seldom rewieved live album, as I understand mostly sought after not for its quality but by Immediate completists to fill a hole in the label catalogue. To be honest that was the reason I bought it in the first place, but when I gave it a more or less dutiful spin home from the shop I realised it was more than just a filler. Recorded by an enthusiastic band before a loving and parttaking audience. Audio isn't the absolutely best I've heard from a period live LP, but good enough to let through some connection and giving a being there feeling most of the time. Not like the carefully adjusted and re-worked arena live albums released today...though if you ever visited a concert back then you'll get it. I like it mostly for the all over positive aura, well performed happy rock from a hard working combo. Of course it's never wrong to get a "Penny Lane" cover direct from the stage, or a well performed fast version of "Our Love Is In The Pocket", but it's mainly the atmosphere that saves it for me. Originally also issued in a couple of other European countries, downunder and South America. Japan "limited edition" 2009 CD (Immediate VICP 70115) came in paper sleeve with seven bonus tracks. Premiere UK had label as shown here and glossy fold/out cover. (YDÄ*) (LYBÖ*)

THE ROLLING STONES/EMOTIONAL RESCUE CUN 39111 (-80) UK

To my taste the last really great Stones album was "Goats Head Soup" (see earlier post). Not that I think all after that is bad, but as their songbook started to include more ballads and disco and the audio went increasingly cleaner the dirty old rock band I loved wasn't there anymore. My first real disappointment was "Some Girls", one I'm still not all in with. After that I didn't expect much from this follow-up two years later, but it took me by surprise then and remains an album I spin and enjoy. Audio still a little too pure, but if I skip the mock disco and ballads there are a couple of really good catchy rock songs to enjoy with a fair share of filth attached. "Summer Romance", "Let Me Go", "Where The Boys Go" and She's So Cold" come out like melodic punk rock. "Send It To Me" a messy enough raggae and even if "Dance" has some terrible octave bass and may be called disco it's made with a let-go attitude making it more Stones rock than glittery dance floor support. Maybe not up there with their old masterpieces, but in my head still one of the better albums from the period. Issued and reissued on about every format through the years all over the world. Premiere UK had label as shown here and thin matt cover with huge "thermo pic" poster. (RÅ*)

THE PEDDLERS/BIRTHDAY S 63682 (-69) UK

For combo background check post on their previous album "Three In A Cell". That was so cool and snug you just wanted to take it to bed. Soft lounge tunes carried by a prominent yet caressing organ. This comes with a partly wider intent. For exemple the cover of "Where Have All The Flowers Gone" starts like free form jazz but soon slides over to melodic carried by vocals and classic guitar only, the 10.45 "Lockshen Pudding" an uptempo jazz instrumental building on diverse solo accomplishments and "Birth" with a calm almost sacral stillness conveyed by piano and bass/drum backing. Though the rest of the cuts share a lot with TIAC as organ driven in a rather dark atmosphere this sounds more mature. The feeling is jazzier, the vocals further naked and the set-up more eclectic. Mixing is tophole and audio of outmost audiophlie quality giving a close connection. Still very cool though this time slightly more offensive than cozy. Good for close listening or late parties, but less soothing at bedtime. Originally issued in a couple of European countries, downunder and US (Epic BN 26529). Japan 2008 CD (Air Mail Archive AIRAC-1476) came with three bonus tracks. Premiere UK had label as shown here and matt fold/out cover.

ENGLAND'S GREATEST HIT MAKERS LL 3430 (-65) US MONO

US issue made with same tracking and sleeve design as the UK "14 Great Artists" Decca sampler (see earlier post). Reason I bought this too is I've heard the US version has the in England rapidly withdrawn variation where Van Morrison uses the f''ck word at the end of Them's "Little Girl" (the UK uncensored having matrix "2K" on side one). That may be true for the earliest UK export "FFRR" release, but sadly not on this later US press which has the same version as the UK censored one. A disappointment, but one that made me a little wiser and that's gotta be worth something. And it could be a keeper after all. To my ears the audio on this is a little more soothing than on the Decca one - not much, but I hear it somewhat bigger and softer with less sharp edges. Good listening to great tracks is never wasted...so...why not? (SÄM*) (YZÄ*) (ÖXCÄ*)

CONTACT/HON KOM ÖVER MON MNW 17-P (-71) SWEDEN

Their second LP (eng. "She Came Across The Moor"). While the first - "Nobody Wants To Be Sixteen" - can be described as odd garage pop/rock with English lyrics (see earlier post), this is more or less a folk rock album partly building on Swedish traditional themes with psych and jazz interludes. The garage feeling is still there, but this time somewhat more elaborated and cohesive. All cuts self-produced and self-penned. Played by a seven-piece consisting of bass, drums, guitar, keyboard, fiddles and horn. Lyrics all Swedish with a mix between folky and left-wing. Got many favorites here - "Grannlåt" (Neighbour Song") is good folk rock carried by a simple but soothing saxophone-violin loop. "Vargarnas Natt" ("Night Of The Wolves") soft psych with prominent guitars. "Jass" instrumental folk-jazz and title track dark and repetitive with bass/drum/violin support and a beautiful alto sax solo. Audio is open and direct, allowing flaws but also true feeling to get through. All together more laid-back than eager, partly very catchy and to my ears still today very good listening. Originally released in Sweden only. Seventies re-issue on bright blue label. 2009 2xCD issue (MNWCDJ 17) together with the "Nobody Wants To Be Sixteen" album plus three bonus tracks. Russian CD on Special Limited Edition came with four bonus tracks picked from the band's third LP "Utmarker". Premiere press had label as shown here, thick vinyl and thin fold/out cover made of recycled structured paper with record pocket inside and brown paper ad inner. (SCÄ*) (CCÖ*) (NÅY*)

THE BEATLES/1967-1970 PCSP 718 (-73) UK

I sometimes meet people at work or in record shops who never got into or learned about Beatles, but would like to and don't know where to start. I think this is a good advice. A collection of twentyeight tracks, most previously on big selling 45:s. Even if not the absolutely best to everyones taste it's still so overwhelming all together it'll leave very few untouched. Back then it also brought a couple of goodies for the already accustomed fan. The single edits of "Get Back" and "Let It Be" here for the first time on LP. And on this UK version you get George Martin's 1971 stereo re-mixes of "Strawberry Fields Forever" and "Penny Lane", same as first used on the A1/B3 matrix issue of the German Magical Mystery Tour album (see earlier post). The new SFF mix can easily be distinguished by having "Cranberry Sauce" twice at the end - which this has...well actually just "Cranberry..." second time, but again the same as on the German. Haven't had a US 1st press for ages, though as I remember that had "Penny Lane" in mono and the 1966 SFF stereo mix. Anyway it is a compilation of tophole tracks by one of the greatest bands ever, carried by excellent production and great audio. So whoever, whatever or wherever you are, if you're new to all this and wanna get in - go fetch! (BÄ*) (ÄPLÄ*) (PÖP*) (LGÅ*)

GENESIS/ABACAB CBR 102 (-81) UK

I usually only post stuff if I have something nice to say, but it is hard to muster any positive thoughts here while trying to save myself from drowning in a sea of squishy squashy synths. The album was a huge success then, reaching #1 in UK, #7 in US and eventually certified double platinum by RIAA. At first impact this old-timer don't get that at all. I understand when synths constitutes art music or are used as effects or slight enhancements, but have never been able to appreciate the electronic substitutes for real instruments in pop and rock. And as this is full of it almost impossible for me to pick out any enjoyable stuff. I do like Phil Collins vocals and "Dodo/Lurker" reminds of good early post-Gabriel Genesis, just on a less solid ground. There are a couple of other parts I would have liked if played by real instruments, but can't get past the squishy squashy. Issued all over the world on all possible medias through the years. Vinyl releases came with different color settings on sleeve, not sure if any of those are considered earlier or more valuable. Important for distinguishing an early UK press is if label, back cover and inner have Charisma logos only, later would have a Virgin logo added. This seems to have been one of the earliest (stamped matrixes CBR A/B 1U-1-1). It came with label as shown here and thin matt cover with glossy pic/credit inner. (GYÄ*) (CÄX*)