THE SUPREMES/SUPREMES SING HOLLAND DOZIER HOLLAND MT-650 (-66) US MONO

The trio's tenth LP and the last made through full cooperation with Holland-Dozier-Holland before the songwriting/production team left the label. The whole album consists of material written and produced by H-D-H. A couple of older previously unreleased cuts mixed with songs earlier made hits by other Motown acts and some newly written. So what I get is a favorite label's contemporary top act doing numbers by some of the best US songwriters at the time and backed by an excellent studio band. It must be love. You could call it slightly uneven, though on such a high level the grading almost loses its meaning. Martha And The Vandellas may have made "Love Is Like A Heat Wave" slightly cheekier, there might be more emotions bursting from The Isley Brothers "I Guess I'll Always Love You" and Four Tops version of "It's The Same Old Song" considered the true classic, but the ones here are so good too there's not much competition. And I do get two original Supremes classics - "You Keep Me hangin' On" and "Love Is Here And Now You're Gone" - both reaching #1 on Billboard. From a Motown loving mono collectors veiw this also has a value as rarity. Apparently apart from dissimilar mixes "Love Is In Our Hearts" has different versions for the formats and since the one-channel tapes were never reissued on vinyl or CD (at least I can't find any) the original monos are the only way to get that. Issued as such in US, Canada ( MO-650), Australia (TMLO 10007) and parts of South America. In UK released 1967 as "The Supremes Sing Motown" with alternate front sleeve design (TML/STML 11047). I always get confused trying to establish secure time-lines for US Motown issues, but positive this copy is very early, having stamped -1/-1 martixes, ridged labels, thick vinyl and time characteristic ad inner. (TÖMÖ*) (ZYZÖ*) (YZÄ*) (ÖXCÅ*) (FÄV*)

THE NICE/THE THOUGHTS OF EMERLIST DAVJACK Z12 52004 (-67) US

After posting the UK mono here I got a comment saying the 1st edition US stereo was crippled by too much reverb and then thought I'd better avoid it, but when finding this copy (stamped matrixes AA-Z 12-52-004-1/-2) at a very affordable price decided to give it a try anyway. Never had a UK stereo so can't value against that, yet in comparison to the mono this actually has a lot to offer. I do get somewhat more reverb though to my taste not enough to injure the overall impression. I quite like it. Since it is one of the true classic psych records I'm willing to forgive volume shifting between and within tracks - just call it "dynamic" - the sometimes unbalanced stereo mix or part messy outcome. More positive - the picture is wider revealing further details and flaunting David O'List's crazy turned on guitars even more. A mix like this would have been a catastrophy if appearing on a Barbara Streisand or Celine Dion album, however since it pictures a couple of skilled and as it seems stoned musicians playing barefaced games in the studio - it fits in a way. I wont do a track by tracks mono-stereo comparison since I don't know how much this differs from the 1st UK stereo, but as soon as I find one of those I'll be back to finish the job. (YZÄ*) (YDÄ*) (ÄPY*)

ROXY MUSIC/AVALON EGLP 50 (-82/-92) UK

I usually flatter myself as the guy who's always well-read and in control when it comes to finding first press items and discovering rarities, important because I'm not rich and therefore always need to get my money's worth when building the collection, can't afford any waste. But sometimes I'm too keen and get it all wrong, as in this case. Not my favorite Roxy Music album. Though with top production, stunning audio and embracing atmosphere a little too blunt and melodically uneven for my ears. Still good enough and as their last studio effort a must in any Roxy Music collection. Been looking for a UK 1st a very long time, but as you hardly ever see them here I was excited spotting this UK copy in a shop the other day at a good price so I bought it immediately. Then at home I discovered it wasn't even an early press, but one from at least ten years later as it has "Virgin" on bottom label and they didn't take over EG from Polydor until 1992...also the original label is green with different font design...and the rear cover on this has a barcode not appearing on the first press...and the record number is EGLP 50 instedd of the original EGHP 50. Maybe I should have checked it out more before buying. But it's not all bad news. The sleeve is fully laminated, the lyric inner thick and glossy and the audio is stunning. First press or not - it is a beautiful copy providing very good listening. I'm continuing my search for a 1st press, but till (if?) I find one this will certainly be more than sufficiant. (ÄNÖ*)

MERIT HEMMINGSON PLAYS CAS 22 (-68) SWEDEN

Organist, composer and singer born 1940 in Jämtland, Sweden. Started playing jazz piano in bands already in her mid-teens and performing at Stockholm's foremost jazz club "Nalen" in the fifties. After travelling to America early sixties she formed the band "Merit & Her Girl Stars" - together with four US black female musicians on bass, drums, saxophone and trumpet - an outfit that toured Sweden for about six months before breaking up. Around 1965 she fell in love with the Hammond B3 organ which she has more or less kept to since. Today she's mosty appreciated for the interpretations of Swedish folk music recorded in the seventies, performed as jazz or pop, at the time frequently rewarded on home turf. Debute LP - the 1966 "Discotheque Dance A Go Go" (Sonet SLP 50) - was a live performance from the Esquire club in Sheffield together with her then band The Meritones, where they did instrumental jazz/pop/soul versions of known hits. This second album is more in the same vein, here recorded in a studio with backing including US jazz percussionist Sabu Martinez among others. There's nothing even remotely stirring going on here. I hear jazzy instrumental cover versions of hits as from a lounge milieu, embedded in a warm flowing hammond with just enough odd twists to keep me alert. Audio top notch, very relaxing and more suitable for snug love meetings or late night after-parties than intense listening or boisterous festivities. Released in Sweden only, but judging from the English liner notes probably also meant for export. Vinyl reissue mid-seventies on RCA International (YSJL 1-547) came with different sleeve design. To my knowledge never released on CD. Premiere issue had label as shown here and thin fully laminated cover. (SCÄ*) (CCÖ*) (CLÄZ*)

THE WHO/TOMMY- ORIGINAL SOUNDTRACK RECORDING 2335 093/94 (-75) UK

As a Who fan I'm a little ashamed admitting I've never captured this movie. Heard and read about it of course and very caught in the big hype back then, but for some reason never went and saw it. I guess that would have helped when listening now by reminiscing scenes and thereby making the admittance a lot more favorable. As it is now the only thing I can refer to is the original Tommy album   https://monolover.blogspot.com/2012/09/the-whotommy-613-013014-69-uk.html    and in comparison to that this comes out second hand in so many ways. With all that talent involved and such catchy melodies and interesting libretto spread out over a 2LP set it could have been great all the way. I really want to like it, but the ghost of the 1969 Tommy sits beside me all the way through, hampering the emerging positive feelings. Though setting is fantastic, production elaborate and audio top notch I'm starting to feel I can't do it justice and therefore ought to stop writing and just dismiss the input. However come this far I can as well try to round it up and post, even if it might appear half-assed. The three tracks I like are all on side two - Elton John's version of "Pinball Wizard", Tina Turner's "Acid Queen" and "Cousin Kevin" with tophole vocals by Paul Nicholas. Not much for a double album, but enough for keeps. Premiere UK had label as shown here, matt fold/out cover and picture/lyric/credit inners. (WÖH*) (ZÖNT*)

THE BLACKBIRDS/NO DESTINATION STFID 2113 (-68) UK

Band formed 1965 by four guys from Saarland, Germany. After two years of regional success, among other things winning popband competitions and performing in local TV-shows they got a one-LP deal with the notorious UK Saga budget label resulting in this issue. It didn't sell and nor did the follow-up, the more progressive krautrockish 1971 "Touch Of Music" (OOP 5-34), then with guitarist Werner Breinig as only remaining member. Though continuing playing live and releasing a couple more 45:s with differing settings they never hit the big time and dissolved 1983. I've seen this album described as early kraut rock. I get that because the band is German and the effort sounds experimental at parts, but it's still far from Faust or more typical "kraut" outfits. I hear a German interpretation of British sixties pop and rock, sung in broken English by a band who doesn't seem to take it all that serious...or maybe they were earnest and it just appears offhand because of Saga label's usual mean treatment of their artists - live in the studio, almost unproduced without guidelines and hardly any overdubs or concerned mixing. Anyway I'm charmed. Pressing and audio are surprisingly good for Saga inviting me to the studio for better or worse. All songs penned by the band. I wanna call it psych pop though most of the songwriting is rather ordinary pop with psych elements coming from the high-pitched vocal outbursts and all prominent organ - sometimes sounding like from a cantor on acid. Don't know if to call it good or bad. In any case beside Saga collectors it may also do it for hammond organ lovers and/or garage freaks. Favorite tracks - the instrumental "Space" with lots of weird organ in a lounge atmosphere and "She" for its doomsday feeling. This UK was the only issue on vinyl. 2005 German CD on Long Hair (LHC 38) came with four bonus tracks. Premiere UK had label as shown here, heavy vinyl and laminated flip-back cover with colored band image on rear. I've also seen non flip-back copies having black/white band pic. Since there's also rear notes in German on this you'd think it was aimed for export, but you never know with Saga so I'll leave that open. (ÖGÄ*) (SÄGÖ*)

SMALL FACES/FROM THE BEGINNING LK 4879 (-67) UK MONO

Sort of compilation issued by Decca after the band left the label for Andrew Loog Oldham's Immediate. You get four former 45 A-sides - "What'cha Gonna Do About It", "All Or Nothing", "Hey Girl" and "My Mind's Eye" - coupled with two alternate versions of songs that later would be re-recorded for their 1st Immediate album - "Tell Me Have You Ever Seen Me" and "My Way Of Giving" - plus eight earlier unissued. LP a product of the vault cleaning labels sometimes did when acts had moved on and those seldom came out pretty, though in this case the result is borderline fine and to my ears certainly a lot better than the 1969 Immediate clinker called "The Autumn Stone" (see earlier post). Audio shifts from very good to almost OK, but never so bad it hampers the joy of listening. I hear a band in transition between mod r&b and psych - or betwixt speed and acid as they were - most of it with a genuine garage quality, topped by memorable melodies and Steve Marriott's soulful vocals and it makes me feel all right. If you are interested in getting all Decca 45:s with top audio on vinyl at a much lower price there may be better ways - e.g. the 1976 Decca compilation "The Singles Album"(see earlier post) - but as this is closer to the fact and released on Decca "unboxed" it remains the most favored by sixties collectors. Originally released in Europe and downunder, First US 1996 on CD (Deram 42284 4633-2) came with five bonus tracks. Premiere UK had ridged label as shown here and laminated cover. (SXÅH*)

DONOVAN SRAK 528 (-77) UK

After a couple of albums with bad sales Donovan was sacked by Epic and reunited with his old friend and producer Mickie Most, who by then managed his own RAK label. It was decided that the recent lack of success depended on Donovan hadn't been keeping up with contemporary musical ideas, so they attempted a new sound for this hoping it would reach a bigger audience. Sadly it didn't. Reviews were lukewarm and sales remained low. Listening now I find that very unfair. It's the same Donovan I've always liked in just a little different drag. In fact the songs remind me more of his late sixties period than anything else. Most of it up-tempo with electric backing, all very melodic with lyrics telling real stories. Like "Local Boy Chops Wood" - a tribute to Rolling Stone Brian Jones (who btw dated and had a child with the Linda Lawrence that later would become Donovan's wife). Or "Maya's Dance" giving a reality check from an eastern perspective. It's not a life changing album or an eternal classic, but it is Donovan doing good and that's good enough for me. Originally released on vinyl all over the world, also cassette and 8-track. First US on Arista (AB 4143) came with same cuts but alternate sequence. 1998 UK CD on BGO (BGOCD 375). Premiere UK had label as shown here and glossy cover with picture/lyric inner. (TÖW*)

MOONLIGHTERS/ON THE RIGHT NEW TRACK ILPS 156 (-68/-70) SWEDEN

For band background please also  check post on their 1967 debute - "Sound Of Pop"  https://monolover.blogspot.com/2017/03/the-moonlighterssound-of-pop-swelpc-62.html     . That was a mix of pop, soul and dance band, sung in both Swedish and English, seemingly recorded from differing ideas within the band and style-wise rather confused, but as such quite charming. This follow-up sounds a lot more coherent, like sprung from a common idea and all cuts produced and arranged about the same way - as late sixties British pop supported by strings and/or brass. All songs kind of self-penned, either by band memebers, producer Roger Wallis or associates and mimicking period Britpop so well that for a while you're almost in swinging London. So the ambience is there, enough to raise this period lover's interest, though going beyond the surface I'm having a hard time to relate. Superficially just fine, but doesn't catch me the way I'd like. I guess very fitting for sixties parties or oldtimers class reunions, but not doing it for close listening...at least not for me for now. First released 1968 on Swedisc (SWELP-C 66) with same front sleeve. This 1970 second press came on supermarket chain Åhléns own budget label and sold for about $1. To my knowledge released in Sweden only and never further reissued in any shape. (SCÄ*) (CCÖ*)

AGNETHA FÄLTSKOG/ELVA KVINNOR I ETT HUS CLPS 351 (-75) SWEDEN

(eng. "Eleven Women In A House") First planned as her fourth regular solo LP with release 1973. But as she had to deal with expecting her and Björn Ulveaus child at the same time as ABBA started their international breakthrough it was put on ice for later. Originally thought as a theme album with songs about twelve women of different characters wrapped in a lavish fold/out sleeve showing pictures relating to the songs, but as Agnetha was too continuously busy with ABBA and baby matters Cupol label withdrew most funding and when studio work finally started they were down to ten original songs plus a last minute addition of "S.O.S." with Swedish lyrics in a simpler single sleeve. Even if stripped down from the original plan it could have been for the better. I guess any originally intended Cupol production would have come out much like in the schlager mode of her earlier LP:s. Now, as recorded at about the same time as the ABBA albums "Waterloo" and "ABBA", she got access to the whole ABBA crew, including Benny, Björn and Anni-Frid as well as production help and engineering from Michael B. Tretow. So, though a little lighter, I get about the same ambience here as from the quartet's surrounding LP:s. Apart from "S.O.S" all songs written by her and professional lyricist Bosse Carlgren. Not schlagers any more, most songs are in a contemporary pop style with part funny and sometimes cheeky lyrics by Carlgren and self-composed melodies showing on both ear and insight. Many surprisingly catchy hinting Benny Andersson wasn't the only good composer in the band. I especially like "Och Han Väntar På Mig" (And He's Waiting For Me) about an older woman and her feelings for a 15 y.o. admirer, "Tack För En Underbar, Vanlig Dag" (Thanks For A Wonderful Ordinary Day), "Doktorn!" about a woman wanting help to cure her burning urge for men and "Mina Ögon" (My Eyes) a Swedish version of the ABBA song "Disillusion". Vocals and backing top notch and I guess if sung in English it could have been embraced internationally. Now only released in Sweden, also on cassette (CK 351). To my knowledge never issued like this on CD though all songs can be found on various later compilations. Premiere vinyl had label as shown here and thin fully laminated cover. (SCÄ*)(CCÖ*)(FÄV*) (ÄBBÖ*) (ÄGFÅ*)