TOMORROW PMC 7042 (-68) UK MONO

UK psych band, founded as "Four Plus One" and further using the names "The In-Crowd and "The Snarks" before settling as "Tomorrow" and as such existing about a year between springs -67 and -68 - then including drummer John "Twink" Adler (Pretty Things, Pink Fairies, Hawkwind), guitarist Steve Howe (Yes) and singer Keith West (most known for the world wide hit "Grocer Jack" from "A Teenage Opera"). Though popular on the live scene they never got a real breakthrough, much of it depending on bad luck it seems. 1966 hired - as "The In-Crowd" - for the club scene in Antonioni's "Blow-Up" movie, but sacked in favor of the more famed Yardbirds. 1967 they got a contract - as "The Snarks" - for the British comedy film "Smashing Time", but as John "Junior" Wood went ill they were replaced by Skip Bifferty. Then the release of this LP, recorded at the hight of British psych early 1967, was delayed about a year and sold in shops first when the hype was pretty much over. It didn't sell and as it was recorded on a low budget with producer - Mark P. Wirtz - spending most of the time away from the studio, preparing his "Teenage Opera" project, it could have remained a public flunk only embraced by mourning friends and oddity collectors, but after being frequently reissued through the years all over the world in mono and/or stereo on vinyl and CD it has found new appreciation and is now widely considered one of the best psych albums. I agree with that. This record has about everything I need from such - a mix of well produced and studio live, blending sweet and raw, yet catchy with many memorable moments. I like it all, but if I have to choose favorites it'd be the more melodic - "My White Bicycle", "Three Jolly Little Dwarfs", "Shy Boy" and "Auntie Mary's Dress Shop" - together with the impudent cover of "Strawberry Fields Forever". This mono is cut very loud, almost bursting at the seams. As I remember the original stereo - mixed by Beatles engineer Geoff Emerick - sounds somewhat smoother, providing more relaxed listening. Which you prefer is a matter of taste, but after reading an interview with Steve Howe where he said - "I like the mono better, cause that's how we sounded" - it's kind of evident even if the stereo comes with preferable audio. First US as "Tomorrow - Featuring Keith West" on Sire/London (SES 97012). Japan 2014 CD came with both mono and stereo versions plus 45 B-side "Claramount Lake" and "Grocer Jack" from "A Teenage Oprea". Premiere UK had label as shown here and laminated flip-back cover. Here's links to their mono versions of "Strawberry Fields Forever"  https://www.youtube.com/watch?v=xGhdaDVUKnU   and "My White Bicycle" https://www.youtube.com/watch?v=po35ueyvgc0   (YMÖ*)(PÖX*) (JÄZ*)

CROSBY, STILLS, NASH & YOUNG/DÉJA VU SD 7200 (-70) US

An outfit combining former members of three supergroups - Hollies, Byrds and Buffalo Springfield - and here with some support from Jerry Garcia (Grateful Dead) and John Sebastian (Loving Spoonful), so I guess you could call it a superduper group. Since the net is already filled with facts and comments about the issue I'm not going into any of that, just adding my own slant. When so many talented big egos come together for one project you would expect clashing or at least some drama, but if there was such I'm not hearing it here. Everything works - fantastic songwriting, beautiful vocals and elaborate backing...and to top it off the audio on this pressing is excellent, allowing close encounter. All cuts are more or less favorites, but to mention a few - "Carry On", "Helpless", "Teach Your Children" and "Everybody I Love You". As usual I'm having difficulties establishing an exact timeline for a US pressing since I can't always interpret the matixes accurately, but the thick hard sleeve having heavily structured leathery surface with glued on pic and goldlike paint say it's early and as the "Broadway" adress on label was changed to "Rockefeller Plaza" in late 1973 this has to be before that. To decipher further - the "PR" at the end of the matrix number tell it was pressed at "Presswell", New Jersey - one of at least four plants involved in the early printing. For now no clue if any of the others sound better, but as this is close to perfect I doubt it. So - lots of good music transmitted by top audio in a sumptuous sleeve. Who could ask for more? (YZÄ*) (ZHÄ*)

CONTACT/UTMARKER 2379.023 (-71) SWEDEN

(eng. "Outskirts") A follow-up to their then surprisingly successful second LP "Hon Kom Över Mon" (see earlier post). As that was partly garage psych with left-wing lyrics released on the independent MNW label I guess nobody had expected a breakthrough, but when it started to sell the band moved over to the much more resourceful Polydor label for this third and, as it turned out, last album before break-up. I get about the same message here, just conveyed a lot smoother - political input not as strong and garage feeling totally gone, which would be expected when recorded for a world-wide company with access to the best studios. A good album with a couple of highlights, but a little too polished for my taste thus hampering direct connection. With that in mind there are still four cuts that hit me hard. "Fyrvaktarns Dotter" (The Lighthouse Keepers Daughter) and "Ode Till En Fjord" (Ode To A Fiord), both catchy folk rock with melodic support by fiddler trio "Skäggmanslaget" (League Of Bearded Men). I also like the jazzy title track because of its desolate atmosphere and the country ballad "Västerns Son" (Son Of The West) - about a Vietnam deserter - with verse in Swedish and refrain in English. In my world an album not as good as HKÖM, but those four songs makes it worthwhile and a keeper. Released in Sweden only. Never reissued on CD, but most of the tracks can be found on the 2004 MNW CD compilation "Samma Vindar, Samma Dofter" (Same Winds, Same Scents) (MNWCD 2015). Premiere vinyl had label as shown here and laminated fold/out cover. (SCÄ*) (CCÖ*)

ZEPHYR CPLP 4510-S (-69) US

Colorado white blues band founded as "Etheral Zephyr" 1969, today probably most known as an early springboard for guitar hero Tommy Bolin (1951-76). This debut, first released on US ABC:s psych/prog subsidiary Probe, did fairly well at first and became the label's most successful album, managing Billboard #48. But it seems the response today, from former fans as well as professional reviewers, comes more lukewarm - discribed as "an ok blues album" or "likable enough". Maybe that has to do with expectations. First thing I'm hearing is the then uncategorized blend of white blues, hard rock, prog and garage, not uncommon for that period before the genres started to subdivide. A band playing what they like without worrying too much about stamps or sales. Impression is post-produced live in the studio, like softened garage, and the audio is splendid allowing connection. Singer Candy Givens (1947-84) has been repudiated as a Janis Joplin sound-alike, though to my ears she wares it well and once you're over that semblance it works just fine. Band sounds tight, with a very promising 18 y.o. Tommy Bolin at the guitar. Not yet the virtuoso he would turn out to be - e.g. his effort in Billy Cobham's "Spectrum" - but with enough skill to raise this album way above average. Favorite tracks - "Sail On" a blues/prog/hard rock anthem with tempo changes and good guitars, "Cross The River" jazzy prog with amazing guitars and "Huna Buna" where Candy Givens sounds as herself and it's good. UK 1969 on Probe (SBP 1006). Early releases also in Canada, Italy, South America and Downunder. Japan 2015 CD on Wasabi Records (WSBAC-0013) came with four bonus tracks. Premiere US had label as shown here and glossy fold/out cover. (YZÄ*) (FÄV*) (CÖLÖ*)

PICNIC - A BREATH OF FRESH AIR SHSS 1/2 (-70) UK

A to me indispensable 2-LP promotional sampler, containing cuts from eighteen Harvest albums released 1969-70, most of them getting hard or almost impossible to find at an ok price today. And there's further frosting on this cake - first issue of the Pink Floyd song "Embryo" and the only place for it till 1983, when it showed up on the US Capitol collection "Works". Too much good stuff to go in detail with here, just check the track list below. Got many favorites, but to mention a few - Pretty Things "The Good Mr. Square", Bakerloo "This Worried Feeling", Quatermass "Black sheep Of The Family", Syd Barrett "Terrapin" and of course - "Embryo". If I have to say something negative - most tracks are cut very loud, which fits some of the songs while others are on the edge of cracking. Not too bad - Deep Purple "Into The Fire" bursts all seams while the rest plays enjoyable enough. This sampler is getting quite scarce, but not super rare and copies still show up in used bins at affordable prices. Should You spot one of those don't hesitate, just pick, pay and run! 1970 release also in Germany (Harvest 1C 178-04 424/25). Never reissued on CD. The 2007 UK Harvest 3xCD compilation "A Breath Of Fresh Air : A Harvest Records Anthology 1969-74" though carrying fiftytwo tracks only had three in common with this. Premiere UK had label as shown here and laminated fold out cover with "29/11" price sticker. (SÄM*) (HÄVL*)

ELECTRIC FOOD E 424 (-70) GERMANY

One of many early incarnations of the band that later would emerge as Lucifer's Friend. Here working as a backing combo to (uncredited) singer George Mavros for the German "Europa" label. Showing on a rather common set-up at the time, where aspiring groups were hired cheaply by budget labels to anonymously play on recordings then issued to cash in on the flavour of the day. Another known exemple on that would be The Good Earth "Hard Rock And All That", preformed by a primary setting of Mungo Jerry and issued by UK Saga 1968 (see earlier post). But while that was a small catastrophy, today only loved by the most die-hard Mungo Jerry fans and a few stubborn garage freaks, this is already very good hard rock much in the same vein as the fully blossoming Lucifer's Friend. Nine self-penned tracks coupled with three covers. All in a style slenderly reminding of UK contemporaries as Uriah Heep or Spooky Tooth, yet with a personal touch taking it far from copying. Performance working on all levels - good singer, lots of howling guitars and hard working drums, production and mix sufficiant and audio a-ok. So it may have been sold as budget, but the outcome is certainly full price. Favorite tracks - the very heavy guitar larded "Tavern" and "Nosferatu" borderline psych with high-pitch groans spread over a carpet of fuzz. Album also released in Italy 1972 (same sleeve and number). Unofficial 2004 CD reissue on Mason Records contained both this and their second album "Flash". Early German vinyl had label as shown here and either laminated or matt sleeve. Not sure which was first. (GÖXÄ*)

JOHN FRED AND HIS PLAYBOY BAND/AGNES ENGLISH LPS 2197 (-67) US STEREO

Louisiana band today mostly seen as a one-hit-wonder. Formed as "John Fred & His Playboys" 1956 by 15 y.o. John Fred Gourrier (1941-2005) and 1958 reached #82 on Billboard with the song "Shirley". Non of their next thirteen singles made any list impact and It was first with the 1967 "Judy In Disguise (with glasses)" - written as a kind of pastiche on The Beatles title "Lucy In The Skies With Diamonds" - they got a breakthrough, topping the US list and reaching top ten in a number of other countries. The follow-up - "Hey Hey Bunny" - managed a Billboard #57, but that was it and their next ten 45:s flunked. This album didn't make it that big either and aware of the background maybe you'd expect a bright shining hit surrounded by fillers, but it's not that bad. Most of the songs self-penned, stylistically ranging between blue-eyed soul/funk and contemporary brit-pop. John Fred is a very good singer, backing and arrangements impeccable and the audio on this US stereo lovely - coming through warm and well-mixed. And though JIDWG is the star of this show, some of the rest is good too. E.g. "Agnes English" a bouncy love song dedicated to a very British lady, "Up And Down" dance friendly up-tempo soul and the Alan Price-ish "She Shot A Hole In My Soul" quite catchy. As a whole maybe not life-changing, still good listening all through. Originally also released in Canada, South-africa, downunder and a couple of European countries. First UK on Pye International (NPL 28111). German 1991 CD Repertoire Records (REP 4153-WZ). Early US had label as shown here and thick glossy cover. (YZÄ*)

LARRY CORYELL/CORYELL SVRL 19059 (-69) UK

Texan jazz guitarist (born Lorenz Albert Van DeLinder III 1943-2017), today known as "the godfather of fusion". After a period in music school he continued playing in a number of rock and jazz bands - among them The Free Spirits, Gary Burton and Chico Hamilton - before setting on a solo carreer and relesing his first own LP "Lady Coryell" (US Vanguard VSD 6509) early 1969. I first discovered him at the time of his third album "Spaces" (US Vanguard VSD 6558). A supergroup collaboration with John McLaughlin, Billy Cobham, Miroslav Vituos and Chick Corea, which was something totally new back then. Recorded more or less live in the studio, flaunting fast brilliant solos in an atmosphere somewhere between jazz and rock it struck hard and is now seen as the work that more or less fathered the jazz fusion genre. Me and my friends loved it and I remember vivid discussions who was the best guitarist - Coryell or McLaughlin. Today, as my ears are getting slower, I'm not that blinded by speed anymore, but actually prefer this his second album. It has jazzy parts, but the overall impression is more towards funk and blues. Guitars are still brilliant, though here against a steadier foundation making the listening more secure. For exemple - opening track "Sex" can best be described as funk psych with its warped vocals and reckless guitar sound and in the instrumental "Elementary Guitar Solo #5" he's working hard and fast, without once forgetting it's the blues. He may not be the best singer, but there's not much of that and you forget it anyway as soon as the next solo appears. The audio on this UK press is superb - big, bold and natural with a separation allowing every part to be heard clearly. Premiere US on Vanguard Apostolic (VSD 6547). Also originally released on Vanguard in Canada, France and Germany. Japan 2001 CD on King Record (KICP 777). First UK had label as shown here, heavy vinyl and fully laminated cover.

EVERY OTHER DAY

Have a lot on my hands at the moment so in the nearest future I wont be able to post this frequently. Starting tomorrow it'll be every other day instead. Not a huge change, so I hope it's OK. Thank's for checking in. Kindly/Erik

HAWKWIND LBS 83348 (-70) UK

Hawkwind's debute LP and by many also regarded the beginning of space-rock. There had been previous trials that, in retrospective, might fit the genre - for exemple the Pink Floyd cuts "Astronomy Domine", "Interstellar Overdrive" and "Set The Controls For The Heart Of The Sun" - but those still coined "psych" as they were part of a much wider repertoire. Hawkwind however stayed with the concept and can therefore be called the first true space-rockers. After just coming together and without even having a fixed name - first appearing as "Group X" or "Hawkwind Zoo" - they took part in a talent show and was there spotted by John Peel, which eventually led to a contract for Liberty label. Well at the recordings producer Dick Taylor (who'd just quit as guitarist in Pretty Things) had a hard time to organize any kind of acceptable outcome by conventional means and therefore decided to let them just do their thing live in the studio and then mold the result downstream. And that's about what I hear here. With exception of "Hurry On Sundown" opening and "Mirror Of Illusion" ending the set, all in between sounds like live takes more or less chopped up and divided into separate tracks. As first accustomed to their next two LP:s "In Search Of Space" and "Doremi Fasol Latido" I like it a lot. To my ears the folky "Hurry On Sundown", though good in itself, doesn't fit the ambience, but the rest is exactly how I want my Hawkwind - long hypnotic whim-filled parts with, what it seems, more concern for inner groove than public approval. Favorite tracks - "Paranoia" (both parts) and "Mirror Of Illusion". This press sounds marvellous - big, strong and natural with top separation it's still the Hawkwind original with best audio. 1970 issues in parts of Europe and South Africa. US 1971 on United Artists (UAS 5519). UK 1975 reissue on Sunset (SLS 50374). Japan 2010 remastered limited edition CD in paper sleeve (Liberty TOCP-95059) came with four bonus tracks. Very first UK on blue label was reputedly pressed in less that 1000 copies. I'm confident the black label copy shown here is quite early too as the matrixes are A-2/B-2, the vinyl more than medium thick (later pressings would have considerably thinner vinyl) and wrapped in the original matt fold/out cover. (HÖWK*) (XLÄ*)