DIFFERENT STROKES/19 CONTEMPORARY ARTISTS PERFORM MUSIC OF OUR TIME AS 12 (-71) US

A today both interesting and giving sampler not concentrating on the then most catchy or crowd pleasing, but instead combining odd picks from still famed acts with trials from artists now long forgotten by the large public. A mix of soul, prog, jazz, blues, folk and psych tracks and though most of them never even got close to be a top 10 single still of very high quality here conveyed by excellent audio. The Miles Davies effort could be called modern jazz, but so out there it transcends any genre tag. The rest is a little easier to grasp and to me it feels very good to get more or less odd cuts from The New York Rock Ensemble, Laura Nyro, Soft Machine, The Flock, Dreams and Spirit on the same plate. Further from the less famed acts - Bill Puka "Nothing At All" a soft wistful ballad from his 1970 one-off album, Fraser & DeBolt "All This Paradise" rather traditional folk and Elvin Bishop Group "Don't Fight It" uptempo soul. And if you're ususally into more ordinary acts Hollies, Poco, Johnny Winter, Big Brother & The Holding Company and Tom Rush may be an icing on the cake. It seems that to be able to cram in nineteen cuts on a single LP with remaining good audio they decided to shorten most of the cuts giving them earlier fades than on the original albums. Still not a dealbreaker for me as I do get 57+ minutes of good music. Listing on rear sleeve doesn't answer to the the vinyl sequence at all, record has the same cuts but in a totally different order. Also released in Canada, there on the "two-eye" label. Don't know of any other issues. Premiere US had label as shown here and glossy cover with inner carrying some info on artists, albums and songs plus a "fill-in" form to join Columbias "Playback program". (YZÄ*) (SÄM*) (FÄV*)

THE SEEKERS/A WORLD OF OUR OWN 33SX 1722 (-65) UK MONO

For group background I recommend Wikipedia. This is a personal note. After releasing their debute 1963 and two more albums the year after, this 1965 effort became their international breakthrough reaching #19 on Billboard, #5 in UK and top ten in various other countries. At the time I was twelve, just discovered the wonders of UK and US rock, pop and blues artists and was open to about everything in a youthfully undisciminating way. I immediately fell in love with the Tom Springfield penned title song and the intensity provided by Judith Durham's emotional vocals to the 100% positive background. You'd think that in the years that followed, when deep down in psych, garage and prog, I must have let it go as obsolete or at least old news, but no. The buoyant feeling is still there, making me happy when listening. The rest of this album doesn't do it for me in the same way. I like her vocals in songs like "Two Summers", "The Leaving Of Liverpool", "Just A Closer Walk With Thee" and "Allentown Jail", but apart from that it's very average sixties folk pop. And though the audio on this mono is superb - clear and dynamic - a true keeper of mine just because of "A World Of Our Own"...but that's good enough for me. Originally also released on vinyl in north and south America, Downunder and South Africa. US/Canadian first on Capitol in mono (T 2369) and fake stereo (DT 2369) as an eleven track, omitting "Whistling Rufus". Australian 1997 CD on EMI (4931272). Premiere UK in mono only had label as shown here and laminated flip-back cover. (FÄV*)

THE GANTS/ROAD RUNNER LRP 3432 (-65) US MONO PROMO

US teen garage outfit formed as "The Kingsman" 1963 in Greenwood, Mississippi, and first playing local events as school dances. After member changes due to some parents wouldn't allow out of town concerts they re-named to "The Gants" and got a slightly wider spread. However as the guys still attended high school or college they couldn't go all in with a musical carreer and were mostly limited to perform as supporting acts to visiting bands and then with a repertoire mainly consisting of covers. 1965 they were spotted by The Animals US manager York Noble which led to a recording of Bo Diddley's "Road Runner" for the small Statue label. After the 45 being re-released by Liberty and then selling ok in US and Australia they got the opportunity to cut this debute album. Only judging from the background story - school kids playing covers on home turf, hesitating to go further - one wouldn't expect much, maybe some kind of teenybop with occational rocking outbursts. Yet this sounds surprisingly mature garage, partly very raw and direct. "Road Runner" is downright mean. I didn't think anything could come close to Pretty Things classic version, but this is almost there in its own fuzzed way. Though "Gloria", "Bad Boy" and "You've Got To Hide Your Love Away" are very faithful to the Them and Beatles versions they're so well sung and performed you just have to like them. The self-penned songs are very much in a contemporary Beatles style, but without dierctly copying and again so well sung and performed they get by. To me this is pleasant listening with top audio, the only track I could be without is of Dylan's "Don't Think Twice..." - too mellow. As a whole a good blend of salty and sweet with the slight lack of originality well balanced by a professional presentation...and worth it just for "Road Runner". To my knowledge only released in US and Canada on vinyl - also in stereo (LST 7432). German 1999 CD "Gants Galore - Road Runner" (Rock-In-Beat-Records RB 039) came with thirtyone tracks - from the band*s three albums plus three non-LP 45 cuts. The "audition record" label shown here is probably some kind of promo. The common 1st issue came on the partly colored label with gold logo to the left in a matt cover. (YZÄ*) (ÖGÄ*) (ÖXCÅ*) (ÖRJ*)

HISTORY OF ERIC CLAPTON 2478-027/28 (-72) UK

A still very endowing 2LP compilation, first released as a kind of homage at a time when it seemed his carreer was over due to destructive heroine addiction. Covering the years 1964-70 and his attendances with Yardbirds, Bluesbreakers, Powerhouse, Cream, Blind Faith, Delaney & Bonnie and Derek & The Dominos. You can always discuss compiling and sequence for issues like this, but the choices here works fine with me - a good blend of studio and live, having a fair share of rare tracks. To me the most interesting of those would be "Tell The Truth" - here the Phil Spector produced recording made during the "All Things Must Pass" sessions where Clapton is backed by George Harrison (uncredited) and Dave Mason among others. First released as a 45, but quickly withdrawn. I also get "Tell The Truth - Jam" - an earlier unissued outtake from the "Layla" sessions. That maybe not their absolutely finest moment though with enough good guitars to make it work. Those two for the first time on LP would alone make this a must for us more scrutinizing fans, but so much good music in a kind of historical perspective with excellent audio and all cuts but one - "I Ain't Got You" - in true stereo should make it for any true white blues/rock lover. Some other favorites - "Hideaway", "Badge" and Sea Of Joy". Issued all over the world on vinyl through the years, also as cassette and reel. US 1st on ATCO (SD 2-803). Japan 1987 2xCD on RSO (P58W 25024/5). Premiere UK had label as shown here and thin matt fold/out cover. (CÄRÄ) (PÖP*)

JERRY COLE/PSYCHEDELLIC GUITARS CM 2078 (-67) US MONO

Jerry Cole (born Jerald Kolbrak 1939-2008) was probably the busiest American guitarist that ever set foot in a studio. From the late fifties and on backing acts as Elvis, Steely Dan, Byrds, Aretha Franklin, Sonny & Cher, Dean Martin, Them, Little Richard, Blood Sweat & Tears, Frank Sinatra...I could go on counting for an hour or so, but it would still just be the tip of an iceberg. Besides that he also participated in or led at least ten different bands, some under synonym, and did anonymous recordings for budget labels eager to cash in on the genre of the day. This album is an exemple of the latter. All instrumental and though seemingly made under time pressure an ok guitar album, but as a whole not as psychedelic as the title, sleeve design and some of the track titles hint. Most of it on a foundation reminding of surf music or early sixties white rock'n'roll, then covered by guitars embedded in lots of fuzz and/or reverb. E.g. "Love In" has so much fuzz it'll pass as odd psych and "Take A Trip" sounds like one taken on the beach 1962. As a whole almost impossible to tag, but why not - instrumental garage surf psych. Because of the sleeve, song titles and partly good guitars a little more relevant than your average budget label trial, but not by very much. Audio is very good and this mono sounds like a dedicated mix. To my knowledge this US was the only issue, also as stereo (CS 1078). It came with label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*)

LOU REED/LIVE RS 1007 (-75) UK

What constitutes a great live LP? In my world a combination of catchy songs and tophole performance and if it's rock'n'roll it's gotta be tight with a fair share of good guitars. In case they're doing versions of numbers earlier issued as studio versions it helps if the live variations are better or at least different. Top that with authentic audio giving a being-there feeling and I'm in 100%. The recordings for this album was made at the same concerts as the 1974 "Rock'n'Roll Animal" and is commonly regarded as second-hand of inferior quality in comparison. It's not even his own band, just a hired crowd of best available musicians. Be all that as it may, but listening now it ticks all the boxes I need. Guitars by Steve Hunter and Dick Wagner are truly yummy, Prakash John does some oddly beautiful bass, Pennti Glan works hard behind the drums and Reed himself produces some surprisingly emotional talk-singing. I get interesting and sometimes cavalier versions of known songs and the audio is in my face. Just have to close my eyes and I'm there. This is good rock'n'roll. Favorite tracks - "Vicious" so much better than studio and "Oh Jim" because of the guitars and dynamics. Issued and reissued in every possible format through the years. Premiere US on RCA Victor (AFL 1-0959). Japan 2006 CD in paper sleeve (RCA BVCM-37730). First UK had label as shown here and thin glossy cover. (LYBÖ*)

THE BEATLES/RARITIES 7C 056-0687 M (-79) MONO+STEREO SWEDEN

Compilation first appearing as part of the 1978 "The Beatles Collection" box, but from 1979 reissued as an unattached LP in a large number of countries. At release cherished by European fans as the most important Beatles collection since it offered cuts either unissued on the continent and/or in Britain, or ones that up to then only had been available on 45 there. Today almost forty years and about a thousand Beatles compilations later it hardly deserves the name "Rarities" anymore, but in my world still stands as one of their better collections. I get seventeen original recordings, 100 % historically correct - nothing lost, nothing gained, no added reverb or second hand re-mixes - with tophole audio. And even if most of them by some are considered as something from the band's backyard, there are so many gems and so much good music it exceeds almost any other acts "Greatest Hits". I got a bunch of favorites here - "I Call Your Name", "I'm Down", "The Inner Light", "Bad Boy", "Long Tall Sally"...and more. "You Know My Name..." may not be the best Beatles song ever, but it's here for the first time on legit LP and that means something...at least to me. This Swedish version uses the UK tapes and the audio is excellent, sounding like something from a sixties time capsule. First Swedish had label as shown here and thin glossy cover. (BÄ*) (PÖP*) (CCÖ*) (LGÅ*)

JOHNNY CASH/SINGS THE SONGS THAT MADE HIM FAMOUS SLP 1235 (-58) US MONO

I guess "the man in black" wont need any further introduction. This was his second LP for Sun records. Though released as a regular, you could call it a compilation since all twelve cuts were issued on 45 about the same time. Not an expert on him or his music, but through my childhood, teens and later he was one of the big ones, either as heard on radio or by acting he did in movies or TV-shows. A 20th century giant that even early left a print in the northern Swedish steel mill town where I grew up. Never been a huge fan of his songs as such, more of the persona and its ambience. A classic figure for sure and therefore it feels fulfilling owning this, what I guess is, an early press from his beginnings. I do not dig the audio - too flooded in treble - and all songs come out about the same, but that rough dark voice has a capacity to get under my skin and into my brain and stay there for a very long time. One of a kind. Also originally released on London label in Canada ( SU 1235), UK (HA-S 2157) and Australia (HAA 2157). US 2003 remastered CD (Varése Sarabande 302 066 441 2) came with four alternate versions as bonus tracks. Not sure how early this US issue is, but guess fifties - with label as shown here, deep groove, heavy unflexible vinyl and thick glossy cover. (YZÄ*) (ÖXCÅ*)

LEE HAZLEWOOD/THIS IS LEE HAZLEWOOD 665.087 (-67) GERMANY/SWEDEN

As this blog mainly concentrates on stuff from the late fifties up to early seventies feel I have to do something on Lee Hazlewood (1929-2007), a today too often unsung hero of the American music scene that period. After serving during the Korean war he returned to US mid-fifties and almost immediately started a music carreer as DJ, producer and songwriter - among other things in team with Duan Eddy, with which he produced a number of million sellers early sixties and is also credited for the idea behind the "twangy" sound. Later in the sixties he wrote hits for prominent artists as Dean Martin, Frank Sinatra and Nancy Sinatra. It was through the collaboration with her he got a public breakthrough - as writer and producer of hits like "These Boots Are Made For Walking" and "Summer Wine" and further by singing duets together in "Jackson" and "Some Velvet Morning", before producing Frank & Nancy Sinatra's Billboard #1 "Somethin' Stupid". In 1970 he moved to Sweden there working as writer and producer of TV-shows and albums, also collaborating with Swedish female singers as Nina LIzell and Siw Malmquist. He retired from the business late seventies and after that only pitching in up to his death 2007. Later years his music has reached a kind of cult status in some circuits as "cowboy psych" or "saccarine underground" and songs being covered by acts like Megadeath, Beck, Vanilla Fudge, Entombed and The Tubes. This issue combines songs fron two US MGM LP:s - "Lee Hazlewoodism" - It's Cause And Cure" (E/SE 4403) and "The Very Special World Of Lee Hazlewood" (E/SE 4362). I'm trying to listen with critical ears, but getting caught from the start. The partly rather dark lyrics and his murky vocals are well balanced by catchy melodies and cool arrangements, making it both important and soothing at the same time. His then g/f Suzi Jane Hokom adds a female vocal touch to three of the tracks and it's good. Most important cut would be first version of "These Boots Are Made For Walking", sung by him with about the same arrangements as the Nancy Sinatra version. The audio is excellent and to me it works fine both as background and for close listening. This copy was pressed in Germany for the Swedish market. It came with label as shown here and thin fully laminated cover. (GÖXÄ*) (FÄV*)

ARGENT/NEXUS S EPC 65924 (-74) UK

Last Argent album with Russ Ballard, showing the group moving toward classic prog with longer elaborated instrumental parts and less "hit feeling". Still melodic, though not in an obvious crowd-pleasing way as the earlier "Hold Your Head Up" or "God Gave Rock'n'roll To You", instead with songs craving close attention and/or experienced listening to be fully embraced. To my ears they reached their peak with this blend of experimental and catchy on the 1975 LP "Counterpoints" (see earlier post), but already here you can enjoy that conflux of appealing and challanging...if that happens to be your thing. Personally I could skip a couple of the instrumental sections and instead enjoy some of Ballard's more "classic" songs - "Love" with its sweet vocal layers, the haunting "Thunder & Lightning" and the mighty "Gonna Meet My Maker". My Argent favorites will probably always be the eponymous debute and "Counterpoints", but they were a good band all the way and this is certainly worth while. Originally released on Epic in US and Canada (KE 32573), Downunder (ELPS 3685), Japan (ECPL-111) and a couple of European countries. Japan 2008 CD on Epic (EICP 1017). Premiere UK had label as shown here, thin glossy cover, lyric insert and "the inner sleeve" inner sleeve. (ZÖZ*)