JUDAS JUMP/SCORCH PAS 10001 (-70) UK

British supergroup founded 1969 by former members of Herd, Audience, Mindbenders and Amen Corner. Though getting good live reviews and considerable press coverage non of their three singles or this one-off LP sold well and they disbanded in 1971. After signing a contract with Parlophone the label immediately sent them out to tour US and Europe without having any vinyl to flaunt and first after that they got the chance to record a single - "This Feeling We Feel" (R 5838) - and subsequently this album. Spinning it now for a couple of days I'm still not sure how to describe it. Perhaps bluesy pop/rock with a prog feel...or maybe like an updated blend between Herd and Amen Corner. Most of the songs penned by former Herd keyboard/bassist/singer Andy Bown who also produced the album. It's one of those where everything's good on paper - well written, well played, well sung and well produced, but I still can't get 100% connection. Maybe it's just me, but even if there is quite a lot adventure to enjoy it's still so smooth I'm not overwhelmed by the ride, not emotionally touched. Good listening for sure, yet strangely remote. The parts I'm enjoying most are - "Cry-De-Cry" with the beautiful vocal layers and "Rockin' Chair" happy uptempo. Originally released also in Germany (Odeon 1C062-91762 D). US 1972 on Pride (PRD 0003) omitted "Private Holiday Camp". 2009 Spanish CD on Retro Disc International (RDI 33058). Premiere UK had label as shown here and laminated fold/out cover. (PÖX*)

THE MARMALADE/SONGS SKL 5111 (-71) UK

A band with a very roller coaster carreer and agenda, to say the least. 45-wise a mix of worlwide hits and non-sellers and their early albums very uneven, containing top numbers as well as unexciting trials. The debute "There's A Lot Of It About" with four self-penned pop-psych marvels - "I See The Rain", "Man In A Shop", "There Aint No Use In Hangin' On" and "Mr Lion" plus a very competent "Hey Joe" version, surrounded by bland covers. The follow-up "Reflections Of Marmalade" had the all time classic ballad "Reflections Of My Life" and the good psych "Kaleidoscope" while the rest was more or less forgettable. This third - issued after guitarist/singer Jimmy Campbell and drummer Alan Whitehead had left, replaced by Hugh Nicholson and Dougie Henderson - is of a lot more consistant quality. Self-produced and all songs written by the band. Only thing incoherent here would be the genre mix. Two raw hard rockers - "Bad Weather" and "I've Been Around Too Long" - fused with much softer melodic pop. If you don't find that disturbing it's a very well done album. Vocals are beautiful, guitars handsome, backing apt and audio crystal clear. Don't know if to call it a lost gem, but as it's seldom mentioned today and there's a lot to love on it, maybe a fitting concept after all. Originally also released in a couple of European countries, South Africa, Japan and Downunder, but to my knowledge never in US. Japan 2006 CD on Air Mail Recordings (AIRAC-1242) came with ten bonus tracks. Premiere UK had label as shown here, thick vinyl and glossy cover with "-71" dated blue box stereo inner. (MYK*)

ROLLING STONES/DIRTY WORK 86321 (-86) UK

I guess for those who's senses first opened in the eighties this remains a pretty good album. Though not generally critically aclaimed it sold very well and managed top five on many important lists around the world. But for me who'd stayed with them over twenty years by then it was, and still is, one of their all time lows. Recorded when it seemed the band was on the edge of disintegrating. Charlie so down on drugs he couldn't do all the tracks, leaving part of the drumming to Steve Jordan, Anton Fig and Ronnie Wood. Keith was annoyed at Mick for him putting his pop solo carreer before the band and instead of participating in the sessions just showing up and adding the vocals later on. It could also be the state they were in to some extent affected pianist and road manager Ian Stewart, who sadly died from a heart attack after the recordings. But even under those circumstances it could have been ok if it wasn't for the finish. There's some good rock'n'roll going on under the surface - as "I Had It With You", "Fight" and "Hold Back" - and if presented right it could have been the dirty work the title promise. But for some reason someone decided to add reverb and polish to get a glossy unsoiled picture...which has nothing to do with The Rolling Stones I know. Like covering a pepper steak with spun sugar - it leaves a bad taste. And I wont even mention the clean and colorful band pic. Issued and reissued all over the world through the years in every possible way. Premiere UK had label as shown here, thin matt cover (originally in red stickered shrinkwrap missing on this copy) and glossy inner with comic strip and lyric/credits. (RÅ*)

EAST OF EDEN/THE WORLD OF EAST OF EDEN FEATURING JIG-A-JIG SPA 157 (-71) UK

British prog/psych/symphonic rock band exisiting 1967-78. After releasing a non-selling 45 - "King Of Siam"/"Ballad Of Harvey Kaye" - on Atlantic and participating in the soon abandoned Tony Richardson movie "Laughter In The Dark", they got a contract with Deram for which they released two albums that today are considered classics by lovers and collectors of British psych - "Mercator Projected" and "Snafu". Though with healthy sales the albums never got them a real breakthrough on home soil and their highest charter became the 1971 non-LP "Jig-a-Jig" 45, reaching #7 on the UK list. This compilation, presumably released to cash in on the singel's success, also contains four tracks from "Snafu" and two from "Mercator Projected". Those six cuts are good to my ears - inventive and complicated, yet somewhat melodic and even inviting if your mind works with. The only one breaking the pattern is "Jig-a-Jig". It's an instrumental piece combining three traditional folk tunes, played as folk rock with prominent violin. The most easy going and by far the catchiest on the album, but to my taste not as interesting as the rest. Nevertheless, if you're like me having a hard time to find the UK original LP:s at a fitting price this is a much much cheaper way to get in to the band's music and highly recommended. It's a good selection of songs and the audio is great. Also issued in a couple of European countries and South Aftrica, but to my knowledge not in US and never on CD. There are two early UK pressings - one regular on the ordinary Decca "World Of..." label and this on Deram main. Not sure how they relate, but the one here has thick vinyl and early matrixes in a laminated cover...so maybe they are contemporary and this some kind of export. (WÖF*) (DÄRR*)

THE RAVERS/DEAR MRS. APPLEBEE 63-3069 (-67) GERMANY

"The Ravers" was one of many aliases German sixties beat group The Tonics used when doing bread jobs for budget labels, recording covers of known songs for cheap sales. It seems most they released under own name were covers too, especially the albums which seems to have followed contemporary tastes with titles like "The Tonics Hit Parade", "Tanzparty Mit Den Tonics", "That's Rock'n'roll" and "Bubble Gum Music". Back then there were a large number of outfits working anonymously in studios for budget labels trying to cash in on the flavour of the day, or doing uncredited backing for more or less promising singers. Much of it coming out bleak and uninspired with sometimes subpar production and audio. That is not the case here. You can hear these guys have been in this game for a long time already. Even if faithful to the originals they know exactly what they're doing and yield own versions rather than just copying. Lead singer is good and the band tight enough to balance the often sparse arrangements. Not up there with the originals, but good enough listening and the audio a-ok. Favorite track - "Just A Little Bit" done with feeling and a very dirty guitar towards the end. To my knowledge this was the only release. It had label as shown here, thick vinyl and thin matt cover. (GÖXÄ*)

GRIMMS HELP11 (-73) UK

To be perfectly honest I didn't pick this from the bin for the music, but because I among other things try to collect the UK Island black label issues. On the paper everything here is just dandy. Members of Scaffold, Liverpool Scene and Bonzo Dog in company with Michael Giles (Giles, Giles & Fripp, King Crimson) and the then ever present Zoot Money, getting together for two live preformances. Lots of skill and wits collected in one place. But sadly there's not much music involved. Larger part consists of poetry reading and sometimes funny monologues, either a-capella or with sparse accompaniment. Have to say I don't get much of it. It may be the poems and puns are so tied to time and place they don't reach me, or I just try to sit through waiting for some music to appear. I do like the rather cool jazzy version of Bonzo's "Humanoid Boogie" and the mock soul final is ok in a kindly off kind of way, but that's it for me. Japan 2009 numbered CD (Island UICY-94112) as a "mini-LP" with a twentyfour page booklet. Premiere UK had label as shown here and matt cover with black inner. (HÄLX*) (LYBÖ*) (BÖGÄ*) (MÖK*)

HEP STARS/IT'S BEEN A LONG LONG TIME CLPNS 342 (-68) SWEDEN

In 1967, at the same time the band was enjoying Scandinavian success with big sales and a gang of list toppers, management decided it wasn't enough and that they also should aim for an international breakthrough. Not sure who was in charge of the project, but it moved on fast hiring the experienced US producer Steve Clark, a couple of American song-writers and a British studio including musicians and engineers. As the story goes it was also agreed that only singer Svenne Hedlund and keyboard player Benny Andersson were needed for the recordings so the rest of the group stayed at home. If so you could argue that though billed as a Hep Stars album it isn't, instead you get Svenne Hedlund with a backing slightly including Benny Andersson. Considering the circumstances the final result is no surprise. This is far from the mix of US inspired rock'n'roll and catchy melodic ballads you otherwise got from the band. Instead you're presented a blend of British 1968 psych-pop and orchestrated baroque pop. Nothing wrong with that though here it most of all sounds like a stressed-out bread job for all of the involved. Backing is sufficiant, but as played by an unadjacent studio crew for money rather uninspired. Arrangements as they should, still lacking emotional belonging. Songs well written, but nothing with a hit feeling. Add some clumsy mixing to all that and it could be called a small disaster. But to my ears it's not all bad. To say something positive - "Enter The Young" and "It's Time for A Change" are quite good pop-psych and the audio is superb. Visually the front sleeve is somewhat psychedelic and the arty label design uniqe for the issue. Back then everyone hated it - fans, reviewers, Cupol executives and even the band itself. It didn't sell at all and soon disappeared, mourned by non. However as the years went by and sixties revival came on, Hep Stars became hot stuff in Sweden again. Former and new fans started to complete their collections and as this was the one that got away initially it is now considered highly collectible and sold for big bucks. To my knowledge this was the only vinyl release. Japan 1996 CD (M&M Enterprises MMCD 1022) came with twelve bonus tracks. Swedish 2013 CD (RPM Records Retro 935) added two bonus tracks. Premiere release had label as shown here and fully laminated cover. (HÄH*) (SCÄ*) (CCÖ*) (ÄBBÖ*)

THE HOUSE THAT TRACK BUILT 613016 (-69) UK MONO + STEREO

UK Polydor/Track sampler that back in the days only saw one issue and then wasn't a big seller at all, but today considered one of the most valuable compilations and highly collectable. And rightly so, cause this has a lot going for it. Most of the tracks were 45 only prior to this and a couple remains very rare regardless of format. You even get a one-off - the first version of The Who track "Young Man Blues", as recorded during the "Tommy" sessions, a raw riff rocker with lots of power. Another take than the one used for "Odds & Sodds", which is a slower and softer variety recorded during the same sessions. Not sure about the CD reissues, but as I get it - since the original tapes were lost those either used the "Odds & Sodds" version or a needle-drop from the LP. Here was also the first time for a true stereo mix of "A Quick One", and apparently the only original as all later pressings of it were edited in different ways. And more - Crazy World Of Arthur Brown "The Devils Grip" non-LP A-side, Fairport Convention's 45 only "If I Had A Ribbon Bow", Tunderclap Newman "Wilhelmina" flip-side to "Something In The Air", John's Children (with Marc Bolan) psych classic "Desdemona" and Parliaments (with George Clinton) "(I Wanna) Testify". Though the labels state "stereo" I get at least some of it in mono - e.g. "Magic Bus", "Purple Haze", "Desdemona", both "Crazy World..." cuts and the Parliaments one. Audio shifts depending on origin, but most tophole and non really bad. With such a plethora of wealth it's hard to pick favorites, but if I have to it'll be "Young Man Blues" not only for it's rarity, but a because a raw riff rocker from The Who always does it, plus the quirky "Wilhelmina" and of course "Desdemona" and "If I Had A Ribbon Bow". Sleeve design, as it seems parodying "Sgt Pepper", created by David King (1943-2016), who also designed the ones for "Electric Ladyland", "Axis...", "Crazy World Of Arthur Brown" and "The Who Sell Out". So not only good listening, it's also fun to look at. To my knowledge not originally released elsewhere or reissued anytime in any form. It came with labels as shown here in a fully laminated fold/out cover. (SÄM*) (WÖH*) (TRÄC*)

POTLIQUOR/LEVEE BLUES JLS 3033 (-71) AUSTRALIA

Louisiana outfit existing 1969-79 and today often recognized as a forerunner in the "southern rock" genre that would spread domestically and sometimes internationally from the seventies and on. For band story I recommend the extensive Wikipedia article - https://en.wikipedia.org/wiki/Potliquor - got nothing to add on that. Listening to this their second LP now it feels unfair they didn't hit it bigger at the time - apart from the 45 "Cheer" reaching #65 on Billboard they seem to have stayed under the list radar. I hear a very cool heavy blues album made in a southern tradition, carrying both hardhitting rock/blues backing with emotional guitars and more quiet gospel-like parts. Performance and production excellent all the way, topped by George Ratzlaff's delicate vocals. I've seen they've been compared with Guess Who, but to me this is more in the vein of Spooky Tooth's "Spooky Two" for the blend of hard blues and gospel. I like it all, but if I have to pick two favorites - the "Lady Madonna" cover is far from the original, slower and more soulful with lots of feeling, and this version of "Little Red Rooster" - here called "Rooster Blues" - gotta be one of the heaviest ever. Originally released on Janus label in US (JLS 3033), also in Canada, UK, Italy and Downunder. French on Stateside (2C 064-93.206). German 2010 CD on O-Music (OM 71002). First Australian had label as shown here and laminated fold/out cover. (DÖW*)

THE MOST COLLECTION - VOLUME 2 MFP 50016 (-71) UK

Part two of "The Most Collection", containing various numbers handeled by UK producer Mickie Most. While the first was all about rock'n'roll (see earlier post), this concentrates on more mellow pop tracks at the time only existing as 45:s in UK. So for most of them this was the first time on LP. Not all to my taste. The main reson I picked it was the Herman's Hermits cut "My Sentimental Friend" - a beautiful ballad issued on single over a year after their last original album - and the two Peter Noone solo efforts. His early cover of "Oh You Pretty Things", a little sped up with prominent psych strings and top vocals, is a killer with David Bowie himself (uncredited) taking part on piano and background vocals. And "Walnut Whirl" a very handsome piece of British pop - nice melody, well sung with lots of soothing strings everywhere. Good listening. Rear sleeve saying five of the cuts are "electronically enhanced" could be a warning sign, but it's not that bad - I still hear more or less mono, just slightly widened, so it's ok with me. Also released on vinyl downunder, but to my knowledge never as CD. First UK had label as shown here and laminated cover. (HÄHX*) (SÄM*) (SXS*)