NON STOP PARTY '65 SML 83976 (-65) GERMANY

Yet another of about a zillion German compilations with various obscure combos and/or tracks from the sixties. Often frowned upon by posh gatherers, but for a long time collector like me who's always looking for oddities they can be a gold mine. This is all American mid-sixties rock'n'roll. Apart from The Risers "Match The Test", a pick from their long forgotten one-off album She's A Bad Motorcycle", there are no outmost rarities on this one, but all unusual enough on early vinyl to make it worth while. Two by post-Holly Crickets, two very good surf up-tempos from The Fantastic Baggys, two fine live takes from The Big Beats "LIVE! Off Broadway" and three rocking instrumentals by the T-Bones. I guess P.J. Proby and Gary Lewis & The Playboys still are considered common and/or collectible in some circuits, but not that familiar for the ordinary music lover. The P.J. Proby cuts sounds like enhanced mono while the rest are true stereo and the audio surprisingly fine for a compilation like this. Musically or auditorily maybe not suitable for young digitized ears, but well fitting old analog blokes like me. (SÄM*) (GÖXÄ*)

THIS AND THAT

Words about this and that six years on. Celebrating 1800 posts and now only 200 more to go before reaching my initial goal - the elusive 2000. Long doubted I'd get this far, but after support from among others Prof. Stoned and some nice people at Steve Hoffman's found a way to carry through. There are many good record sites handeling about the same stuff, but thought I could add something by only posting my own belowed records - more or less rare originals where I get personal, care about things like pressing and audio and also make mono-stereo comparisons, some of them previously undone. As I don't sleep very well it's also a good way to spend the wee hours between 02.00 - 06.00, during which most of these entries are written. Lack of sleep makes me a sometimes very tired man, which is the reason I can't post every day, even if I want to, and have to take time off every now and then to reload. Though Swedish I'm trying hard to write in English so most can understand directly, but also if needed allowing a better treatment from the Google translation box on the page. From a slow start now getting more page hits than I ever expected and that from all over the world. Feeling good with how things have turned out, but would love to see more comments. So either you're positive or negative, feel the need to add facts or just wanna say hi - don't hesitate to write one. Now suddenly it's dawning and I have to move on. Thanks for watching and have a nice day! Kindly/Erik

BRYAN FERRY/THESE FOOLISH THINGS ILPS 9249 (-73) UK

Continuing the Pin-Ups post here after a big bowl of java early morn. In my world these two albums have always been siblings and not only because they reached the shops and were bought by me at the same time. Both were recorded and co-produced by top vocalist glam icons covering some of their favorite songs backed by parts of their contemporary bands. The arrangements are equally thoughtful and inspiring and the audio excellent, providing very good listening. I can state the same releation here as with Bowie and Pin-Ups...covers or not this is a tophole Ferry album. Differences are - while Bowie mostly cover up-tempo songs and perform them as such the track choice on this brings a softer and more elegant impression. Pin-Ups can make me love intensely and snap my fingers, but here I'm soothed and can lean back with idle hands and a happy smile. So alike yet so different and of such high quality most period lovers would probably need both to get by. I couldn't chose even at gun point, so if you gonna make me - just shoot me first. Issued pretty much all over the world in the seventies, also on 8-track and cassette. Japan 2015 remastered SACD on Virgin (UIGY-9684). Not 100% sure if this copy belongs to the very first batch, but confident it's early, having label as shown here, medium-thick vinyl and fully laminated cover with Island logo black inner. (ÄNÖ*) (BRÄY*)

DAVID BOWIE/PIN-UPS RS 1003 (-73) UK

A while ago when picking out "Aladdin Sane" for a post my fingers stumbled across this. It had slided back on the deep shelf and stayed unnoticed between "Aladdin" and "Diamond Dogs" for a very long time. Totally forgotten and now is probably the first time in a decade or so I have the pleasure to rehear it. No disrespect - it's just when you buy and trade a lot some items tend to disappear and this is not the first time things get lost in my collection to be recovered much later. I slightly remember when first buying it close to release I also bought Bryan Ferry's "These Foolish Things" at the same occation. Not a big thing then, but in retrospective feels kind of cool I got these iconic cover albums, both then newly issued, in one sweep. I'll get back to Ferry after this...one reaquaintance at a time. Listening now sure gives me lots of good vibes. You can always argue if cover versions can stand up to or even surpass the originals. I this case I don't think so as all treated here have grown to be darlings as they were making them impossible to better in any way, but that's not the point. Covers or not this is a tophole Bowie album. Every single cut is delicatley treated with insight and empathy, production and mixing superb and audio on this UK copy downright addictive. Didn't realise how much I missed it and very happy it's back in my reach again. Would be pointless to pick out favorites when listening while writing this 3.30 in the morning as I tend to be very emotional in the wee hours so let's say they all are...and very much so. Issued and reissued in about every format all over the world through the years. First UK had label as shown here, medium thick vinyl and matt cover with picture/credit insert. (PKÅ*)

FRANKIE AVALON/SWINGIN' ON A RAINBOW CHLX 5004 (-59) MONO SWEDEN

Totally new to Frankie Avalon when I found this in a used bin some time ago, just bought it for the lavish package. In some cases even if I don't await much from the musical content and the price is right it could be worth it merely for the cover and inserts. Just looking at the guy on the sleeve and poster you'd expect a fifties teeny bopper doing cute love songs to a rocking or languishing background, but this is far from that. Instead you get jazzy lounge music with crooning-like vocals, a lot more Sinatra than Sedaka. Very cool in a late evening atmosphere, never uprising but a good background to wistful moods. I can always live with and enjoy that, but the icing on the cake and what first made me interested was the very thick laminated fold-out sleeve including picture sheet and poster and then when I got to the heavy flaming red vinyl it became irrestistable and a must have. Something for all senses. Premiere US on Chancellor (CHLX 5004), also in Canada (same as US) and UK on HMV dog label in a single sleeve (CLP 1346). 2012 CD with the original recordings on Hallmark. To my knowledge this Swedish was the only one on colored vinyl. (CCÖ*) (FÖGÄ*) (SÖNÄ*)

THE SHADOWS/HALLO SHADOWS SCXQ 8266 (-65) STEREO ITALY

Italian only (?) compilation of mainly 45 cuts, most of them originally issued 1964-65. I first bought it for its oddity and the beautiful Columbia stereo label, which obviously was used much longer in Italy than UK. As part of the cuts otherwise were single or EP only I did expect most of it to be fake stereo, but to my surprise all but one are true. "Guitar Boogie" - on label named "Shadoogie" - obviously a live take from somewhere, is mono. The rest surprisingly good stereo for its time, clear with healthy overlapping providing enjoyable listening. A couple of the cuts have vocals, but most of it instrumental. Compilation or not this is a good Shadows album filled with winsome moments in a positive atmosphere. Not my first choice for close listening, but a superb background to happy chores. Favorite tracks - "The Miracle", "Stingray" and "It's A Man's World". To my knowledge this was Italian only, also as mono (QPX 8078). I've seen both mono and stereo issued on various label designs and have no clue about the time line, but confident this was one of the first - having label as shown here and laminated flip/back cover with stereo sticker. (CXÄ*) (PÖP*) (ÖTALÖ*)

THE WHO/THE WHO SELL OUT 613002 (-67) UK STEREO

When posting the US stereo six months ago I was very pleased with the audio and content with how the mixes came out. Also curious if there was a big difference to the 1st press UK stereo which I didn't have then. Now after finding one feel I have to check and see if they differ even if the same tapes were used. It happened - as with the "Axis: Bold As Love" stereo where the US original sounded clearer and more rock'n'roll than the premiere UK, or the UK "Winds Of Change" mono very big and strong in comparison to the more shy US (see earlier posts). But in this case I hear very little inequality. As played with a round stylus (Shure M44-7) the US can be perceived as a tiny bit meatier, but you have to be very close with clean ears to get it. Both sound great, considering it was recorded and mixed using a four-channel equipment. So if you're just after an enjoyable audiophile experience from an original press any of them will do. Guess this can be called much ado about nothing, but I had to do it...just to be sure. (WÖH*) (TRÄC*) (CPYC*)

BEAT CLUB INTERNATIONAL SMVP 6064 (-66) GERMANY

Another of those compilations allowing you to dig deeper into rock history and also get a couple of very rare tracks. Namelosers was a Swedish band only existing a little more than a year 1964-66, in which time they recorded a couple of 45:s. The "Susie Q" cover here, flip side of their 1965 debute single, has a genuine garage quality with lots of messy fuzz guitar. The Moonlighters "Hi Lili, Hi Lo" version otherwise 45 only. To my knowledege the Amsterdam group Dutch Beat Collage just issued one single - "We Love The Pirate Stations"/"You Treat Me" - while this "Black Is Black" cover only surfaced on a couple of compilations. Sir Henry And His Butlers was a Danish band who during their existence 1964-83 issued quite a few domestic albums and 45:s with success in Scandinavia and also got recognition in Germany and downunder. All three songs here are from their eponymous 1965 debute LP. The Shanes are represented by two cuts from the second album "Shanegang" and two from the third "Shanes Again". Don't know anything about The Beat-Six, responsible for the remaining four tracks, all in a mellow r&b style. But as they only seem to have showed up on this and a couple of other German compilations I'm guessing some kind of studio motley. So there are some good items here for the rock archeologist, my only problem is the audio. You get about 50/50 true mono or stereo, though all of it largely enhanced with added reverb making it less than ok. Luckily pushing the mono button pulls it together and take away most of the reverb...so if you thinking of buying and wanna enjoy the music to the fullest it'll help to have one of those on your equipment. To my knowledge this German was the only issue. It had label as shown here and thin laminated cover. (SÄM*) (GÖXÄ*)

DAVID BOWIE/ALADDIN SANE RS 1001 (-73) UK

I guess we all have records we know so well and love so much there's no need to spin them anymore. Just picking them out and looking at the cover and tracking is enough to make the songs appear in the mind - note by note, word by word. This is one of mine. I have friends who dislike or even hate it for various reasons. Too much posing, too much make-up, too artsy or just too much Bowie. Be that as it may, but for me it's all about the songs, the melodies. Not even my favorite Bowie album, which would be Hunky Dory and sometimes Scary Monsters, and I'm not all in when he's trying to do rock'n'roll. But to me four of the songs are so special they make the whole album a classic - "Aladdin Sane", "Drive-In Saturday", "Panic In Detroit" and "Time". The rest also above average but not that magic. Just played "Drive-In Saturday" in my head while looking at the sleeve and it feels fine. Maybe one of those days I will give it a spin, but for now as I'm listening to my inner "Panic In Detroit" it'll go back to the shelf. To my knowledge the copy shown here belong to the first UK issue. -3T/-3T matrixes, glossy label as shown here, thicker vinyl and thick sturdy cover with lyric inner and fan-club insert. (PKÅ*)

MADE IN SWEDEN/MADE IN ENGLAND SLP 2512 (-70) SWEDEN

For more on the band check post on their debute - "Made In Sweden (With Love)". That and the follow-up - "Snakes In A Hole" - both recorded 1968-69 on home turf, were early prog trials. Openly built with fair shares of impromptu in a more or less garage atmosphere making it easy to connect. With this third they went to England for recordings at Olympic and Pye studios. And they were in very good hands. Album produced and partly arranged by Tony Reeves, who'd earlier played with John Mayall and at the time just got out of Colosseum. The rest of arrangements made by British jazz musician Neil Ardley and the Olympic studio recordings engineered by George Chkiantz - the audio man behind a large number of classic albums by acts as Hawkwind, King Crimson, Led Zeppelin, Savoy Brown, Small Faces, Ten Years After and more. And this do come out tighter and seemingly more prepared than their earlier LP:s. The songs are more finite, the vocals notable and some of the arrangements further embellished. But within all that I get the same bold set-up as before - odd chord and rhythm structures, sudden theme changes and expert guitars by Georg "Jojje" Wadenius. Personally I find it easier to get all in in a garage milieu where I can be closer to the actual recordings and feel the studio atmosphere. In comparison this is more of a product, wrapped in a studio-made safety net, but so well done I'm floored anyway. Favorite tracks - "Winter's A Bummer" and "Roundabout" - both combining melodic and diverse. Early seventies issues also in Spain (Discophon SC 2124), Japan - as "Made In England/Scandinavia Sound Ahead" - (Sonet UPS-502-N) and UK - as "Mad River" - (Sonet SNTF 621). UK 2009 CD on Esoteric Recordings (ECLEC 2169). Premiere Swedish had label as shown here, thick unflexible vinyl and laminated fold/out cover. (SCÄ*) (CCÖ*) (SÖNÄ*)

OTIS REDDING/THE SOUL ALBUM VOLT 413 (-66) US MONO

For my undying love of the debute "Pain In My Heart" check earlier post. This forth album is a little more anonymous. Not that it lacks any of that beautiful skill or energy, but the material don't stand out like on his earlier ones and non of the tracks became big hits or eternal classics. The LP did ok with #54 on Bilboard and #22 in UK, but only one single - "Just One More Day" - climbed into Billboard Hot 100. That said - this is a good one! May take more time to get into but once you're there it's worth every second. It's such a good atmosphere - backing both exact and cozy and his vocals emotive with tons of feeling. A mix of up-tempo and ballads, of which I like the latter better on this platter, cause the calmer cuts give more space to his voice, exposing it wistful and very touching. So even without known highlights or hits it's a solid whole, digging deep into soul. Audio on this mono is tophole, big clear and natural. Never heard another issue so I can't compare, but doubt there's much better out there anywhere. Other early releases in Canada (ATCO same number), New Zealand (Atlantic SAL 932880), Italy (Atlantic ATL LP 09007) and UK (Atlantic 587/8 011). Also as US stereo (S-413). Premiere US had label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*)(ÖRÖ*) (TÄX*)