CREAM/BEST OF CREAM 658 174 (-69) FRANCE

Long time since I posted a Cream album. The original LP:s they issued during their short existence are getting quite rare and seldom show up at reasonable prices, so the bargains you can find in the used bins today are mostly collections of various quality. Thought the UK vegitable sleeve "Best Of..." was ok, though a little dull when it came to track choice (see earlier post). That was made after a US original and a couple of years ago after losing it in a trade decided to replace it with a US first press...which showed to be harder than I imagined and instead ended up with this French. Using the same tapes as US and UK, so the compiling still kind of dull, but with a very nice blue front sleeve and absolutely smashing audio. As I don't have the UK anymore and never heard a US I can't compare, but doubt any of them can sound much better. I hear big and clear with top separation, which together with the alternate sleeve design should make it a collectible item by itself, or at least a very good alternative to the more known variations. First press had label as shown here, heavy vinyl and laminated flip/back cover. (CÄRÄ*) (MFÄX*)

SAM & DAVE/DOUBLE DYNAMITE S 712 (-66) US STEREO

US soul duo that, apart from a minor hit with "Hold On I'm Coming", didn't have a large impact in Sweden during my most receptive teen years. So not a combo I grew up with and not as much part of my early connection to American soul music as the Motown acts. Still learning about them myself. Apparently they were one of the most popular and biggest selling sixties soul combos in US with celebrated live shows and a large number of records high on the lists. Today by many considered forerunners in the pop-soul genre and known influence to artists as Michael Jackson, Tom Petty, Elvis Costello, Stevie Winwood, Bruce Springsteen and many more. Apart from being Grammy awarded they've also through the years become members in some prestigious Hall Of Fames - Rock'n'Roll, Vocal Group, Grammy and Memphis Music. So it's with high expectations I'm now giving this their second album my premiere spin. First thing that strikes me is the excellent audio and stereo mix - wide and clear yet very together, making me feel welcome. Then the intensity - up-tempo or slow movers, all bursting with smittening energy from both players and singers. Got up dancing by myself already to the opening "You Got Me Hummin", stayed on the floor with "Said I Wasn't Gonna Tell Nobody" and would have continued through the next two slower cuts if I just had a partner here to squeeze to the rhythm. To put it simple - I'm in! Maybe not all in since I don't have any background with the duo and there's nothing in my memory that can answer to any of the separate songs. But I'm working on it and no doubt given time they will be an evident part of my soul experience. Also as US mono (Stax 712) plus US 4-track and 8-track. Other original releases on Stax in Canada, Germany (same numbers) and UK (589003). Japan 1969 on Atlantic (SMT 1023). Japan 2012 remastered CD on Stax/Rhino (WPCR 27506). Premiere US had label as shown here, thick vinyl and glossy cover. (YZÄ*)(TÄX*)

THE KINKS NPL 18096 (-64) UK MONO

After posting both the Australian Astor mono and the UK Golden Guinea stereo earlier feel I don't have much more to add...other than I still think it's one of the best debutes from a British rock band back then. Right on, filled with tons of youthful will and most of it sounding like recorded live in the studio. I do see and hear people considering it half bad or just ordinary and don't understand why. Ok the choice of covers can be called ordinary, apart from "You Really Got Me" the self-penned don't shine too bright and they clearly had American role models, but that's not the point. I dig the vocals coming out bare without any second thought, the sparse but tight setting and the sheer energy of it all. Lots of presence giving me direct connection. Maybe you have to be both a die-hard Kinks fan and garage lover to appreciate it this much, but I am and I do and I wont change. First UK mono and export stereo https://monolover.blogspot.com/2022/08/the-kinkskinks-nspl-83021-64-uk-export.html came with logo to the left on label and "Recording first Published 1964" as shown here, thick unflexible vinyl and laminated flip/back cover with Pye ad inner. (PÖY*) (KYX*)

THE 1969 WARNER/REPRISE SONGBOOK PRO 331 (-69) US

When finding issues part of the Warner/Reprise "Loss Leaders" sampler serie I always expect good music and audio plus more or less rare tracks or edits. This was the first in the serie and it has all of that. For me it feels comfy getting Zappa, Electric Prunes, Family, Fugs, Tiny Tim, Wild Man Fischer and Jimi Hendrix at the same place. And if I'm in a pop mood there's also Everly Brothers, Joni Mitchell, Kinks, Neil Young and Van Morrison to enjoy, together with ten more acts. Compiling itself sometimes odd but never boring. A few exemples. Side 3 starts with Tiny Tim laughing as intro to a Suzy Creamcheese monolog that in its turn opens a Zappa/Mothers medley with cuts from "Uncle Meat"...then continuing with a Fugs "It Crawled Into My Hand, Honest" medley and ending up with the Arlo Guthrie live take "The Pause Of Mr. Claus", where he's ranting and singing about FBI and Santa. Side 1 and 2 takes off with spoken outtakes from Wild Man Fischer's "Songs For Sale" as introduction for Jethro Tull's "My Sunday Feeling" and Everly Brothers "T For Texas". If any of those combinations should be regarded as fit or clash depends on where you are. Non of the chosen cuts were hits at the time, but obviously considered worthy by the compilers and they sure work for me today put together like this. It may seem weird all girl pics on sleeve are from members of the "GTO:s" combo not part of the track list, but since they were Zappa's proteges at the time it figures. My favorites - Jimi Hendrix "Red House" (same alternate version that also showed up on the US "Smash Hits"), Electric Prunes "Finders Keepers", Family "Second Generation Woman", Kinks "Picture Book" and most of the others. This was US only, also reissued mid seventies on the "Burbank" label. The label design shown here was used 1970-73 (first green had a "W" logo on top), so this can be called a second press. It came in a glossy fold/out cover with a glued in four page booklet containing pics and info on all the involved. (SÄM*) (YZÄ*) (LÖZZ*)

THE FIRM 781 239-1 (-85) GERMANY

Sometimes when LP:s are shun by critics and/or the large public you totally get it cause they're simply not good enough, but there are cases where I do not understand why, like with this one. Initially both the album and its spawned 45 "Radioactive" did well on the lists and got fairly positive reviews, but lately I've seen both die-hard Zeppelin and Bad Company fans passing it by in the cheapest bins without giving it a thought. Had copies myself to and from since first release, always cherished it and now wondering what's there not to like? I'm getting Jimmy Page's shrewd guitars and Paul Rogers signature vocals to a mostly tight and hard hitting backing. The songs are well written and though with one or two low points (as any album would have due to someones particular taste) most of it come out both catchy and well performed. E.g. "Closer" heavy yet with a fantastic flow and top vocals by Rogers. "Radioactive" has a blend of simple and quirky making it stick immediately. "Midnight Moonlight" allegedly initially a Led Zeppelin project called "Swan Song", but if just a remaining idea or part of the recording is from that I don't know. Epic song having both multiple theme changes, calm soothing parts and heavy riffs. Good plan, but not the smoothest realisation giving a somewhat chaotic impression, yet an interesting trip. Only track choice I don't follow is the "You've Lost That Lovin' Feeling" cover. Rather ordinary version and not fitting the rest. To my ears a good hard rock album and still worth much better response from critics and public. Issued and reissued all over the world on every possible format through the years. Premiere German had labels as shown here, glossy stickered cover and picture/credit inner. (LÖZ*) (GÖXÄ*)

BRYAN FERRY/BOYS AND GIRLS EGLP 62 (-85) UK

One more spin on my ferry-go-round. Always liked his vocals and even if the solo albums not all entirely perfect there are enough good moments on each of them to make him worth while. Like this one. His seventh and most successful, topping the UK list and having very good sales around the globe. It could be described as fluffy synth disco and I should hate it with every fiber in my cranky analog body, but I can't...at least not all of it. Some of the up-tempo parts are not for my ears as I still can't stand synthesized drum and bass in the lead, but the slower numbers luring me into that special mood...misty and mysterious like sirens calling a lost sailor. Title track is magic...so delicate and unhurried yet in an odd way nagging, making it strangely catchy. "Slave To Love" a love ballad so self evident you have to love either you're into that kind or not and "Sensation" with its beautiful background vocals and guitar parts (David Gilmour?) just can't be denied. So to me a little uneven, but the highlights so bright it's a must have. Issued and reissued all over the world on every possible format through the years. First UK was marketed by Polydor (later Virgin) with labels as shown here and matt cover with glossy pic/lyric/credit inner. (ÄNÖ*) (BRÄY*)

OTIS REDDING/THE IMMORTAL OTIS REDDING SD-33 252 (-68) US

Second posthumous album, showing up just four months after "Dock Of The Bay"    https://monolover.blogspot.com/2018/10/otis-reddingthe-dock-of-bay-volt-s-419.html . While that was a no less than superb compilation of 45 cuts this contains his final recordings, last session just a couple of days before his death in a plane crash. With issues like this you can always ponder if it was all canonized to be issued before he left, or if parts then were still developing from first trials or demos and polished up by the label afterwards. Probably some of both, but even if added to or refined in any way it's still a tophole soul album. His voice sounds more mature than earlier, less strained as he's confident enough to relax and just let it out without being too self-aware. Support is beautiful with emotional brass and background vocals to an adaptive rythm section. Audio on this US press (matrixes have etched ST-C-681291-A/92-A with "M" at nine o'clock and "LW AT" at three) is superduper, stereo mix quite panned though with enough overlapping to make it natural. Favorite tracks - "I've Got Dreams To Remember", "Nobody's Fault But Mine", "Think About It" and "The Happy Song". Issued and reissued on vinyl and CD pretty much all over the world through the years plus 4-track and cassette. First UK in both mono and stereo on Atlantic (587/8 113). Also as US white label mono promo. Premiere US had label as shown here on thick vinyl and glossy cover with ATCO ad inner. (YZÖ*) (ÖRÖ*)

TJEJERNAS FULA VISOR BUM 505 (-78) SWEDEN

After the unexpected domestic success for Swedish artist/songwriter Johnny Bode's "genital schlager" albums, issued 1968-73, many others tried to repeat the concept and cash in on songs describing more or less odd sexual activities by using an array of four letter words. I've already posted trials from The Moolighters singer Lasse Holm and the more disturbing attempt made by Tom Zacharias and his blues/rock band Levande Livet (for more on all those check this link - https://monolover.blogspot.com/search?q=+(%C3%84X%C3%85H*) . Problem was they did showel lots of dirty stuff over the listener, but lacked both the songwriting skill and sincere puerile humor of Bode's songs. He'd been in the music business since the twenties and sure knew how get through, while most imitations just came out filthy without anything to back it up. Here's the concept all over again, this time from a female perspective (eng. title "The Chick's Naughty Songs"). Most of the cuts have traditional melodies re-worked with lyrics by Malin Rask (of which I know nothing else) and Peter Himmelstrand (one of the most successful Swedish songwriters in the sixties and seventies), who also produced. Vocals by danceband singer Rosa Gröning, pop artist Gilla Rydén and Liza Öhman, who apart from having a pop singer carreer also worked with ABBA in studio and on tours. In comparison to the others this was rather cute...or as cute it could be with titles like (my translations) - "When the C*ck and C*nt Played Ball", The D*ck is great", "F*ck is a Beautiful Word", "The P*ssy and Me", "Come and Watch the Pr*ck" and "The C*ck Played the Tuba". Probably a good plan to begin with, but to my ears it didn't work out. Most of it sounding like more or less cheeky ideas that could have lead to something striking, but then not fully realized and leaving very little impact. Maybe there was someone out there who got off by hearing women singing dirty words, but then again both Lillemor Dahlquist and Lena Junoff did that a lot more convincing on the Bode albums. I admit such stuff still can make me smile if done with quality, but the work here sounds too unfinished for my taste. This was the only issue. It came with label as shown here and thin glossy cover. (ÄXÅH*) (FÄV*) (CCÖ*) (SCÄ*)