ARTHUR CONLEY/SHAKE, RATTLE & ROLL SD 33-220 (-67) US STEREO

For more on artist background and life check post on his debute "Sweet Soul Music" - https://monolover.blogspot.com/2017/10/arthur-conleysweet-soul-music-587069-67.html. Because of that song being a world wide hit and his other efforts not quite reaching up saleswise he's today considered a one-hit-wonder. A protege of Otis Redding who helped him by supporting, producing and song writing. You can only guess why this his second LP didn't sell a lot. It is a good soul album, very well sung with top backing, the audio is great and the stereo mix quite all right. But when using the same backing crew as Redding and also being produced by him and doing his songs in a similar mood the all over impression might have been he was just an Otis Redding understudy, which in that case seems a little unfair. And then when Redding died a while after this was issued all light was on him and hardly a beam on Conley. Anyway it's a high quality soul album, most of it up-tempo with a fair share of power. Nothing as catchy as the SSM hit, but good listening giving positive energy. My favorites are the up-tempo songs - "Shake, Rattle & Roll", "Ha! Ha! Ha!", "Love Got Me" and "Keep On Talking" where it sounds like his doing a duet with Redding (?). Originally also issued in UK as mono only (Atlantic 587084), German stereo on Atco (US no.) and a couple of African countries. Japan 2012 CD on ATCO (WPCR-27547). Aslso as US mono (33-220). Premiere US stereo had label as shown here and glossy cover with ATCO ad inner. (YZÄ*) (MÖRS*) (ÄHU*)

A LIVE CHRISTMAS

Never been much for annual celebrations of any kind and since I live alone nowadays and try to work as much as possible over Christmas and New Year, there's not a lot of time or will to get in the true holiday spirit. Spare time is mostly eat and sleep. But sometimes when feeling lonesome in the midst of it all I like to revisit a classic concert...and through pure vinyl magic getting back to a time and place where I can feel warm and relaxed. There are many good ones to choose from, but for this Christmas it'll be the ones counted below. To me they all have the combination of top performance, audio and presence that can put me in a festive mood, Christmas or not. So I'm in for a treat, hope you are too whichever way you choose. Taking a break now up till New Year and back again whith renewed strength 2019. Happy Holidays wherever you are. Erik (ALCÖ*) (RÅ*) (CÖL*) (HÄH*) (WÖH*)

https://monolover.blogspot.com/2012/12/colosseum-live-icd-12-71-uk.html

https://monolover.blogspot.com/2014/10/the-wholive-at-leeds-2406001-70-uk.html

https://monolover.blogspot.com/2012/05/hep-stars-on-stage-lpo-02-65-mono-sweden.html

https://monolover.blogspot.com/2012/04/live-adventures-of-mike-bloomfield-and.html

https://monolover.blogspot.com/2018/01/rolling-stones-get-yer-ya-yas-out-skl.html

MARTY FELDMAN/I FEEL A SONG GOING OFF SKL 4983 (-69) UK

To me Marty Feldman (1934-82) was one of the brightest shining jocose icons, as writer, performer, director and producer - from the TV happening "At Last The 1948 Show", over participation in Mel Brooks films, up to the brilliant "The Last Remark Of Beau Geste" and "In God We Tru$t" movie comedies. So when I first encountered this LP I expected witty talkies in variety show shape. But it's actually well produced (Ray Richardson) and arranged (Ivor Raymonde) songs, larger part co-written for the album by Dennis King and John Junking. Most in classic British vaudeville style, as from the twenties or thirties, some reminding of Flanagan & Allen and some of early Bonzo Dog. In fact many of the numbers could have been part of any Bonzo Dog sixties LP, carried by the same mix of artful humour and serious winks to times gone by. He's not the best singer though wings it just fine. Squeezing in twentyfour cuts in around forty minutes could make it too sketchy, but to my ears here saved by the numbers are tied together as from a common ground idea with similar arrangements, not so much giving the impression of separate songs as pieces of a big puzzle. Audio tophole and the atmosphere very cozy and very British. Lisening now with a big smile and a warm feeling in my gut. UK mono LK 4983. Also issued on vinyl in Australia (Decca SPA 134). EU 2007 CD (Decca 984 609-2) came with the non-album 45 "A Joyous Time Of The Year"/"The B Side" as bonus. Premiere UK stereo had label as shown here in thin laminated cover with die/cut hole on rear and blue rim stereo inner. (MÖRS*)

MANFRED MANN/THE FIVE FACES OF MANFRED MANN ALM 13018 (-65) US MONO

The 1964 US equivalent to their UK debute "The Five Faces Of Manfred Mann" (see earlier post) was called "The Manfred Mann Album", with eleven tracks in common. This US second LP, though carrying same name as the UK debute, is in fact a US only compilation of single and EP cuts plus one from the UK TFFOMM left out of TMMA. To put it simple - a US only Manfred Mann album with exclusive tracking and sleeve design. They did issue a large number of 45:s 1963-65 and if you should need to have all those on LP close to the fact this could be a valuable piece of that puzzle. But even for the completist and/or fan who already gathered the singles it's good just for the label and sleeve. Track choice somewhat lighter and more pop orientated than on the eponimuos UK. Audio very loud and clear without bursting the seams. Good listening all through with a fair share of catchy moments. My favorites for now - "Sha-La-La", "John Hardy" and "Watermelon Man". Also as US stereo (ALS 16018). Canadian on Capitol (T-6102). Japan 2014 CD on Parlophone (WPCR-15452) came with fifteen bonus tracks. Premiere US had label as shown here and thick glossy cover. (YZÄ*) (ÖXCÅ*) (MÄNÄ*)

THE END/INTROSPECTION TPT 208 (-69/-06) LICHTENSTEIN

I've been longing to find an original copy of this for decades, but never saw one that fitted my wallet. It has turned out as a must have for many period collectors and since it didn't sell a lot at release there aren't many records to fight over. The band itself just existed a couple of years before transforming into Tucky Buzzard 1969 and this was a one-off LP. Produced by Bill Wyman, who also co-wrote two of the songs, and guested by Charlie Watts. That alone would make it essential for most gatherers of sixties music, but more important - it is one of the better psych albums of the period. The outcome more heavy pop than rock, most of the cuts carried in a softish dreamy atmosphere. There's mellotrone, hammond, harpsicord and fuzz guitar to attractive vocals. The songs themselves maybe not directly catchy, yet so soothing and embracing you wanna return anyway. Just starting to dig in to it myself so I haven't picked out any favorites for now, but convinced that the deeper I listen the more there is to love. This copy is on Tapestry Record, a semi-legit Lichtenstein company known for their reissues of rare psych albums. As all those came un-licenced they are regarded as bootlegs. Nevertheless the audio on this is tophole - wide and clear with perfect separation. Very good listening. The sleeve say this release was limited to 1000 copies, but you never know. Originally issued on Decca in UK (LK-R/SKL-R 5015), Germany (SKL 16638-P), France SKL-R 5015) and US on London (PS 560). UK 2005 CD on Decca (844 115-2) came with both sides of their non-LP single in mono as bonus tracks. Don't know of any re-press of this particular one. In any case - it came with label as shown here on thick unflexible vinyl in a glossy cover. (ÖRJ*)

JEREMY SPENCER RS 5187 (-70) GERMANY

Solo album recorded at a time when the original Fleetwood Mac was on the edge of breaking up and released between their "Then Play On" and "Kiln House" LP:s. The atmosphere is playful, the songs parodies of differing genres and then mostly US fifties rock. So not that serious, yet very well performed with at least a couple of memorable bits. To me most valuable as a band album. Let be Peter Green only participated on one cut, but the rest of the old gang were there providing backing all through. My favorite track would be "Mean Blues" where they all try to make it as sloppy and dirty as possible...and do that so well. Even if intentionally bad it's still a very good garage piece with tons of presence. Further "Here Comes Charlie (With His Dancing Shoes On)" and "Don't Go Please Stay" albeit a lot smoother still bluesy enough for me. Audio on this German press is absolutely smashing - big , warm and embracing. Haven't heard the UK yet so can't compare, maybe get a chance for that later. If it'd be regarded as a Fleetwood Mac album or not may be up for debate, but in my collection it stands next to "Then Play On" as the last original LP by the original setting. To my knowledge only first issued on vinyl in Germany and UK (RSLP 9002). US 2015 CD on Real Gone Music (RGM-0409) came with the flip side to the "Linda" 45 - "Teenage Darling" - as bonus. Premiere German had label as shown here and laminated fold/out cover. (GÖXÄ*) (FXÄC*)

BJÖRN J:SON LINDH/SISSEL MLP 15.506 (-73) SWEDEN

For more on background check post on his debute "Ramadan" and fourth album "Boogie Woogie" - https://monolover.blogspot.com/search?q=J%3Ason+MLP . While those were largely influenced by eastern music this third is more home turf. Though one cut seemingly inspired by Macedonian folk lore and another a cover of Joe South's "Games People Play", all sounds very contemporary Swedish cool prog. Odd rhythms and chord changes performed soft and relaxed with emotional flute on the top. As on the two aforementioned LP:s you're taken on an adveturous ride, but always safe and comfortable when cared for by some of the best. Both stereo mix and audio are excellent and if you have the means to play on an ok equipment you'll be truly embraced. All tied together by common atmosphere and setting. If I have to chose a favorite part it'd be Janne Schaffer's long solo at the end of "Sissel". Equibrilist jazzy but partly so out there it's almost psych. Enough to turn on any lover of cracking guitars - https://www.youtube.com/watch?v=aJdHFKGhtSE . Also originally issued in US (Metronome DIX 3002). To my knowledge never released on CD. "Bull Dog" showed up on the 2000 Metronome CD collection "Guldkorn" while the rest of the tracks seems to be vinyl only. Premiere Swedish had label as shown here and laminated fold/out cover with Metronome ad inner. (SCÄ*) (CCÖ*)

ARGENT/IN DEEP EPC 65475 (-73) UK

The band's forth LP and, as their other full-lengthers, offering a very nice blend of progressive and melodic. When I see it handeled by fans and medias today it's mostly the hit "God Gave Rock'n'Roll To You" that's mentioned while the rest is treated scantly and the whole album as some kind of low point. Listening now I'm far from any such perception. Always had a hard time to espouse "rock-about-rock" songs , so common in the seventies. To me those showed on a growing distance to the genre - instead of being there and living it, rock was treated from the outside like a commodity. So not getting in to that, but the rest is right up my alley. Favorites - "Be Glad" is beautiful, combining melodic and catchy with adventurous twists and turns. Lots of good piano there. "Christmas For The Free" and "Losing Hold" very touching ballads, deserving to be loved. Those cuts are the ones that to me make this a fine album and a keeper for sure. Maybe not Argent's best, but in a larger perspective good enough. Issued and reissued all over the world on vinyl and CD through the years, also cassette and 8-track. First US on Epic (KE 32195). Seems a couple of the premiere UK copies had orange label as shown here (mispress?), the rest on yellow. All came in the same glossy fold/out cover. (ZÖZ*)

OTIS REDDING/OTIS BLUE - OTIS REDDING SINGS SOUL SD 412 (-65) US STEREO

Continuing my own soul searching with help from the man, this time with his third LP which also initiated a breakthrough with a wider audience - reaching #6 in UK, topping the Billboard R&B list and spawning three successful singles. Hearing it today it's amazing the whole album was recorded in just 24 hours. His vocals have that signature blend of cool and heartfelt and the backing - as before consisting of Booker T. & The M.G.'s, a Memphis Horns/Mar-Keys brass combo and Isac Hayes - is both imaginative and touching. Just listen to the rythm guitar in "Ole Man Trouble", the hard working drums in "Respect" and "Shake", the brass and solo in "Rock Me Baby" and there's more...non of it equilibrist but all utterly in the mood. To be a wiz at an instrument and steal the show in one thing, but being able to adapt and be a self-evident part of a such a gripping sound shows on experience and true skill. I've heard many bad mid-sixties stereo mixes, but this is not one of those. There's panning but also overlapping and nothing that in any way impedes connection. All warm and welcoming. Issue and reissued on about every format all over the world through the years. Japan 2008 2xCD had original mono and stereo album plus eighteen bonus tracks, including live takes and alternate studio versions. There seems to be many Volt variations making it hard to figure out time line, but as this copy has etched ST-VO-65733-A/34-A with AT and M on both sides I imagine it's quite early (Monarch press?). It came with label as shown here and glossy stickered cover. (YZÄ*) (ÖRÖ*) (TÄX*)