GEORGE HARRISON/THIRTY THREE & 1/3 DH 3005 (-76) US

It's funny how things sometimes work out. Even if his LP:s after the widely acknowledged "All Things Must Pass" had a couple of great songs each and ok sales, they can and have been described as uneven or even partly uninspired. Then at his lowest personal point yet - suffering from the aftermath of the "My Sweet Lord" /"He's So Fine" controversy, sick with hepatitis and at the same time trying to quit alcohol and cocaine - he comes out with his most consummate work since ATMP. Three of the tracks - "Woman Don't You Cry For Me", "See Yourself" and "Beautiful Girl" - revisions of songs he wrote while still in The Beatles, the rest reflections on more recent events. Backing, production and arrangements assuring all trough and the audio on this US press is beautiful - strong and clear. Good listening from start to end with a fair share of catchy moments. My favorite tracks - "Crackerbox Palace" with great guitars and cozy in an Abbey Road kind of way, "Woman Don't You Cry For Me" funky and melodic, "Dear One" carried by a bouncy moog sound and "See Yourself" a beautiful ballad spiced with back-breaking rhythmic gaming. Issued and reissued on vinyl, cassette, 8-track and CD all over the world through the years. Japan 2010 CD on Parlophone (TOCP-70875) came with "Tears Of The World" as bonus track. This copy has –––◁ etched on the dead vinyl, showing it was pressed at Capitol Record Pressing Plant in Winchester. I guess an early US press. It came with label as shown here in a thick stickered fold/out cover with structured fonts on front and a sturdy "silvery" lyric/credit inner. (BÄ*) (GÄÖ*) (YZÄ*)

PADDY ROBERTS/STRICTLY FOR GROWN-UPS LF1322 (-59) UK MONO

Old-school singer/songwriter, born in South Africa as John Godfrey Owen Roberts (1910-75). After moving to England he got a carreer as composer and performer, creating UK list toppers for artists as Ruby Murray and Ann Shelton in the mid-fifties and later on writing soundtrack songs for popular movies, but also recording his own comedy style numbers. These were mostly on the edge of what was PC in England at the time, indicating sex and other things that usually weren't brought to public there and then. As he treated slightly risqué subjects, mostly accompanied by piano, it's tempting to look for similarities with Tom Lehrer and there are, but also differences depending on what clutures they rose from. Lehrer's humor came from being intelligently cheeky in a very funny way. Roberts lyrics seem more coy and though in the same way trembling under society's skirt he mostly does it by hints and innuendos. An exemple from "Love Isn't What It Used To Be" - "...No shrinking violets to scared to say yes, not leading up to a gentle caress. Just grab a handful and damn the finesse. Love isn't what it used to be". That kind of wit probably hopelessely dated in this day and age, so maybe you must have been there to appreciate it fully. Anyway it still makes me smile and as this has more of the same furtive fun I'm in. This was UK only, reissued on CD 2010 by Hallmark (709172). Most of the songs can also be found on the 1968 "The Best Of Paddy Roberts" (Music For Pleasure MFP 1276). Premiere UK 10 inch had label as shown here and laminated cover with crescent flips. (SYSÖ*) 

                                                                            

                                                                                

                                                                                 

                                                                                   

                                                                                

                                                                                   

GARY LEWIS & THE PLAYBOYS/NEW DIRECTIONS LRP 3519 (-67) US MONO

For more background check post on their previous album "Paint Me A Picture" - https://monolover.blogspot.com/2015/10/gary-lewis-playboyspaint-me-picture-lrp.html . They were never big in Europe and this album wasn't even issued here at first. Reason they show up in these parts now in the used bins is the cut-out imports from when US companies dumped their surplus over Europe in the seventies, making it then possible to buy the records here by weight or for mere cents. And now still used as bin filling cheapies which in a way is sad but also good for those who want enjoyable listening for just a buck or two. This was recorded at the same time Gary Lewis was doing military service. The Playboys are not very discernible so it's more like a solo album. Most songs penned by famed songwriter duo Alan Gordon and Gary Bonner and the whole thing co-produced by the trio Jack Nitzsche, Nick DeCaro and Hank Levine. What you get is well written and produced American sixties pop of the sunshine (psych) kind, much in the same vein as contemporary Beach Boys, Turtles and Mamas & Papas. The atmosphere is positive and friendly and the audio excellent. Maybe not an all time classic, but good listening nontheless and considering the all over quality well worth picking from any reasonably priced bin. Favorite tracks - "Girls In Love" and "Moonshine". US stereo LST 7519. Originally also released on vinyl in Canada and a couple of South American countries. Australian on Sunset (SLS 96.060). 2012 UK 2xCD on BGO (BGOCD 1067) coupled it with the two surrounding albums - "Paint Me A Picture" and "Now!" . Premiere US had label as shown here, thick unflexible vinyl and glossy cover. (YZÄ*) (ÖXCÅ*)

KEVIN COYNE/MARJORY RAZORBLADE VD 251/52 (-73) UK

The story of Kevin Coyne (1944-2004) is as much about the social worker and activist, working with and for the outsiders - the mentaly ill, addicts, homeless and institutionalized - all his life struggling for the less fortunate, which clearly shows in songwriting and expression. This was his second solo LP after quitting the band Siren and first after leaving John Peel's Dandelion label for the then new Virgin. Always been a big fan of the succeeding "Blame It On The Night" (see earlier post) - for the dramatic blend of raw and soft, making it both heartbreaking and catchy at the same time. While that has been criticized by some fans for being too embellished, this is as naked as it gets. A mix of blues, rock and folky seemingly recorded right on without much overdubs - some by him alone and some with basic band backing. Lyrics describe the world below society's glossy surface, giving voice to people and matters seldom publically mentioned by others. His vocals switch between cool, bombastic, whining and unbridled, always in sync with the songs messages and beautiful just as they are. You get the feeling he's just expressing his mind and it'll be whatever. It all sticks together almost like a theme album and it's hard to pick absolute favorites out of the twenty songs, but if I try - "Chicken Wing", "Eastbourne Ladies", "Marlene" and "Nasty". To my ears a timeless album, earning its right to exist beyond ever shifting public tastes. It wasn't a hit on release, but has been rediscovered and reissued many times since. Released as a double album also in Italy, Germany and France while the US and Australian were pared-down to an eleven track single LP. UK vinyl reissues came with colored labels. EU CD on Virgin (CDVM 2501)included two bonus tracks. Premiere UK had label as shown here and matt fold/out cover. (SYSÖ*)

MRS. ELVA MILLER/MRS. MILLERS GREATEST HITS T 2494 (-66) US MONO

For full background on person Elva Ruby Miller (1907-97) I recommend the Wikipedia article - https://en.wikipedia.org/wiki/Mrs._Miller . This was her debute album. I've seen young music lovers, ones who weren't born at her peak of fame 1966-68, slowly turn into living question marks while listening. What you get is a very average looking elderly lady who can't sing at all and demonstrates that with all the power she's got. Issued on a major label with arrangements and production top notch, including orchestration and background quires, and the mix as well as audio great. Add to all that some of the worst vocals ever recorded - out of pace and out of tune, still performed seriously and as it seems without self awareness. To me it most of all sounds like an older man trying to sing like a woman while doing operatic version of pop songs. She herself has said in interwievs that the producer deliberately directed her out of pace and Capitol then choosed the worst takes for the album. But hearing this you wonder how much better the other trials was. Then released and recieved as a comedy act. The two 45 picks - "Downtown" and "Lovers Concerto" both managed Billboard top 100 and the LP itself reached #15. Today you might get the impression Capitol cashed in by using a kind and good hearted lady as laughingstock and maybe so. But on the other hand - here's a woman seemimgly without any musical talent, who succeeded to sing her in to the top lists, got a period of fame and also made a healthy load of dough while doing it. Good for her! Also issued in Canada and UK (same numbers and sleeve designs). Most of the cuts can aslo be found on the 1999 CD "Mrs. Miller - Ultra Lounge - Wild, Cool & Swingin" (Capitol CDP 7243 5 20334 23). Premiere US had label as shown here and glossy sleeve with Capitol ad inner. (FÄV*) (YZÖ*) (ÖXCÅ*)

CLAPTON, BECK & PAGE 1C 048-51 780 M (-73) MONO GERMANY

An LP I wouldn't have cared a lot about if just for the music. Rather ordinary instrumental blues trials with some good guitars, first issued without the artists approval on assorted Immediate samplers. Then after the label crashed picked up by other companies, compiled in various ways and released as collections. Some of it a mix of home recordings made 1965 by Eric Clapton and Jimmy Page and then overdubbed with help from members of the Rolling Stones - Charlie Watts, Bill Wyman, Mick Jagger and Ian Stewart. The rest off-session stuff played for fun with Cyril Davies All Stars. So non of it initially recorded for any kind of release, reason for disclosure was label greed only. And my reason for buying and savouring it is music history. Getting mid-sixties recordings with larger part of The Rolling Stones together with Jimmy Page, Eric Clapton, Jeff Beck and Cyril Davies, is more than enough for keeps regardless of outcome. Audio shifts from rather bad to almost ok, but at least it's pristine. Premiere issue by US RCA as "Guitar Boogie" (LSP 4624 e) was a ten track in rechanneled stereo. This second press - first released in Germany with original mono takes - had other track order and also adding the Page/Clapton number "Miles Road". It came with label as shown here and laminated cover. (RÅ*) (LÖZ*) (CÄRÄ*) (JÄB*) (GÖXÄ*)

BESSIE SMITH/BLUES TO BARRELHOUSE - THE BESSIE SMITH STORY VOL. 2 CL 856 (-51/-55) US MONO

The second of four Bessie Smith (1894-1937) compilations of early recordings, originally issued November 1951 on Columbia (GL 503-506). The one shown here is a mid-fifties re-press of the second, containing transfers from 78:s recorded 1924-33. She was one of the first blues artist on record and also early part of the "Rabbit Foot Minstrels" gang around Ma Rainey (1886-1939) - the woman who's been crowned "The Mother Of Blues". Important history indeed - doesn't matter if you're into the black American 20th century blues heroes or later white blues and hard rock...this is right from where it started. Not the subsequently more common solo guitar-vocal setting, but as a growth from New Orleans jazz and accompanied by a band. Of course there may have been others performing it differently even before, but they didn't record anything so we'll never know for sure. The audio they managed to get out of the 78:s here is surprisingly good - strong, clear and warm. Her singing is emotional with lots of zest, personal yet touching. I'm moved, not only by the songs, but by getting a chunk of 1920:s New Orleans transported to my living room and thus allowing me to be a witness to the birth of blues as we know it. Just have to close my eyes in my listening chair and I'm there. Hunky-dory. This second issue came on the six-eye label as shown here on thick vinyl, but keeping same sleeve design as the original. (YZÄ*) (ÖXCÅ*) (NYFÖ*) (FÄV*)

CLARENCE CARTER/THIS IS CLARENCE CARTER SD 8192 (-68) US

A couple of years ago as my interest for American sixties soul was reawakened I got a new start with some renowned stars as Otis Redding, Aretha Franklin, Sam & Dave, Arthur Conley and the Motown gang. Very good indeed, yet after getting in closer and finding more and more tophole black soul I didn't have a clue about before I'm starting to realise what an extensive genre it is and that my time here may be too short for any attempt to a blanket screening. But I can live with that as long as gems like this keeps showing up. Still learning about his background and carreer myself from this wikipedia article - https://en.wikipedia.org/wiki/Clarence_Carter . If interested it's better you go there than me copying assorted facts...or just read the liner notes below. This was his debute album, built by a mix of single tracks - four A:s and two B:s - and ones recorded solely for the LP. Anyway made it all sounds pleasant to my ears. His voice is touching - dark and rich, fitting both ballads and power soul - and the backing emotionally supportive. I'm surprised the record wasn't a bigger success back then and that it isn't mentioned more today, cause it has everything needed to be a hit - tophole vocals carried by a proficient band and a number of great songs. My favorites are the uptempo ones - "Looking For A Fox", "I'm Qualified", "Funky Fever" and "She Aint Gonna Do Right" - but it's all good listening and a keeper for sure. Also originally issued on Atlantic in Canada, Germany, UK and as US mono promo. First US stock release had label as shown here and glossy cover. (YZÄ*)

DAVID BOWIE/RARE PL 45406 (-82) UK

A collection originally compiled at RCA studios in Rome for the Italian market, whereafter it was picked up and released all over Europe and Downunder. Not approved by Bowie himself, who even publically announced that he didn't like the album and it has been cited as one of the reasons he decided to leave RCA for EMI. However the partnership didn't work out and why he disliked is history now, but the LP still exists and listening today it's not bad at all as you get lots of rare cuts for the first time on LP. Beside the Italian "Space Oddity", part German "Heroes" and the US 45 edit of "Young Americans" I get no less than six previously non-LP 45 B-sides and a couple of such A-sides. The former flips are all aces in my book - "Holy, Holy", "Round And Round" "Velvet Goldmine", "Amsterdam" and the "Panic In Detroit" live take. Of the A:s "Moon Of Alabama" is odd enough listening and even if I prefer the initial 45 version of "John I'm Only Dancing" this disco take is quite good too. "Crystal Japan" - released as both A (1980 in Japan) and B (1981 to "Up The Hill Backwards") - isn't one I dive into a lot, but as it was a product of the "Scary Monsters" sessions I just gotta have it. Audio a-ok providing good listening. All the songs and takes have shown up later on countless vinyl, cassette and CD compilations, but since this was the first it's also my first choice. To my knowledge never issued in US or on legal CD. First UK had label as shown here and thin fully laminated cover with lyric inner. (PKÅ*)

STATUS QUO/ON THE LEVEL 9102 002 (-75) UK

My fourth and last post handeling the band's early Vertigo tetralogy. This their eighth album in total also became a first major breakthrough - entering the UK chart at #1 and having top sales Downunder and all over Europe - with the spawned 45 - "Down, Down" - getting a similar result. Back then I found it less exciting than their pervious ones. After the hard "Hello!" and downright cruel "Quo" this felt more mellow and crowd pleasing and therefore didn't hit me the same way. The young man I was then needed more rage. But forgetting about the past and listening today it's still a very good rock'n'roll album, tighter and more swinging than much from other now more publically appreciated bands. These guys could really play, welded together as one. "Most Of The Time" is heavy blues with an abundance of good guitars, "Where I Am" a sweet ballad and "Bye Bye Johnny" a fast and intense version of the Berry song. The rest signature boogie rock with lots and lots of prominent guitars. A positive journey without second thoughts or pondering of any kind. So if you're into easy-peasy rock'n'roll and for some reason haven't got it yet I recommend you try. Issued and reissued on about every format all over the world through the years. US vinyl on Capitol (ST-11381). Japan 2013 CD Vertigo UICY 75695) came with single version of "Down Down" and four live takes as bonus. Premiere UK had label as shown here and fully structured fold/out cover with lyric insert. (WLÖ*)(STÄQ*)