THE ORIGINAL CHAMBERS BROTHERS/ GROOVIN' TIME XTRA 1079 (-69) UK

Since I'm new to this combo and just learning about them myself I wont copy any net facts, instead recommending this Wikipedia article for a band résumé -  https://en.wikipedia.org/wiki/ The_Chambers_ Brothers . Being a long time lover of emotional and vivid US soul it's a pity I didn't encountered this album earlier. I hear a blend of soulful outbreaks recorded more or less live in the studio with a true garage feeling. Haven't been able to figure out yet if it's some sort of compilation of earlier recordings or a joint session original album. But however that may be this works just fine with me, coming through direct and living thus 100% inviting. The stereo mixes may not be the best I've heard and the audio shifts between more or less ok, but you forget all about that when getting caught by the energy and passion. Still haven't picked out any particular favorite tracks, but just to show the variety - "Hooka Tooka" is rock'n'roll, "Rough And Rocky Road" and "I Fly Away" gospel and the rest blues or bluesish - all tied together by touching vocals in a warm soul atmosphere (here's a link if You wanna hear for Yourself   https://www.youtube.com/watch?v=n7v-sMmMyqY&t=102s ). My only regret at this moment is I can't turn up the volume. I'm writing this in the wee hours and as I don't wanna be evicted have to stay muffled at least five more hours before go. Can't wait... To my knowledege only issued in US and UK. Premiere US 1968 on Folkways (FTS 31008). First UK had label as shown here and laminated cover.

ERIC BIBB/AIN'T IT GRAND MNW 30P (-72) SWEDEN

Eric Charles Bibb (born in New York City 1951) grew up surrounded by music. As nephew to John Lewis of Modern Jazz Quartet, godchild to Paul Robeson and with family friends as Pete Seger and Bob Dylan it's no surprise he himself became a prominent artist and today a popular carrier of the black blues torch. Early on he was also deeply involved in American anti-draft and anti-racist movements which could lead to trouble those days and probably part of the reason he was forced to relocate to Europe late sixties. After moving around for a while he landed in Stockholm where he got work at a firm handeling road buliding material. Not sure how he then got contact with the independent MNW for these recordings, but there was already a group of US draft resistors living there at the time and many of them musicians playing for various domestic labels, so with his background maybe it was bound to happen one way or another. Up to today he has issued around fifty albums, including solo studio efforts, collaborations and live takes, and still active. This was his first. Can't derive all names in the backing crew, but it seems to be a mix of Swedish and anglo-saxon musicians, among others including Roger Wallis (formerly in the band Science Poption and one of the MNW founders) and Christer Eklund (later in Jukka Tolonen Band). All songs penned by Bibb. Lyrically a protest album with anti-racist and anti-war themes. Musically a blend of blues, jazz and more regular ballads. He has a very nice voice, clear and honest, sometimes reminding of Jose Feliciano. As common for MNW recordings those days much of it sounds live in the studio, with few or no overdubs, giving full connection. As a whole a friendly encounter handeling always important subjects. Favorite tracks - the hard blues "Lovefire", the jazzy "Son Of Lazarus" and "Ain't It Grand" with some very attractive double bass by jazz musician Torbjörn Hultcrantz (1937-94). This was the only issue. It came with label as shown here in a thin fold/out cover having lyrics and record pocket inside and an inner with liner notes by Bibb. (NÅY*) (SWÄU*)

MARVIN GAYE & KIM WESTON/TAKE TWO STML 11049 (-67) UK STEREO

LP consisting of four Gaye/Weston duet cuts earlier released on two singles - the 1964 "What Good Am I"/"I Want You 'Round" and the 1966 "It Takes Two"/"It's Gotta Be A Miracle" - coupled with eight newly recorded, together released as an attempt to cash in further on the success of the latter 45. Not widely considered one of the better Marvin Gaye albums, or tops among his duets. But I've been listening to it a lot lately and after skipping such comparisons feeling many reasons for love. They both sing like angels and their vocal meetings create more than one hot moment. The backing, with instruments by The Funk Brothers plus vocals by The Spinners and The Andantes is smooth and flawless. Add to that tophole production and stereo mix and you're bound to be embraced. If not all killer songs, still having enough highlights to carry it through - "It Takes Two", "Baby Say Yes", "Love Fell On Me" very good Motown and the jazzy cover of "Till There Was You" really swings in a gentle way. Audio very good most of the time though to my ears a couple of the songs are cut borderline too loud. Not very disturbing, but a softer outcome would have added to the joy. Also as UK mono (TML 11049). Premiere US on Tamla (T/S 270), also originally issued in Canada and a couple of European countries - all those with a "chair" image on front sleeve. To my knowledge this front pic was UK only. Japan 2009 limited number CD in paper sleeve on Tamla (UICY-94162). Premiere UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (FÄV*) (GÖJI*)

DORIS DAY/LOVE ME OR LEAVE ME CL 710 (-55) US MONO

An LP with songs from a 1955 movie about the American singer, actress and Ziegfield Follie Ruth Etting (1897-1978), who retired from the stage 1937. Here Doris Day (1922-2019) does covers of hits Etting had in the twenties and thirties mixed with a couple newly written, where of many have remained a prominent part of the American songbook and still today sung and recorded by various artists. "It All Depends On You", "You Made Me Love You", "Mean To Me" and "Love Me Or Leave Me" are songs I remember from my toddler days in front of the valve radio. Not sure from what artists then, but Doris make them sound so good with help from Percy Faith and Orchestra she brings me back in the most caring way. Her voice is dripping with emotion, the orchestra and background quires sweet and embracing and the audio on this soft and caressing allowing me to enjoy a mid-fifties atomsphere over sixty years later. I'm always amazed a piece of plastic can stirr so many feelings, but this does in me and I love it. Usually I have a hard time establishing exact timelines for my US copies, but this is easy. Since first released summer 1955 and it doesn't have the "High Fidelity" box under the "LP" circle on front sleeve that was introduced later that year, it has to be a very early press. 1955 releases also in Canada, Europe and Downunder. UK on Philips (BBL 7047). Japan 1987 CD came with the MGM soundtrack stereo (CBS/Sony 32DP 913). First US had ridged label as shown here, heavy vinyl and laminated cover. (FÄV*) (ÖXCÅ*) (ZÖNT*) (YZÄ*) (NYFÖ*)

MOTOWN MEMORIES - VOL 2 TML 11077 (-68) UK MONO

Second in the UK "Motown Memories" trilogy. Issued same year as the first (see earlier post) and by all means a twin. Also on this eight of the sixteen tracks are from the label's early years, up to 1963, and it's a resembling mix of classics and rare cuts from today less recognized acts. "My Smile Is Just A Frown Turned Upside Down" an A-side from one of just three singles Carolyn Crawford recorded in the sixties, "There's a Ghost In My House" a non-LP trial by R. Dean Taylor, Barbara McNair "You Gonna Love Me Baby" another non-LP A-side...and not least Barrett Strong "Money (That's What I Want)" - the original behind the now better known Beatles cover. Add to that hits by Stevie Wonder, Supremes, Smokey Robinson & The Miracles and a couple more as icing on the cake and you get a delicious dish...and like with all good things on vinyl it's an exemple that you actually can have your cake and eat it too...as many times as you want. For more on the separate tracks also check the liner notes below. All cuts are the original mono mixes and the audio just fine. Front image is from West Grand Boulevard, Detroit - the houses that incorporated studios and personel from the start up to relocating April 1968. To my knowledge this release was UK only and never reissued in any shape. First had label as shown here and laminated flip/back cover. (SÄM*) (TÖMÖ*)

COLIN BLUNSTONE/JOURNEY SEPC 65805 (-74) UK

His previous album - the 1972 "Ennismore" - was exactly what the doctor ordered for this old Zombies fan. A collaboration between him, Rod Argent and Chris White containing many beautifully catchy numbers, more than once making me think of the classic band's masterpiece "Odessey And Oracle". This is almost up there. Two tracks composed by Argent/White and five written or co-written by himself. One cut - "Beware" - co-produced by Argent/White, the rest by White alone. The arrangement aren't as grand as on "Ennismore" and some of the songs sound more towards contemporary pop, but he still sings like a god and there are enough magic moments to make me wanna sit down and be embraced. "Beware" and "Wonderful" are lovely and you also get top vocals in small gems as "Setting Yourself Up", "Beginning" and "Keep The Curtains Closed Today", where especially the latter makes my mind drift back to O&O. Often the band "Argent" is seen as the natural follow-up to Zombies and that may be true for their debute, but after that they choosed a wider, more adverturous road ahead. If you want something with smilar songwriting and resembling atmosphere to the old band then Colin Blunstone's early albums is a much safer path. Also eleased on Epic in US, Canada, Downunder and a couple of European countries. Japan 2010 CD (Epic EICP 1388) in paper sleeve came with four bonus tracks. Premiere UK had label as shown here and thin structured cover. (ZÖZ*)

WORLD STAR FESTIVAL/IN AID OF THE WORLD'S REFUGEES 88 888DY (-69) HOLLAND

A follow-up to the widely successful 1963 "All Star Festival" (see earlier post) six years later. But while that had for its time mostly unique tracking, this seems to have a mix of originals, re-recordings and ones made exclusively for the event. Can't find any additional info on the making anywhere and for now neither have the ears nor patience to sort out every single track by myself so I'm leaving that be. More important is I get a collection of very good songs, most of them classics, performed by top artists and conveyed by very good audio. Ones from the then youth-orientated pop scene - by act as Simon & Garfunkel, Sonny & Cher, Bee Gees, Supremes, Dusty Springfield and Tom Jones - blended with songs directed to a more mature audience from artists like Frank Sinatra, Barbara Streisand, Andy Williams and Shirley Bassey. Either you prefer to jump tracks, or have an indiscriminate taste for good pop regardless of genres and take the full journey, this can never be a bad thing. Still rather common and sometimes sold very cheap so if you don't have it already and want a compilation of top pop cuts performed by some of the best it could be a bargain. Released on vinyl pretty much all over the world at the time, also as US 8-track, by to my knowledge never reissued in any form. Premiere Dutch had label as shown here and thin matt flip/back cover (writing on front sleeve on this copy seems to be a Shirley Bassey autograph). (SÄM*) (HÖLX*) (FÄV*)

JIMMY SMITH/BUCKET ST 84235 (-66) US

James Oscar "Jimmy" Smith (1925-2005) has to be one of the most widely spread and appreciated organists in history. From the 1956 debute up to his death at 79, playing on hundreds of albums, under own name or as part of various collaborations, with many of those reaching high on various lists. Through the years working in jazz and adjacent genres as bop, soul, funk and fusion. Not a jazz buff or especially briefed in the area myself, nor trying to collect the genre in any way, but I do love the sound of a well endowed Hammond and I get a lot of that here. Backed by Quentin Warren on guitar and Donald Dailey on drums the organ is always prominent as a soft fondle, gently swinging with the rythm. Stereo mix and audio on this press superb. You just have to close your eyes and they're there, next to you. Fitting as background for idle moods or love meetings...maybe not of the hard-core kind, but perfect for caressing on the couch. Originally also issued in Italy (BN 83245). EU 2015 180 gram limited ed. vinyl reissue with same number, sleeve and label design. US 2000 CD (Blue Note 24550) came with two bonus tracks. US mono (BLP 4235). Premiere US had ridged label as shown here, thick vinyl and glossy cover with Blue Note ad inner. (YZÄ*) (CLÄZ*)

EAGLE/COME UNDER NANCY'S TENT JLS 3011 (-70) US

Got nothing to do with the US multi-million-selling outfit "Eagles". Instead it's the third and final album from the list-wise not that successful psych-rock band Beacon Street Union, who after being ditched by MGM due to low sales got a new contract with Janus and recorded this one-off under new name for the label. So far I haven't heard their second LP "The Clown Died In Marvin Gardens", but always been a big fan of the debute "Eyes Of The Beacon Street Union" and its almost perfect blend of raw and catchy with lots of mean guitars (see earlier post - https://monolover.blogspot.com/2017/11/beacon-street-unioneyes-of-beacon.html ). Bands that went through changes at the end of their carreers and released swansongs on new labels are not unheard of, though in most cases those undertakings seldom reached up to earlier achievements. But this almost does. A couple of the tracks - "Brown Hair", "City Girl" and "Coming Home Day" - soft folky rock much in sync with the early seventies zeitgeist, but most of the rest psych-rock, played as it was still 1967. Numbers like "Pack Up", "Come In, It's All for Free", "Dance On Little Beauty", "Snake In The Grass" and "Kickin' It Back To You" - all with energetic vocals to pumping drums and sharp guitars - make my mind drift back to the "Eyes Of..." debute. Sometimes bands alter their agendas according to changing public tastes, but in this case I'm glad these guys almost didn't. Audio on this press is just fine - clear and well separated with an inviting garage feeling. Originally released on vinyl also in UK (Pye International NSPL 28138) and Downunder (same as US). Italian 2001 re-issue on both vinyl and CD (Akarma AK 173 - AK 157/3). Premiere US had label as seen here and glossy cover. (YZÄ*) (ÖGÄ*)

ROD STEWART/GASOLINE ALLEY 6360 500 (-70) UK

Late sixties and early seventies were turbulent times for us who'd already adjusted to the sixties pop and rock world and liked to keep track. Idols passed away, bands disintegrated, new genres started to emerge and we got the "supergroup" concept where members from different bands met and formed new constellations. This was Stewart's second solo album and the first by him I bought back then. He wasn't very famous here at the time. Only thing we knew about him was he'd contributed vocals to two Jeff Beck LP:s and also the lead singer on the first Faces album, which had shown up in the shops just months before this. As most backing here is provided by then Faces members it would be easy to forget the solo billing, just percieve it as a Faces album and be done with it. But digging a little deeper it can also be seen as supergroup effort since allmost everything is performed by a composite of earlier members from the then just split Small Faces and thoroughly reformed Jeff Beck Group. Ronnie Lane, Kenney Jones and Ian McLagan from the former and Rod Stewart, Ronnie Wood and Mick Waller from the latter. Let be Mick Waller only played on "Truth" and McLagan is noted as invited but absent on the UK issue, but credited keybordist on others - the summary still works. That said...to my ears it most of all sounds like a Faces album and as such not as enjoyable as "Long Player" or "A Nod...". Maybe it's just me, but though very well sung and performed it's too tame for my ears. I like that he's doing a cover of Small Faces "My Way Of Giving", title track is very catchy and the "Cut Across Shorty" version has zest, but I'm not all in with the rest. I prefer the rougher Rod and there's not enough of him here. Issued and reissued on every possible format all over the world through the years. First US and Canadian (Mercury SR-61264) came with alternate sleeve design. German 1990 CD on Repertoire Records (RR 4104-WP) had single version of "It's All Over Now" as bonus track. Premiere UK had labels as shown here and heavily structured fold/out cover with dated swirl inner. (SXÅH*) (WLÖ*)