SVENNE & LOTTA/OLDIES BUT GOODIES POLS 251 (-73) SWEDEN

For more on the duo and their background(s) check post on their "Tillsammans" and "Svenne & Lotta/2" LP:s. You could see this as just another revival album covering the heydays of American rock. But it's also kind of an ABBA (or at least *BB*) album with both Björn and Benny behind original idea, production and set-up. Agnetha and Anni-Frid weren't there, but the rest of the band crew was - Benny on keyboard, Björn and Janne Schaffer on guitar, Ola Brunkert behind the drums, Mike Watson and Rutger Gunnarson on bass, all supervised by Michael B. Tretow in the control room and released on Stickan Andersson's Polar label. Production, arrangements and audio all impeccable which makes the outcome good to the ears, but almost too smooth at parts. While the originals all had if not flaws so at least some underlying friction making them crawl in and stick, this is very kind and friendly, more leaning towards dance-band than garage. Though Svenne Hedlund has a very nice baryton what saves it for me is Charlotte Jean Butler's vocals. As member of Philadelphia girl group The Sherrys 1961-67 she must have sung songs like this many times before and you can hear she's feeling much at home here. I've always liked her voice - rather weak but at the same time dedicated making it sound like she's struggling and that's kind of sexy...well I think so anyway. My favorite cuts would be the ones where she owns most of the time - "Be My Baby" has a dark Phil Spectorish sound, "Save The Last Dance For Me" and "Making Love" bouncy enough and "Little Yellow Aeroplane" very cute. As a whole maybe not for the lover of the cheeky or challenging, but a good background to any benign chore and perfect for amiable dancing. To my knowledge only released in Sweden and Denmark (same label and number). Also on 8-track and cassette, but not CD. The 1995 Danish CD "Oldies But Greatest" on CMC records (24140-2) had only "Sandy", "Breaking Up Is Hard To Do" and "Little Yellow Airplane" in common. Premiere Swedish vinyl had label as shown here and thin fully laminated cover. (ÄBBÖ*) (CCÖ*) (FÄV*) (SCÄ) (HÄH*) (PKÖL*)

GILBERT O'SULLIVAN/I'M A WRITER, NOT A FIGHTER SS 505 (-73) UK

I've always liked his 1971 debute "Himself" (see earlier post) and that for many reasons - well written melodies, personal vocals and above all because of the soft, embracing almost timeless atmosphere. In its own way a classic. Adjusted to that and listening to this his third it's clear something has happened and not all for the better. Songwriting is still good and vocals personal, but the drag has changed. Instead of the mostly soothing and romantic presentation I get partly almost funky backing with a sometimes annoying electric piano. I can't help hearing a tad more hollow and even cheaper outcome than on "Himself". But even if more uneven I still get a couple of good songs. "Where Peaceful Waters Flow" is gripping with the gospelish quire at the end, "If You Love Me Like You Love Me" a catchy ballad and "Get Down" with an irresistable hit quality. So not all in, but those are enough for keeps. Issued and reissued on all possible formats all over the world through the years. US on blue label (MAM 7). Japan 2012 limited edition remastered CD on Victor (VICP 75088) came with four bonus tracks. Premiere UK had label as shown here and glossy cover with lyric insert and "blue box" stereo inner. (MÖRS*)

MANFRED MANN'S EARTH BAND/MESSIN' 6360 087 (-73) GERMANY

I became a Mann fan during the band's early Paul Jones period and stayed more or less faithful up to Chapter Three, but for reasons I can't remember stopped bying them then and havent had or listened in to anything from them after that. So with expectations built up from earlier albums I'm feeling totally lost spinning this for the first time. I awaited to hear at least something reminding of the sixties issues, but it's a different band with a totally different agenda. Instead of cozy and melodic blues/jazz pop I'm getting hard-core hard rock prog, larded with exquisite guitars...and after slowly warming up I realise it's good. Heavy and quite complicated, yet never too introvert. There are enough catchy parts to make you sit content at a first listen, but also things to discover eventually that can make it stick and stay. Too early for me to name any favorites, though I do like the adventurous title track already and "Buddha" with its guitar layers and ELP-like keyboards urges me to return and listen again. Still discovering so this will be it for now, maybe back with more later. Originally issued on vinyl in South Africa, Downunder and all over Europe. Premiere UK on "space ship" label (6360 087). US issue as "Get Your Rocks Off" (Polydor PD 5050) came with other sleeve design and different tracking. Japan 2005 CD on Air Mail Archive (AIRAC-1107) had paper sleeve and two bonus tracks. First German on swirl label as shown here, in a thin matt fold/out cover with die-cut opening on front. (MÄNÄ*) (WLÖ*)

QUEEN/JAZZ 1C064-61820 (-78) GERMANY

The band's seventh album and to my taste their last truly great. It sold very well, but got mixed reviews, by some described as dull, dumb, sleek, demeaning to women or even fascist. Those guys must have listened to a different album than this. Cause I'm hearing the same alluring signature Queen sound as before. A very special blend of hard rock, prog and vaudeville, crowned by tophole vocals and smashing guitars, then offering a multitude of catchy moments. Absolutely not dull or dumb, sleek may be but only in the best possible way. Demeaning to women? Come on...we're talking seventies hard rock here, treating women as objects must have been more rule than exception. Fascist? I don't get that...always liked it but never even been close to buying brown shirts or growing a small mustache. Almost all songs are favorites. E.g. "Mercury's "Mustapha" and "Bicycle Race" both have complicated structures, but so beautifully performed they become catchy and stick. May's "Fat Bottom Girls" sweet rock'n'roll and "Dreamers Ball" an enticing twenties pastiche. Deacon's "If You Can't Beat Them" melodic rock with layers of touching guitars. Taylor's "Fun It" can be described as "funk psych", somewhat monotonous on the surface but with lots of intriguing details below. That was my five star review. Not trying to make a point, just being here for it. Issued and reissued on all possible formats all over the world through the years. Premiere UK on EMI (EMA 788). US on Elektra (6E-166). Japan 2011 2-CD on Universial (UICY-75047/8) came with five alternate versions as bonus track plus two booklets. First German had label as shown here, glossy fold/out cover, picture inner and a triple fold nude poster. (QÄN*) (GÖXÄ*)

DEEP PURPLE/FIREBALL SHVL 793 (-71) UK

One of those household LP:s that probably every hard rock lover know and and have an opinion about. This is my two cents. I stayed loyal and enthused with about everything they produced from the start up to 1973 so it'd be next to impossible for me to pick out an absolute best album from that period. But if you twist my arm this has to be it. It's certainly the most varied LP made by the "classic" line-up. Side one starting with three very melodic and catchy hard rock numbers - "Fireball", "No No No" and "Demon's Eye" - then ending with the intriguing countryish ballad "Anyones Daughter". Side two more in the hard rock outskirts, moving towards pych and prog, but still having that gripping "it" feeling. So for me side one for instant joy and side two for groovier moods. All tracks have become favorites, but when listening today I prefer side two and then especially "Fools" and "No One Came". Very first UK issue had label with "Gramophone" top left, "MADE IN GT. "BRITAIN" inside rim at bottom and structured cover plus a lyric insert. This has the "EMI" label and lacks the insert, but it comes with the structured cover, the first press -2U/-3U matrixes and the audio is pristine so maybe some kind of transition copy. I'm aware a "first press" copy would sound exactly the same and I shouldn't need one for listening pleasures, but if one of those showed up fitting my wallet I would probably pick it anyway...for apparently unintelligible reasons or...I don't know...it's something a record collector ought to do? (DHÄ*) (HÄVL*)

DAVID BOWIE/YOUNG AMERICANS RS 1006 (-75) UK

For us collectors who not only enjoy the gathering itself but also like to get down with and feel the music, the attitude towards certain albums can change a lot over the years. Though the records stay the same we change and so does our taste. I didn't like this at all at first and that for many reasons. Back then I was still into his Ziggy persona, which in a way had continued to develop up to the former studio album "Diamond Dogs", and couldn't understand why he now tried some kind of American soul style then doomed to stay in the shadow of many superior black artists. Further I thought the title track sounded too deliberate, the " Across The Universe" cover unnecessary and the listtopping "Fame" no more than a trifle. Didn't buy it myself, but listened at a friend's and after some mutual frowning we decided Bowie was on a downslope. Today looking back with a smile on the ignorant weisenheimers we were back then, clueless about all he still had to offer. Of course I bought the record anyway after a while and eventually found many reasons for love. The vocals are absolutely amazing all through, some of the best from a white soul singer ever. Instruments downright empathetic with beautiful background quires and Tony Visconti's production excellent. Add to that tophole audio and it all turns into a big warm hug. Favorite tracks - all but the three aforementioned ones, but I sweep up those too now...as part of the greater good. Issued and reissued on all possible formats all over the world through the years. Most CD issues including two cuts - "Who Can I Be Now" and "It's Gonna Be Me" - initially recorded for the album, but replaced with "Fame" and "Across The Universe" after John Lennon's studio visit. Premiere UK had label as shown here and matt jet-black cover with "Mainman" logo. (PKÅ*)

BADFINGER/MAGIC CHRISTIAN MUSIC SAPCOR 12 (-70) UK

A lot has been claimed about this album that doesn't seem to add up. It's been presented as the bands debute album, but it's not. They recorded one for Apple - "Maybe Tomorrow" - under their former name "The Iveys" prior to this and albeit withdrawn in UK that was originally released in Italy, Germany and Japan. It's also been called a soundtrack to the homonymous movie which is not entirely true either. A soundtrack had been issued before with partly different tracking on Commonwealth Records in US (CU 6004) and Pye International in UK (NSPL 28133). But as that didn't sell Apple tried to get the ball rolling again by presenting it as a Badfinger LP - this time by combining the band's three film songs with seven from "Maybe Tomorrow" and four previously unreleased recordings. So it was a jumble and as handeled at separate occations by three different producers - Paul McCartney, Tony Visconti and Mal Evans - you would expect a somewhat uneven outcome. Yet you don't get anything even reminding of that here. I hear an evenly made good power pop album, well sung with sweet guitars and a fair share of psych streaks. Not 100% in with some of the softer songs, but truly delighted by the more potent ones like the McCartney-penned "Come And Get It", further "Crimson Ship", "Midnight Sun", "I'm In Love" and "Rock Of All Ages". The stereo on this UK is wide, yet covering, and the audio lovely throughout. Good listening. Released on vinyl pretty much all over the world early seventies, also 8-track, reel and cassette. US came as a 12-track, omitting "Angelique" and "Give It A Try". Japan 2005 Apple CD (TOCP-67562) came with two bonus tracks. Premiere UK had label as shown here and fully laminated cover with very thin spine.   (PÄY*)   (BÄ*) (ÄPLÄ*) (ZÖNT*)

                                                                                

                                                                                  

                                                                                  

                                                                                 

                                                                                  
                                                

                                                                               

 

TOM JONES/THE BODY AND SOUL OF TOM JONES SKL 5162 (-73) UK

An album often put down by critics but I don't think is bad at all. Maybe not his best though with enough quality to make it worth while. Gordon Mills production and Jimmy Spence arrangements top notch with sweet background quires. His voice personal and poignant with lots of feeling involved. The funky cover of "Running Bear" has to be one of his more forceful recordings back then, while the rest of the tracks have a more romantic feel. Anyway it's good Tom Jones. Stereo mix both revealing and tight, providing equally good listening in mono, and the audio tophole. Played on a good equipment it's almost tangible giving an audiophile quality. In some cases I'm not sure if I fancy a record only because of the music involved, or if the audio sometimes makes it so easy to digest and so pleasant to the ears that becomes crusial for liking. But however much of this or that is involved here it is good listening. Released on vinyl all over the world up to mid-seventies, also as reel and 8-track in US, but to my knowledge never issued like this on legit CD anywhere. Premiere UK had label as shown here and laminated cover with "blue box" stereo inner. (TÖJX*)

EPIC POP MUSIC FESTIVAL SPR 61 (-71) HOLLAND

It's no secret I love all kinds of vinyl compilations. And as those nowadays are getting more and more outrivaled by CD collections and downloads many of them can now be found in the cheapest bins, offering the chance to get tons of good music for almost nothing. Apart from good listening I'm also looking for ones that carry at least one rare cut or band new to me and hard to get on vinyl elsewhere. On here I get good but not that uncommon LP stuff from Argent, Spirit, Redbone, Poco, Case and Sugarcane Harris, but also the Sly & The Family Stone "Thank You" 45 and cuts taken from one-off albums by three quite obscure bands. Rhesus 0 "Cigue" an adventurous yet smooth jazz prog instumental, Jam Factory "Tight Knit Group" bouncy brass-reinforced funk BS&T style and Chelsea Biege "Fried Eggs And Bow Legs" can be tagged as both prog and psych, resting on a sharp rythm guitar and brass including changes in themes and tempo. So lots of news for my ears, but if to chose favorites it'd be the more familiar Argent "Sweet Mary", Spirit "Natures Way" and Redbone "Chant : 13th Hour". Audio shifts a little between tracks, but most good and non bad. To my knowledge the release was Dutch only and exported to the rest of Europe. And since this copy has Dutch sleeve and labels, French sales stamp bottom rear and UK "The Sound Of The Seventies" ad inner it could be called "European". (SÄM*) (HÖLX*)