OTIS REDDING/LIVE IN EUROPE S 416 (-67) US

His first live album and also last original issue before his death in a plane crash four months later. Recorded in Paris during the Stax/Volt 1967 European tour and there backed by Booker T. & The M.G.'s. A greatest hits performed live before a loving and enthusiastic audience. Sometimes you hear live albums where the artists try to copy their own studio recordings and thus coming through rather stiff offering little new. This is not one of those. Instead it's "live" in the best sense of the word. Every song sounds new and fresh, performed with tons of energy and good humour. They sure give it all they got...he sings his heart out and the M.G.'s follows his every mood. He owns the public almost like a preacher to his crowd, getting answers from shouts, handclapping and singalongs. That is presence for you and some magic too. One of those concerts you would give everything to have been part of, but we who didn't can at least enjoy the recordings. This stereo may not offer the best live audio I've heard, though as a true wide mix quite all right for its time and well forwarding the positive atmosphere. A happy album, beyond doubt showing what a great artist he was. Issued and reissued all over the world on vinyl and CD through the years. UK on Stax (589016) came with different sleeve design. US 2017 mono LP reissue on red vinyl (Volt RCV 1 33286). Japan 2013 remastered CD on Volt (WPCR 27655). First US had label as shown here and glossy cover. (ÖRÖ*) (YZÄ*) (TÄX*)

NANCY SINATRA/MOVIN' WITH NANCY RSLP 6277 (-68) UK

Soundtrack to a 1967 TV special. A program unique for its time as it didn't consist of a stage show before a live studio audience, instead the performances were made during various outdoor situations - like driving, promenading or balloon travelling - solo or with prominent guest stars. Of the twelve cuts eight are sung by her alone, two as duets with Lee Hazlewood and one with Dean Martin. "Younger Than Springtime" performed by dad Frank alone - here credited as "a very close relative". The whole thing produced by Hazlewood and arranged by Billy Strange. She may not have been the greatest American singer back then, but it's very well done throughout and I do like the duets - especially "Things" with Dean Martin - so for me for now still a positive acquaintance. The stereo is wide, clear and perfectly compatible, making me suspect that the monos issued in many countries - e.g. in UK, Canada, South Africa, Downunder and even the US mono promo - were all some kind of folds. Released on vinyl world wide at the time, also reel, 8-track and cassette. Premiere US on Reprise three color (RS 6277). US 1996 CD on Sundazed (SC 6057) came with three bonus tracks. Premiere UK had label as shown here and laminated flip/back cover. (FÄV*) (ZÖNT*)

DEL SHANNON/LITTLE TOWN FLIRT 12-308 (-63) SWEDEN

Del Shannon (born Charles Weedon Westover 1934-90) has been described as a one-hit-wonder due to his Billboard #1 hit and all time classic "Runaway", but back in the early sixties he was a lot more than that. "Hats Off To Larry" reached #5, "Little Town Flirt #12 and his cover of Beatles' "From Me To You" charted in US before the original. All those recorded for Bigtop records and the three first mentioned also included on this album, a kind of semi-compilation issued as he was leaving (or just left?) the label. "Hey Little Girl" was another 45 A-side, while the rest seems to have been recorded for the LP, or maybe leftovers from earlier sessions. Anyway it's a good period album, sounding more US 1960 than British Invasion, but well arranged with partly prominent background quires and a fair share of high-pitch vocals from the man. Audio on this warm and cozy making it good to the ears. Fitting for car cruising or any party with a period theme. Premiere US on Bigtop (12-1308). Originally also issued in Canada (Quality V1720), Downunder (London HAM-X 6256) and UK (London HA-X 8091). Japan 2015 CD in paper sleeve (Oldays Records ODR 6140) came with nine bonus tracks, including hits he had with other labels and the 45 version of "Runaway". This Swedish has the hand etched "715-1" and "716-1" on matrixes, so probably using early US ones. It had label as shown here on very heavy unflexible vinyl in a thick laminated cover. (FÖGÄ*)

GUDIBRALLAN/UTI VÅR HAGE SRS 4601 (-70) SWEDEN

I do appreciate well done recordings where I can be carried and embraced by skilled professionals, but also strangely drawn to the really dirty stuff where the feeling is more like being hit by an ill-functioning steamroller. This is one of those (eng. title "Out In Our Meadow"). Gudibrallan (eng. God in the trousers) was an anarchist band sprung from the student movement in Uppsala 1968. Though in a way left-wing they were never tied to the communist community and their lyrics more mocking than reasoning, heckling about everything from left to right. This was their first album of two, which also became the first issue on the independent Silence label - recorded and mixed in one day and released two weeks later. I've seen it tagged as garage rock, kraut, psych, prog or pre-punk. Guess all of those would fit, but to choose one I'd go with early punk rock. "Hej Gud" ("Hey God"), a cover of "Hey Joe", is live from some student party and "Oscar" sounds like one guy playing with his tape recorder at home, coming out muddy and distorted. But the rest is loud rock/blues-adjacent played live in the studio with a devil-may-care attitude. Not always in tune or balance though well kept together with lots of power and a fair share of mean guitars. Lyrics are in Swedish, but some of it coming out more as chants or screams, some hardly audible and others badly pronounced, so I just hear the voices as functioning parts of the big picture, significant or not. This was a Swedish only release. Very first with red rear sleeve, from 1971 and on changed to white. 2017 record store day vinyl re-issue on Silence with same number. Never released like this on CD, but the 1995 compilation "T-Doja" (Silence SRSCD 3601) had five cuts in common. Premiere vinyl had label as shown here, heavy unflexible vinyl and thin glossy cover. (SCÄ*) (CCÖ*) (NÅY*) (ÖGÄ*) 

                                                                                  

                                                                                      

                                                                                   

                                                                                   

                                                                                 

                                                                                  

       


 

THE WHO/WHO ARE YOU WHOD 5004 (-78) UK

For this I was tempted to use my post on Zeppelin's "In Through The Out Door" as model and just change some of the details, cause they got so much in common. Celebrated hard rock bands who in the late seventies due to personal problems, injuries, drug use and trying to adapt to changing public tastes, suddely starting to doubt their abilities and in a moment of weakness decided to use synths as a prominent part...and after the recordings both bands lost their original drummers in alcohol related situations. Zeppelin halted for good after that while the Who soldiered on, but they would never be the same again. This still has very good songwriting and a fair share of catchy moments, though the synthetic involvement mellows making some of it sound radio friendly rather than cheeky and dangerous. "Trick Of The Light" does sound old Who all the way and both "New Song" and "I've Had Enough" good in spite of the electronics. My absolute favorite would be "Who Are You". If you only heard the revised parts from the recording as signature to many many CSI episodes, it may come as a surprise how good the original song is. Issued and reissued on every possible format all over the world through the years. First US on MCA (MCA-3050). Japan 2011 CD limited edition paper sleeve on Polydor (UICY-94779) came with five bonus tracks. Premiere UK had label as shown here and thin fully laminated cover. (WÖH*)

THE DAVE CLARK FIVE/PLAY GOOD OLD ROCK & ROLL - 18 GOLDEN OLDIES SRS 5090 (-71) UK

At the time a cash-in project which in retrospective also could be called a transition album. I get tracks picked from two successful rock & roll medley 45:s, recorded by the old band 1969 and 1970, combined with a couple cut by Dave Clark and singer Mike Smith (1943-2008) with help from assorted session musicians after the original setting broke up. So...a rock revival LP blending earlier issued medleys from a band on the edge of break-up with later made studio assignments, issued on the Starline budget label...expectations better kept low. But it actually has some good things to offer. All played with classic rock settings, the quality high and very even making it impossible to separate the differently made parts just by listening. Further Mike Smith's vocals sound pristine DC5 all through, reminding me of the bands early heydays with "Glad All Over" and "Bits And Pieces". And the audio on this UK press is stunning - big, strong and natural. I just close my eyes and there's a rock band in my living room. Today probably a keeper mostly for the original band's fans and lovers of classic rock, but I'm both so why not. Originally issued on vinyl in Europe, Japan and Downunder. Also as 8-track and cassette, but to my knowledge never like this on CD. Premiere UK had label as shown here and laminated flip/back cover. (SXS*)

EDDIE FLOYD/KNOCK ON WOOD S 714 (-67) US

As a retiree I can't think of any better way to spend time than collecting old vinyl. Not only getting the opportunity to enjoy lots of good music, there can also be eye candy in shape of label designs and good sized sleeves, inners and inserts. But for me most enjoyable is finding gems now almost forgotten by the large public, or ones that I myself for some reason never noticed before. Seen this many times in used bins through the years but always passed it by, till I finally decided to give this copy a try. Eddie Floyd started as member of fifites vocal group The Falcons 1957-63, scoring a US hit with "You're So Fine" 1959. From 1965 contracted as songwriter for Stax, mostly working together with label guitarist Steve Cropper, then among other things writing hits for his former Falcons band mate Wilson Pickett. 1966 he himself recorded a song originally meant for Otis Redding - "Knock On Wood". It became an instant hit and have been covered frequently since. With that background it's strange this debute LP didn't sell better at release or haven't been more cherished by the large public...cause it is a gem. Part of the Atlantic soul stable, but coming out slighly otherwise than for exemple Otis Redding and in comparison to Sam & Dave more reminding of the duos debute - "Hold On I'm Coming" - than their later stuff. Based on rock and R&B with a clear southern accent, rather slow and very cool with mostly marked rhythm and intricate brass. Singing heartwarming and connective, showing his vocal group background. Title track mono, the rest for its time very good stereo and audio on this press excellent. All together pleasant listening. Favorites - "Knock On Wood", "High-Heel Sneakers" and "I've Just Been Feeling Bad". Also as US mono (714). Originally issued in Canada (SD 7414/714C) and UK (589006). Italian (Atlantic ATL LP 08008) came with alternate sleeve design. Later reissued in US, Europe and Japan on vinyl and CD. First US stereo had label as shown here and glossy cover. (TÄX*)

THE STOOGES 42.032 (-69/-72) FRANCE

Hearing this today and checking how it's received now and comparing to what I thought and the way it was handeled publically then make me ponder about how the escape of time and changing public tastes can totally transform an album. Even if the same object, when the surroundings change doesn't that also affect our anticipation and thereby the object for us. Bought my first copy early seventies and was blown away. Hadn't heard anything like it before. Rock'n'roll in its most simple and direct shape. Almost purile but loud with tons of energy it spoke to my most primitive parts and made me howl inside. At the same time it was met with mixed reviews and not a big seller - just out of top 100 on Billboard and soon vanished from the shop's shelfs. Today it's regarded an all time classic and situated on many posh all time best lists. It's been reissued on about every possible format with various more or less consistent bonuses and frequently written about and analyzed. So spinning it now I might not hear anything near its original intention - instead something publically approved, a "rock'n'roll classic" and/or a "pre-punk masterpiece". I still hear a tophole garage rock album, but not that unique or obscure anymore and even if I dig it a lot my inside howl is gone. Premiere US on red Electra (EKS 74051). 1969 releases also in Canada and a couple of European countries. French original came on Electra gold (SLVLXEK 415). This second press, which btw has awesome audio - loud, clear and natural - had label as shown here and thin glossy cover. (MFÄX*) (ÖGÄ*) (ÅGGÅ*)