JAY & THE AMERICANS/TRY SOME OF THIS! UAL 3562 (-67) US MONO

A band new to me and when I saw this in a bin it appeared just to my taste. As released by an American outfit 1967 and with the tough looking guys on front sleeve I hoped for something psych or garage or in best case a combination of both. But this is nothing like that. Instead I get slow and mostly heavily orchestrated songs with passionate vocals, more reminding me of contemporary British soft pop than the American hard core garage I aimed for. There's nothing even remotely dangerous here, just well arranged romantic ballads as it seems then totally out of fashion. And getting over my initial genre disappointment I do hear a well made album with quite intricate arrangements, Jay Black is a very good singer and the harmonies works beautifully...also the mono mix sounds true and the audio just fine...so maybe I'll keep it for a future romantic meeting...if that will ever happen. Also as stereo (UAS 6562). US second press on pink/orange label. UK mono UAL 1164. To my knowledge never issued like this on CD. Premiere US had label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*)

GENE VINCENT/SOUNDS LIKE GENE VINCENT T 1207 (-59) UK MONO

Gene Vincent (born Vincent Eugene Craddock 1935-71) was one of the main forces behind rockabilly and the white branch of rock'n'roll and his 1956 hit "Be-Bop-A-Lula" is a true rock classic that probably every genre fan have a relation to. Therefore I feel rather sad when I for the first time check his history and find out that was hit was about it. (Following is my abridged version.) 1957 he did reach #14 on Billboard with "Lotta Lovin" and #43 with "Dance To The Bop", but after that...nothing. He earned millions on those three songs and also had prosperous turing in US up to 1959, but after trouble with the tax authorities fled to Europe. During a UK tour with Eddie Cochran, April 1960, they were in a serious car accident which hurt Vincent badly and killed Cochran. After that Vincent returned to US and for many years he commuted back and forth over the Atlantic trying to revive his carrer, but without much success. During that time he also started to get serious alcohol problems which sometimes led to outbreaks...e.g. when he tried to kill Gary Glitter in a German hotel room 1968. He fired several shots against him, but all missed and Glitter left the country soon after. Drinking also caused health problems and probably the main reason to his premature death in ruptured stommac ulcer at age 36. This was his fifth album, released just after things started to complicate . Not sure how much his regular band "The Blue Caps" were involved as it was billed as a solo effort and much of it sounds more like an arranged studio project than dirty rock'n'roll. In any case it's nicely done. A mix of up tempo and slow movers, professionally backed and very well sung, conveyed by top audio. I especially like the parts where he gets emotional and sings out, like the high pitch vocals in "You Are The One For Me" or his intimate handling of "Now Is The Hour". You might argue some of it sounds close to Buddy Holly and others Elvis-like, but they all stole like ravens from eachother back then anyway, so it don't bother me. Premiere US on Capitol (T 1207). 1959 issues also in Canada, Downunder and South Africa. French 1999 CD on Magic Records (5213762) came with seven bonus tracks. First UK had label as shown here, thick unflexible vinyl and laminated flip/back cover. (FÖGÄ*)

FACES/LONG PLAYER WS 1892 (-71) US

Known band facts but interesting enough to repeat...about a combo that came out of an alliance by former members of Small Faces and Jeff Beck Group. During their short existence 1970-73 they released three studio LP:s and one live under own name while working as a group on Rod Sewart's early solo efforts and disintegrated after Stewart crossed the Atlantic and Ron Wood joined Rolling Stones. To my taste and needs they all come out better here than on any of Stewart's solo albums and assesing what they did as "Faces" it's an even race between this and the follow-up "A Nod Is As Good As A Wink...To A Blind Horse" https://monolover.blogspot.com/2019/10/facesa-nod-is-as-good-as-winkto-blind.html   . Both made in a semi-garage atmosphere, direct and mabe a little slapdash at parts, but open and friendly. Like winding down at the local pub with a couple of beers after the home team just won the soccer game. There will be shouting and singalongs, but also relaxed moments. Two positive live tracks - "Feel So Good" and "Maybe I'm Amazed" - mixed with seven studio recordings. Not all perfectly played, but with tons of feeling sipping through. I just love the "Had Me A Real Good Time" rocker where Rod takes his bicycle to a fancy party and there getting too drunk and embarrasing (own experience?). The both dark and flimsy "On The Beach" funny and catchy. I also get two pleasant ballads - "Tell Everyone" and "Sweet Lady Mary" - showing they could write more sensitive stuff. As a whole a very charming LP making me wanna return often. Issued and reissued on every possible format all over the world through the years. Premiere UK on Warner Bros, (WS 3011) came with different label and sleeve design. Can't seem to find a timeline for this US, but guess it's quite early with label as shown here and the structured die-cut sleeve made to look as an old 78 cover. (YZÄ*) (SXÅH*)

MOTOWN DISCO CLASSICS/VOL.2 STMA 8005 (-72) UK

Continuing my posting of a seemingly never ending line of Motown samplers released in the sixties and seventies. This British with emphasis on danceable numbers first issued 1965-68, titlewise in disco drag to fit the early seventies zeitgeist. Of the sixteen tracks four first figured on original albums while the rest premiered on 45:s - nine as A-sides and three flips. The Earl Van Dyke & Soul Brothers and San Remo Strings ones instrumental, the remaining vocal. A couple of the cuts had also shown up on other collections before this, but for the larger part it was the first time on UK LP. Compiling rather unusual for a "classics" sampler as it doesn't contain any all time classics, but I guess at least some were part of the British "northern soul" circuit and therefore important enough to reissue. Also important for us who don't collect 45:s, but want as many Motown gems as possible on as early LP:s as possible. Stereo mixes sounds old-fashioned, mostly panned without much overlapping, and the audio somewhat polished, but nevertheless good listening. Favorite tracks - Marvin Gaye & Tammi Terrell "Two Can Have A Party", Velvelettes "A Bird In The Hand" (Is Worth Two In The Bush)" and Brenda Holloway "Just Look What You've Done". To my knowledge this UK was the only release, also on cassette (TC-STMA 8005). Premiere vinyl came with label as shown here and flully laminated gimmick cover with one-fold picture poster. (TÖMÖ*) (SÄM*)

STEELY DAN/CAN'T BUY A THRILL 1C 062-93 881 (-72) GERMANY

I still agree with what I wrote when posting their third LP - "Pretzel Logic" - five years ago. Dig the early work, but when they eventually turn in to studio project rather than a good band I'm lost. Production, arrangements and audio are important enough for the final result, but I also need captivating songs and catchy moments to feel love and I truly miss that with most of their later stuff. This debute is a lot more to my taste. Ten well written and well performed songs offering many memorable parts. To mention a couple - "Reelin' In The Years" is a killer with a very catchy melody balanced by a cunning guitar, "Only A Fool Would Say That" good pop with a latino feel, "Fire In The Hall" pleasantly perky including some bold piano. As a whole very enjoyable listening. Never provocative or challenging in any way, just a good pop/rock album carrying enough twists and turns to make it stick and remain. For now my favorite LP with the band. Issued and reissued on about every possible format all over the world through the years. Premiere US on ABC (ABCX 758), UK on Probe (SPB 1062). First German had label as shown here and laminated fold/out cover. (GÖXÄ*)(CÖLÖ*)

GAVIN MACDONALD/LINES SLRZ 1027 (-72) UK

This is a true mystery to me. Picked it for the label and thought I'd learn more about it by checking the net, but hardly get anything. Rear sleeve say all tracks are self penned, produced by somebody named Jimmy Duncan (which probably is the US composer, manager, arranger and producer who in the sixties worked with acts like Electric Prunes and ? And The Mysterians). Then it goes on to thank "The Players", "Songbirds", "The Pinewalk Prince", "Mr Fixit" and Keith Harwood. The latter was recording engineer at Olympic Studios in London, but who or what were behind the credited pseudonyms I can't figure out. Can't find anything useful about Gavin MacDonald either, so the guy remains an enigma. He recorded one more album 1974 - "The Minstrel", (French release on Pathé Marconi 2C064-94872) - and a couple of 45:s for UK Sunlight label, but that seems to have been it. I've seen this LP described as singer-songwriter, hippieish or folk psych. All those may fit, but "psych" only in the broadest sense of the word. What I hear here is good emotional pop, sometimes with a country feeling, most of it supported by adaptive string arrangements and sterling background quires. He has a nice voice, slightly reminding of Kevin Ayers', and the whole thing comes through soft and cozy. Favorite tracks - "Lines", "Angelene" and "I Can See A Light Shining". This is a rarity and if LP:s come rare today it's often because they weren't that good and therefore unsold back then, but this is alright. Not goundbreaking or immediately conspicuous, but very pleasant listening and a keeper for sure. Also released on vinyl in Australia (HMV OCSD-7693) and Germany (Philips 6303054), but to my knowledge never reissued in any form. Premiere UK had label as shown here and thin fully structured cover. Last pic below is an enlargement of the very small one top front sleeve. (RÄZ*) (SYSÖ*)

PAUL KANTNER, GRACE SLICK/SUNFIGHTER FTR 1002 (-71) US

Though presented as a solo project by Kantner and Slick, it could as well have been billed as a Jefferson Airplane effort...and then some - apart from band members also backed by Jerry Garcia, David Crosby and Graham Nash among others. I bought my first copy at release and always liked having one around. It still sounds very fresh and maybe even more up-to-date today as it's pro-vegan and in a larger perspective deals with commercialism vs. natural living. Then tagged as acid rock/psych, but in today's context maybe something like "eco-psych" fits better. I've seen rewievers hinting that their vast production of albums at the time - released both as band creations and solo efforts - did hamper the songwriting and made some of the outcome uneven or even bland, but I for one don't hear much of such here. I do love and want to return to some of the songs - "Earth Mother", "When I Was A Boy I Watched The Wolves" and "Sunfighter" all combining substantial with catchy. Also the guitars are good all through and if you like Slick's vocals you'll get a motherload. To say something negative - the audio on this US press is rather dense. Maybe a clearer, more separated sound would have added to the joy, but it is what it is and not much to do about it now. 1971 releases on Grunt also in Canada, Japan, Downunder and a couple of European countries. Japan 1972 Quadrophonic (R4P 5027). CD issues in US and UK, but to my knowledge non with bonus tracks. Premiere US had label as shown here on very thin floppy vinyl in a matt fold/out cover with sixteen page lyric/credit/picture booklet and inner with a Jack Traylor poem. (YZÄ*) (JÄF*)

THE MARVELETTES T-274 (-67) US MONO

Michigan girl group who signed for Tamla label 1961 and immediately got a Billboard #1 with "Please Mr. Postman", making them the first Motown act to top the list. Though the follow-up 45 "Playboy" reached #7 they were eventually forced to compeat with a growing number of successful female vocal bands - like Shirelles and Ronettes - and not least other Motown ones as Supremes and Martha & The Vandellas. But they still sold well up to around the mid-sixties when Gordy tried to "clean up" some of the label's artists as an attempt to meet the British Invasion and go further in with a white audience. Not only were they taught to dress and behave more mature or even gracefully, there were also different song choices and modifications in style and production. You can spot that already on this front sleeve pic - elegant women in chick dresses and hair-do - and the music is on that same posh path. Gone are the days when you could hear them coming out right on and unbridled, bursting with energy. Here I get smooth and smart instead, much like contemporary Supremes though without the obvious hit feeling. Most of it slow movers, some orchestrated, and even a cover of "Barefootin". Not the absolutely best I've heard from the Motown stable, but as it is Motown...good enough. The mono mix sounds legit and the audio just fine. Favorite tracks - "Keep Off, No Trespassing" and "I Can't Turn Around". Originally released on vinyl in Canada, Downunder, South America and a couple of European countries. US stereo (TS-274). UK on Tamla Motown (TML/STML 11052). Also on cassette and reel and as US six-track jukebox album. To my knowledge never issued like this on CD, but all tracks can be found on the 1986 Tamla compilation "Sophisticated Soul" (TCD08055TD). First US had label as shown here and glossy cover with Motown ad inner. (FÄV*) (TÖMÖ*) (YZÄ*) (ÖXCÅ*)

FREE/FIRE AND WATER ILPS 9120 (-70) UK

For more on the band's background check post on their eponymous second album - https://monolover.blogspot.com/2015/09/free-ilps-9104-69-uk.html - or the Black Cat Bones album "Barbed Wire Sandwich" - https://monolover.blogspot.com/2013/07/black-cat-bonesbarbed-wire-sandwich-sdn.html . This was their third, which also became a world-wide breakthrough. It has a lot in common with the not so big-selling second LP in songwriting, style and audio, but comes through a lot more consistent as they finally found their signature chord sequence and now holding on to it with all power they got. So takes on this sounds very much alike - slow and bouncy rock'n'roll, crowned by Paul Rogers excellent vocals and conveyed by tophole audio - with just enough differences between them to separate one from another. I think that made the trick. If the rock fans back then wanted consistency in opposite to the former years acid-drowned experimenting, they sure got it here. Also the million selling "All Right Now" 45, of which you get a longer version on the album, must have worked as an impetus. If to choose I'd prefer the second album for being just a tad bit less uniform, but this works for me too...if in need of a power boost. Issue and reissued on every possible format all over the world through the years. First US on A&M (SP 4268). UK 2008 2xCD Deluxe edition (Island 5306090) came remastered with twentythree bonus tracks. Premiere UK had structured pink label as shown here and thin matt cover. (ÖSÄP*) (FDÄ*)