PETER GREEN/IN THE SKIES PVLS 101 (-79) UK

His come-back after almost a decade of mental illness and hard medication. Always been a fan of early Fleetwood Mac, but not so much of the post-Green years, so when this first arrived I was touched. Even without considering the troublesome circumstances it's a very good album, but thinking about the background and how he still could write those songs and handle the guitar so gently it's amazing. All music penned by him with three of the four vocal tracks having lyrics by his then wife Jane. Backing by Snowy White (who also contributed to Thin Lizzy and Pink Floyd), Peter Bardens (Camel), Reg Isisdore (Robin Trower), Lennox Langton (Brian Auger) and Kuma Harada (Ginger Baker). For me, who's still enjoying his later efforts with FM, it's got a lot to offer. Title track and "A Fool No More" could as well have been on "Then Play On" and even if some of the rest has a slightly different orientation it's so unmistakably Peter Green I'm home. Great album that wouldn't disappoint any fan of the old Mac. Myself I'd choose this before "Tusk" or "Rumours" any day. Audio on this UK is tophole - direct and natural providing very good listening. Issued and reissued on vinyl, CD and cassette all over the world through the years. First US on Sail Records (Sail 0110) came with alternate sleeve design. Premiere UK had label as shown here, on green or black vinyl, and fully laminated fold/out cover. (FXÄC*)

JULIE LONDON/JULIE HA-U 2112 (-58) UK MONO

Julie London (born Nancy Gayle Peck 1926-2000) was an American actress, jazz/pop singer and pin-up model with a carreer stretching between mid forties and late seventies, during which time she participated in twentytwo movies, a large number of TV shows and released thirty plus studio albums, over thirty 45:s and at least four compilations. Called a perfect blend of beauty and talent and today some of her original LP:s are considered collectible as much for the sleeve art as for the music. This was already her sixth album in three years. I'm as embraced by her soft, sexy vocal appearance here as I was on "Calender Girl" (see earlier post), but this is a far more adventurous journey due to the backing...here more contemporary jazzy than before with a fair share of equilibristic solos and rythmic gaming. Performed by Jimmy Rowles band, at the time including more or less known names as Benny Carter (who'd played with Miles Davies and Dizzie Gillespie among others), Pete Candoli (Woody Herman, Stan Kenton), Buddy Collette (Duke Ellington, Count Basie), Al Hendrickson (Benny Goodman, Artie Shaw) and Ray Leatherwood (Tommy Dorsey). And since these guys don't hold back much it would have been a fine jazz album even without her caressing vocals, but put together like this it's outstanding. Add to that the sleeve was nominated for a Grammy for best art work and the album as a whole remains a highly collectible classic. Premiere releases in US and Canada in both mono and stereo (Liberty LRP 3096/LST 7004). Japan 2010 CD on Liberty (TOCJ-9666). First UK in mono only had label as shown here and thin fully laminated flip/back cover. (FÄV*) (CLÄZ*) (JÖL*)

DEEP PURPLE SHVL 759 (-69) UK

Last album recorded by the band's original setting. After the sessions and a following tour Richie Blackmore and Jon Lord wanted to play heavier rock and felt that neither bassist Nick Simper nor vocalist Rod Evans were up to such a transition, so they were sacked and replaced by Ian Gillian and Roger Glover, both from London rock band Episode Six. Back then, as this LP was issued after the reformed setting had already emerged and in the shop bins showing up adjacent to "Concerto For Group And Orchestra" and "Deep Purple In Rock", it didn't get much attention from critics or public and failed to sell. But listening today, forgetting about the background and the renewed outfit's later success, it stands as a strong period album, containing a blend of psych, prog and baroque pop with prominent guitars and very good vocals by Rod Evans. Maybe a bit sprawling and thus somewhat unconsistent, but then only typical for the UK or US music scenes at a time when many bands were searching for a new identity to keep up with the changing zeitgeist. Got many favorites here, but to mention a few - The two-fold "Fault Line"/"The Painter" starting as pure psych with backwards effects and moving over to early hard rock with tophole guitars all through. "Why Didn't Rosemary?" rock delivered with flowing organ and great guitars and sung in a way making you wonder if Ian Gillian didn't took over at least some of Rod Evans' phrasing. "Bird Has Flown" quite raw with more good guitars. As a whole an album that could do it for fans of the bands earlier stuff as well as lovers of their later hard rock excesses. I belong to both those groups so for me it's a double fit. Issued and reissued on about every possible format all over the world through the years. Premiere US on Tetragrammaton (T-119). Japan 2003 CD on Purple Records (VPCK-85322) came with five bonus tracks. Been trying for a long time to find a top nick UK original without the "EMI" box on label, but they're always too much for my wallet. The copy shown here is with all certainty a 1971 press, though as it has early matrixes with "Grammophone" label credit on quite heavy vinyl in the original laminated fold/out E.J. Day cover and sounds great for a fraction of what a non-EMI label would cost, I'm happy to settle with it. (HÄVL*) (DHÄ*)

WILSON PICKETT/THE BEST OF WILSON PICKETT SD 8151 (-67) US

He certainly seems to have been a cash cow for Atlantic back then. Just after "The Sound Of Wilson Pickett", which in reality was greatest hits collection (see earlier post) this showed up, having three tracks in common. But here you also get some of his most celebrated recordings - "In The Midnight Hour", "Mustang Sally", "Everybody Needs Somebody To Love" and "Land Of 1000 Dances". Further his 1959 hit with The Falcons "I Found A Love" and first solo success "If You Need Me". He was one of the most powerful power-soul artists in the sixties and this is filled with such. Sleeve say "electronically enhanced for stereo", but that's not the whole truth. "Funky Broadway", "Everybody Need Somebody to Love" and "Soul Dance Number Three" sure sounds like true stereo to me and they are also the ones with best audio. The rest shifts a lot and not all apt for close listening, but as a whole totally ok background fitting as party noise or for dancing if that's what you need. US original mono (8151), 2011 mono vinyl reissue on Atlantic (FRM 8151). Issued and reissued on vinyl, both in mono and stereo, all over the world through the years, also on 4-track and 8-track, but to my knowledge never like this on CD. Premiere US stereo had label as shown here and glossy cover with Atlantic ad inner. (PÖC*) (YZÄ*)

BEACH BOYS/15 BIG ONES MS 2251 (-76) US

To my taste the band's last great studio LP was the 1973 "Holland". After releasing no less than three compilations and one live on home turf this became their first original follow-up to that almost three years later. And to some extent it's a continuation, since a cover album of fifties songs was planned already in connection with the "Holland" recordings, but was scrapped and then ended up as the bonus EP "Mount Vernon And Fairway". And this is at least partly a cover album with eight of the tracks being versions of older songs, the remaining seven written by band members. Brian Wilson was back as producer and though the end result was disliked by other band members it sold well, managing #8 at Billboard, with a spawned 45 - "Rock'n'Roll Music" - reaching #5. Without going deeper it sounds just fine, but after a while I hear something constructed to be true Beach Boys rather than coming out natural with a true Beach Boys feeling. Very well made, but hard to connect 100%. I like the self-penned cuts best. "Had To Phone Ya", "That Same Song" and "Back Home" all have some of that quirkiness combined with melody I learned to love with the band's late sixties LP:s and those are enough to make it good. Originally released all over the world on vinyl, also cassette and 8-track. First UK on Reprise (K 54079). Japan 2008 limited edition CD in paper sleeve on Capitol (TOCP 70550). Premiere US had label as shown here and glossy fold/out cover. (BÅB*) (YZÄ*)

ROLLING STONES/TATTOO YOU CUNS 39114 (-81) UK

It's just typical...after searching for a complete UK top copy for years in the local bins without success I decided to go with a very nice German one instead and give up the seemingly fruitless quest (see earlier post)...and then just weeks later a fine UK shows up before my eyes at a very reasonable price making it impossible to say no. Checking the net pristine UK originals can sell for in excess of $150 while a German top copy can be yours for $30 or so. So what's the big difference? They both have the same cover and inner design, but the German has a fully laminated sleeve while the UK is matt. Also the German comes with a lyric insert which the UK 1st press hasn't. There's no difference in audio, at least not anything my old ears can distinguish. So...if the German has the laminated sleeve making it less fragile, the lyric insert not included in the UK originals, and they sound about the same, why pay so much more for a UK? Most obvious answer would be - the UK is rarer and for die-hard fans it's important to collect Stones UK issues since they were a British band to begin with. As a Stones fan and collector I fully understand that, but if it's just quality you're after and don't wanna spend a lot the German could be an alternative. Premiere UK had label as shown here in a thin matt cover with glossy picture inner. (RÅ*) (CPYC*)

T.REX/BEST OF T.REX VOL. II 2345 033 (-72) GERMANY

While the first Karusell "Best Of T.Rex" was a version of the UK "Flyback 2" issue (see earlier post), this "Vol II" seems to have been of German origin. It's a similar bend of Tyrannosaurus Rex and T.Rex stuff, though here without any earlier unissued recordings. But even so it is a quite good collection. Track choice not entirely up the almost contemporary UK "Bolan Boogie", which btw also was issued in Germany, yet with enough goodies to make it worth while - like "Hot Love", "Ride A White Swan", "She Was Born To Be My Unicorn" and "Get It On". Audio very good - clear and well separated - and pressing top notch for a budget vinyl. One of those LP:s that could be found in the cheapest bins today and then giving lots of music value for a buck or two. Also released Downunder (same number). First German had label as shown here and thin fully laminated cover. (GÖXÄ*) (RÄX*)

KATE & ANNA McGARRIGLE/DANCER WITH BRUISED KNEES K 56356 (-77) UK

After being moved by "French Record" and floored by "Love Over And Over" (see earlier posts), I'm now checking the bins for other things from this eccentric sibling duo hoping to be further involved. This was their second album. To my ears not as direct as the aforementioned two, but I do get interesting personal angles in both music and lyrics and the vocals, especially the harmonies, works like a charm. Been listening for a couple of days now and it's certainly a grower. While the other two did hit me more or less direct, this takes a while, but then I'm drawn in and it's good. The beautiful folky tunes reinforced by sincere and sometimes funny lyrics make me belive it wasn't mainly made as a people-pleaser aiming for big sales, instead created as a forum allowing them to do it their way. Some of the tracks towards folk pop, others more traditional, three sung in French and the rest in English, but all tied together by the sisters' unmistakable sound making it enjoyable listening all through. My favorite tracks for now - "Be My Baby", "Dancer With Bruised Knees" and "Naufragée Du Tendre". Originally issued on vinyl in Canada, US, Downunder and a couple of European countries , also as cassette in UK and US. Japan 2013 remastered CD on Warner Bros. (WPCR 15038). First UK had label as shown here and matt cover. (FÄV*) (GZÅ*)

CHRISTIE/FOR ALL MANKIND S 64397 (-71) UK

British band founded 1969 by bassist and songwriter Jeff Christie, Guitarist Vic Elmes (earlier in Acid Gallery and Epics) and drummer Mike Blakley. Already in 1970 they scored two world wide hits - "Yellow River" and "San Bernadino - both in sweet pop mood. But apart from the 1972 45 "Iron Horse" also doing well on some lists and a couple of Southamerican entries later in the seventies that was it and they dissolved 1982. If you only heard those two first hits and think that's what they continued like this their second album will probably come as a surprise. Both sides ends with one ballad each, but the remaining eight tracks are more or less hard rock with prominent guitars and drums. Not exactly in the "hard rock" genre, sounding more Free than Zeppelin, yet far from where they started. "Yellow River" was never my cup of tea, but this I gladly sip. Well self-written, sung and played seventies rock'n'roll with enough twists to make it stick. Favorite tracks - "Magic Highway", "Martian King", "My Baby's Gone" and "I Believe In You". Initially released in a couple of European countries and Downunder. German 2005 CD on Repertoire Records (RES 2305) came with eight bonus tracks. Premiere UK had label as shown here and matt fold/out cover.

THE "SOUND" OF THE R&B HITS SL 10077 (-63) UK MONO

Bought yet another Motown sampler. You'd think I had enough by now, but I can't help myself. Even if I have some of the songs on each of them many times already there's always something special making me buy another...and another. Like with this one. A blend of Motown marvels first issued 1959-63, all pre-Holland-Dozier-Holland and here before the UK Tamla Motown label was launched. No less than three Mary Wells numbers from her 1961 debute album, three from Miracles second album, also 1961, one from the Supremes debute LP, a couple of early A-sides plus ones by Martha & The Vandellas and Marvelettes. And if you dig Bealtles cover of "Money" and the Dave Clark 5 "Do You Love Me", here are the original versions. Audio quite all right for the time - right on and loud without safety net. The Miracles "Broken Hearted" sounds muddy and strangely wobbly (tape error?), but the rest very good listening. So a UK only sampler issued close to the fact and offering some of the best from the label's early days as it was. Even if it eventually will take place among its siblings and probably stay unlistened for long periods in the future it is impossible for me to resist. Just to have it is enough. To my knowledge never reissued in any shape. It came on label as shown here in laminated flip/back cover with "Emitex" inner. (SÄM*) (TÖMÖ*)