POP FROM ENGLAND VOL. 1 M 048 31 261 (-69) GERMANY

A compilation offering a lot more than the surface may suggest. Due to the dull title, chintzy sleeve quality and budget label you'll probably only see it in the cheapest bins and then pass it by without wasting a second glanze. But if you care to pick it up and listen it's actually a very good collection of sixties cuts. Then big hits like Hollies "I'm Alive", Gary And The Pacemakers "Ferry Cross The Mersey", Scaffold "Thank You Very Much" and Freddie And The Dreamers "You Were Made For Me", coupled with today less known numbers as The Shadows "Foot Tapper", The Dakotas "The Cruel Sea" and Adam Faith "A Message To Martha". Four of the tracks - Georgie Fame "Sitting In The Park", Cliff Richard "The Young Ones", The Dakotas "The Cruel Sea" and Young Idea "With A Little Help From My Friends" - come out as more or less enhanced mono, the rest true stereo. Audio shifts a little, but most of it tophole - big, strong and natural, providing very good listening. So if you're curious about sixties music and want it almost as it was, or just wanna lay back remembering exactly how it was, this could be a very cheap way in. Only released in Germany, also as cassette (1M 224-31 261). Vinyl had label as shown here in a thin glossy cover. (GÖXÄ*) (SÄM*) (SXS*)

KEITH/98.6 AIN'T GONNA LIE MG 21102 (-67) US MONO

American pop rock singer, born 1949 as James Barry Keefer. Today mostly seen as a one-hit-wonder due to the million selling "98.6" single reaching #7 on Billboard and doing well in other countries. The follow-up 45:s "Aint Gonna Lie" and "Tell Me To My Face" both got to top 40 in the US, but that was about it. He issued three albums, where of this debute did quite well while the following two "Out Of Crank" and "The Adventures Of Keith" failed to sell. After struggling on a couple of more years, among other things touring with Zappa and releasing a couple of singles on Discreet label, he withdrew as an artist in the seventies. No doubt this LP was recorded to cash in on the success of the early 45:s. It's got all the A:s and B:s of those first three together with six cuts I assume were recorded especially for the album. Listening today I hear a very well sung, arranged and produced orchestrated pop LP. Positive and perky rather than cheeky or dangerous. Catching it for the first time not knowing about the background I would absolutely have guessed British. Like some unholy blend of the pop orientated Manfred Mann and the most adventurous Herman's Hermits, embraced by proficient string arrangements. Good positive pop not without memorable moments. Favorite tracks "98.6", "Tell It To My Face" and "To Whom It Concerns". This mono sounds like a separate mix and the audio is a-ok. Originally issued on vinyl in US (SR 61102/MG 21102), Canada (same no.s), UK (20103 MCL) and a couple of other European countries. Japan 2014 CD on Mercury (UICY 76733). Premiere US mono had label as shown here and glossy cover. (YZÄ) (ÖXCÅ*)

SAVOY BROWN/RAW SIENNA (-70) UK MONO LK 5043 VS. STEREO SKL 5043

A problably unnecessary comparison as it is a UK Decca 1970 mono and therefore without doubt a fold from the stereo. And as far as I can hear that is the fact. But since it is a favorite with the band and the fold works so well, producing enjoyable mono listening, thought I'd mention it anyway. The stereo is very good - strong, wide and balanced with lots of overlapping. Collected as you'd expect from a top compatible, but also offering two-channel effects so never monoish. Mono has the same strength, though in this case coming through cleaner and cooler to me than the stereo. In fact if you didn't know time or background the guess could as well have been a separate mix. Due to UK Decca's 1970 strategy with "catalog monos" (see earlier post) almost all their period stereos were mixed with compatability in mind, making some of them too narrow and mono-like. But not this one. Both formats sounds great by themselves. So why pay a lot for the very rare mono if you already have a stereo? If you're not that into the band and have a mono button to press I guess there's no need. But if you're fan and/or completist or just an audiphile lacking the button it could be something. For more on the issue itself check separate post on the mono. First UK had labels as shown here in a laminated fold/out cover with red or blue rim inners. (UKÖ*) (YMÖ*) (SÄVX*) (MÅW*) (CPYC*)

2000...and counting

One of the original ideas with this page was to do 2000 posts and then leave it be. But now that it's done I don't wanna stop. Still have many more LP:s to write about and still think it's fun doing it so I've decided to continue, if not indefinitely so for as long as body and mind be with me. Thank You for watching! All the best/Erik

THE SUPREMES/A' GO-GO STML 11039 (-66) UK STEREO

No secret I'm a big Supremes fan and collector, picking all decently used and appropriately priced I can find with the ladies from the used bins. By now I have most of their recordings, some of them many times, but for every unique item there's always something new and special to me...like a luscious sleeve design, differing track orders or songs and/or versions I didn't have before. This ticks all those boxes. Partly a greatest hits collection with numbers such as "Love Is Like An Itching In My Heart", "This Old Heart Of Mine" and "You Can't Hurry Love", here coupled with a couple of tophole cover versions like "These Boots Are Made For Walking", "I Can't Help Myself", "Hang On Sloopy" and "Money"...all of them infused with something new and exciting and not standing back to any of the originals. Add to that for the time very good stereo mixes and enjoyable audio keeping me cinched in the listening chair and I couldn't be happier. In today's deranged world filled with violence and climate anxiety it feels good to be caught in something this pure and lovely. Issued and reissued on vinyl and CD all over the world through the years, also 4-track, 8-track and cassette. Premiere US on Motown (M/MS 649). US 2017 2xCD "Expanded Edition" came with all original stereo and mono cuts plus twentynine alternate mixes and/or versions. First UK had label as shown here and laminated flip/back cover. (FÄV*) (TÖMÖ*) (ZYZÖ*)

STARS WHO MADE THE MUSIC HALL ACL 1170 (-6?) UK MONO

An issue allowing you to dig deep into British music history. Fourteen reordings by at their time prominent Music Hall artists, with larger part transfered directly from 78:s. I'm having difficulties finding an exact timeline for any of them, but as a couple seem to be acoustic recordings and others sounding almost modern I'm guessing they cover most of the first half of the 20th century. The only name still widely known would be George Formby and here you get one of his first recordings. For the rest I recommend reading the liner notes shown below. Reason I'm interested is many British pop and psych band grew up with this tradition, which shows in much of the song-writing and choices of covers that came out of these isles in the sixties. It also explains some of the differences to the more blues and country orientated contemporary American pop/rock scene. Most of the songs may seem dated as part of a totally different zeitgeist and as directed to a sort of public that's long gone by know, but the brand still lived on and then not seldom represented by rock, pop and psych bands. The songs chosen for this sound very much alike to a modern ear - perky melodies with often funny lyrics handeling situations and/or problems from the times in which they were made, not seldom with some kind of twist. My favorites would be the oldest sounding recordings, sending greetings from a hundred years ago or more - Kate Carney "Are We To Part Like This Bill?", Jack Pleasants "I'm Shy Mary Ellen", Charle Coborn "The Man Who Broke The Bank At Monte Carlo" and Billy Merson "The Night I Appeared As Macbeth". To my knowledge this was UK only and never reissued in any shape. Don't know the exact year, but judging from the K/T tax code, the ridged label and heavy vinyl plus the laminated flip/back cover with the handling/playing inner, I'd guess issued sometimes between 1963-65. (SÄM*) (FÄV*)

BRYAN FERRY/BETE NOIRE 208711 (-87) EU

His seventh solo album. After the successful "Boys & Girls" it seems he wanted a more dance-friendly outcome, which would be the reson he teamed up with Madonna producer Patrik Leonard for this. Leonard did not only produced, but also co-wrote five of the songs with Ferry. It became a critical success in Britain, reaching #9 with certified gold, and also climbing high on other European lists. And though the album itself wasn't a big hit in US a couple of the spawned singles did quite well there. I'm having the same problem as usual when trying to enjoy old analog heroes adapted to a glossy eighties atmosphere. Superficially put off by the synthetics I have to crash through the electronic curtain and go for the core. And well inside I do hear very good Ferry. As elegant and urbane as ever before he stands strong and distinctive even in this environment. "Limbo" with a clever melodic hook that makes it stick. "New Town" borderline psychedelic due to an odd tonal pattern. "Kiss & Tell" and "The Name Of The Game" garnished with gripping quires...and so on. Then when topped by his personal vocals and given I can have this cake and eat it too...for as many times as I like...I have to give in and just enjoy. Issued and reissued on all possible formats all over the world through the years. Premiere UK vinyl on Virgin (V 2472). US on Reprise (1-25598). Japan 2007 lim. ed. remastered HDCD in paper sleeve on Virgin (VJCP 68818). First EU press (German?) had label as shown here in a fully laminated cover with lyric/pic/credit inner. (ÄNÖ*) (BRÄY*)

THEM/THEM AGAIN LK 4751 (-66) UK MONO

Their second album and last with Van Morrison, who quit for a solo carreer soon after. As the story goes the band was disintegrating already during the recordings and the only member present through all songs was Morrison, with at least part of the backing supported by studio musicians. I don't know about that, but in any case the LP was initially a semi-flop with some success on a couple of lists, though not charting in UK and only reaching #138 on Billboard. Checking the vinyl market today pristine UK originals can sell for $500 or more. The high prices can probably be derived from a combination of rarity and that it was an early part of the still highly collectible Van Morrison's carreer, but musically not that outstanding. It is a very good soulish r&b LP, yet only one of many such issued in the sixties. What makes it a little more special is Van the Man's soulful vocals, which to my taste fits a lot better to this simple rock setting than to many of his later bombastic ballad backgrounds, here coming through more naked and direct. So to my ears great without being the absolutely fantastic record some of the prices paid may hint. Favorite tracks - the self-penned ones "Could You, Would You", "My Lonely Sad Eyes", "Bad Or Good" and "Bring 'Em All In" plus the Chris Kenner cover "Something You Got". This press cut borderline too loud to my ears, making some of it burst at the seams, still as a whole good listening. Issued and reissued pretty much all over the world on vinyl and CD through the years. First US on Parrot (PA 61008/PAS 71008) as a twelve track, omitting "I Put A Spell On You", "I Got A Woman", "Hello Josephine" and "Hey Girl". Premiere UK press came with ridged label which this copy hasn't, so it's probably from 1968-69. But as it has the 1B/1B matrixes and 1/1 mothers with H/BI stampers in the laminated flip/back cover, early enough for me. (VMÖ*)

ELVIS COSTELLO/MIGHTY LIKE A ROSE 7599-26575-1 (-91) GERMANY

If I'm to pick three absolute favorite LP:s of all this very productive guy has released up till now it'd be "Get Happy", "Blood And Chocolate" and this. For the other two see earlier posts. And if to rate these mutually this is for me for now the best. Concerned lyrics coupled with gripping melodies, sincerely sung and very well played with top production and intricate arrangements. I love it all and then especially... "Broken" written by his then wife Cait O'Riordan and sung almost acapella so emotionally it's impossible not to be touched and "Just Like Candy" a product of his collaboration with Paul McCartney and an almost perfect sad love song, enhanced by a teardrenched melody and a gut-hitting mellotron towards the end. Then if you want the downright catchy, why not also enjoy the Beach Boys pastich "The Other Side Of Summer", the love drama "Georgie And Her Rival" or the smashing refrain in "How To Be Dumb". First released over twentyfive years ago now, but still feels fresh. It just goes to show - customized hits may die really fast, but the honest and heartfelt will always last. Released mostly on CD and cassette through the years, vinyl issues most common in Europe and South America. 2002 EU 2xCD (Rhino 8122 78189-2) came with one bonus disc containing demos, live takes and unplugged versions. German vinyl had label as shown here and fully laminated cover with pic/lyric/credit inner. (GÖXÄ*)

LENA ANDERSSON/LENA POLS 232 (-71) SWEDEN

A follow-up to the domestically successful debute "Lena 15" (see earlier post), issued a couple of months or so later. Made after the same model - one Björn Ulveaus/Benny Andersson original coupled with part translated covers of hits - like "You've Got A Friend", "Tom Tom Turn Around", "Walk A Mile In My Shoes" and "L'eau Vive" - and part Swedish songs. Co-produced by Björn Ulvaeus and Stickan Andersson with Michael B. Tretow in the control room. The debute had something of a let-go atmosphere, making me feel invited and close to the event even fortyeight years later. This sounds more professionally made. Everything is in its place, the orchestral arrangements by Sven Olof Waldoff are on the spot and though her vocals still have that youthful vibrato I get the impression she's holding back a little. A lot smoother production creating a distance and sounding more of a designed product than a meeting with the artist, let be made by a skilled crew, but I'm not touched the same way. Best tracks - the Björn/Benny composition "Jag Kommer" (I'm Coming) with a nice melody to a bouncy rythm and the jazzy "Lover Man" here blending English and Swedish lyrics. To my knowledge this was the only release, but some of the songs can be found on the 2003 CD "Lena Anderson - Musik Vi Minns" (Polar 038 539-2). Premiere vinyl had label as shown here and thin fully laminated cover. (FÄV*) (CCÖ*) (SCÄ*) (ÄBBÖ*) (PKÖL*)