DIANA ROSS AND THE SUPREMES/LIVE AT LONDON'S TALK OF THE TOWN TML 11070 (-68) UK MONO

Album recorded at a London nightclub during the trio's 1968 European tour, reputedly with both Paul McCartney and Mick Jagger in the audience. It was also the first major tour with Cindy Birdsong, who had replaced Florence Ballard the year before. Including performances of own hits as "Stop In The Name Of Love!", "Reflections" and "The Happening", mixed with two Beatles covers - "Michelle" and "Yesterday" - plus a string of then popular standards. And since there are six medleys the record contains twentythree more or less finished songs. With the girls on a faraway stage, depending on British orchestral backing in front of a European audience, it could have been less than ok. But it's so professionally made - the vocals, orchestra and Diana Ross witty talk between numbers all melts together to a great live experience. And as one can hear by the audience cheering and laughing it was much appreciated there and then. Wish I'd been there. Hard to pick favorite tracks, but good Beatles covers are always appreciated and these two are. This mono sounds absolutely smashing - wide, clear and natural. It wasn't a stock mono in US, so either this UK used the American mono promo or it's made from a perfect compatible (looking forward to find a UK stereo and decide the matter once and for all). Release on vinyl pretty much all over the world, also reel and 8-track. Premiere US on Motown (MS 676). US 1994 CD on Motown Master Series (31453-0328-2). First UK had label as shown here in a laminated flip/back cover. (FÄV*) (TÖMÖ*) (ZYZÖ*) (LYBÖ*)

120 ALL TIME HITS 6999 529 (-78) MONO+STEREO HOLLAND

If you're a vinyl lover into pop music as it was made pre-1970, but feel you miss many of the big hits issued back then, or just curious about the background to today's pop market and want the real deal...this could be for you. Philips 9-LP sampler covering the years 1944-69, carrying original takes of 120 from the label's and its subsidiaries biggest sellers from then. Impossible for me to go through it all here, just check the song list below and see. I'm delighted to take a stroll down memory lane with a couple I didn't have before, like Paul & Paula "Hey Paula", The Platters "Only You" and "Smoke Gets In Your Eyes", The Merseys "Sorrow", Millie "My Boy Lollipop", Ann Shelton "Sailor" and Blue Mink "Melting Pot", but that's just me. I guess who ever you are there's gotta be something here. The cuts come with a blend of more or less enhanced mono and true stereo. The audio shifts a little, but most of it tophole. A Dutch project, also issued there in a 9xCassette box (7649 107) and in Germany as an 8xLP box (664 1204). Dutch vinyl came with labels as shown here in a fully laminated box. Each album inside in shrink with polylined inners and rears having images and track list including year and place on the US and/or UK top lists. With all CD compilations and downloads that's showed up last couple of decades I know releases like this often are put down by many collectors, but for this vinyl freak who like to dig deep wherever he stands it's grand. (HÖLX*) (SÄM*) (FÄV*)

NEW YEAR AT A HIGHER PACE

My new year resolution wont be to stop drinking, cut down on my use of snus, eat more healthy food or be a better person in general. I'm too comfy with my life as it is to change anything. But I do promise to post more often here. Starting tomorrow new stuff will come up Tuesday, Wednesday, Friday, Saturday and Sunday (CET). Wishing You a Happy New Year with lots of luck in the used bins or wherever finds may occur/Erik

CHRISTMAS GUITARS AND SONGS TLP 6029 (-89) SWEDEN

Swedish only compilation of Christmas carols and songs, performed by guitar bands in a late fifties/early sixties style. So far there's nothing about it on the net and the participating groups are all new to me, but after reading the scant info from the rear sleeve and doing some digging on my own I'm trying to make a post anyway. The Heartbreakers was a shortlived Norwegian band and the recording of "När Ljusen Tändas Därhemma" (When The Lights Are Lit Back Home) is from 1963. Chico & The Tigers was a Swedish rock outfit, existing a couple of years in the early sixties, and their recordings of "When It's Lamplighting Time In The Valley" and "Silent Night" were made 1962. The Nightrunners was founded in the sixties, but had to struggle all the way to 1987 before they got a chance to record their first LP (Triola TLP 6001). The three cuts from them here are not from that album, but exclusive to this. The remaining tracks seems to have been recorded 1989 especially for this issue. Kicki & The Kangaroos only issued one further EP - "Lady Of Wermland" (Kaskad KADEP 1). Mike & The Moonbeams also released a single - "The Lost City" - on Rainbow Music (RMS 102). Cant find anything useful on the remaining bands. Five of the tracks come with female vocals, two with male and the remaining seven instrumental. In a way just another attempt to cash in on Christmas I guess and though well played with superduper audio there's nothing totally indispensable on it. Anyway it may do it for the fan of classic style guitar bands, collectors of rare female vocal, or lovers of Christmas albums in general. It will sure get a spin or two here during the holiday. Can't seem to avoid the seasonal madness at any stake so I have to take a short break, but back with a new stack soon. Wishing You a Merry Frickin' Rockin' Christmas wherever You are/Erik. (SCÄ*) (CCÖ*) (FÄV*) (CXÅ*)

MUNGO JERRY/YOU DON'T HAVE TO BE IN THE ARMY DNLS 3028 (-71) INDIA

The band's third album. In style, arrangements and songwriting very much reminding of the former two (see earlier posts). A happy-go-lucky blend of skiffle, jug-band and rock'n'roll coming through simple and direct. Some parts posing as sloppy and garageish, though those are probably planned and not mishaps. On one hand you could call it humdrum for the similar chord buildings and likewise vocals, but on the other it sure is a happy album filled with good will and positive energy and listening now I can't help smiling. Favorite tracks - "Pigeon Stew", "Give Me Love", "Northcote Arms" and "Keep Your Hands Off Her". I probably wouldn't have bought it if it wasn't for this special Indian release, but now I'm glad I did. And it is lovely to have on the old style Stateside label with the exclusive sleeve design - later changed to the more common "hefty lady" one. Seems to have been issued and reissued on vinyl, CD or 8-track pretty much all over the world through the years, except US and Canada. Premiere UK on Dawn (DNLS 3028). Japan 2018 CD (Wasabi Records WSBAC-0091) came with four bonus tracks. First Indian had label as shown here on thick unflexible vinyl in a thin glossy cover. (ÄZÄ*)

LEONARD COHEN/I'M YOUR MAN 460642 1 (-88) UK

Don't know what it is with me and synthetic music. Got no problems with Eno or other more experimental stuff, but as soon as my old analog heroes come out to electronic backings replacing "real" instruments my ears just wanna shut down. Maybe it's the process itself that bothers me - instead of hearing a bunch of skilled band members or studio musicians either playing their pants off or just being beautifully adaptive I get one guy at an advanced keyboard doing both melody layers and rhythms...or worst case scenario a pre-programmed computor handeling all the backing. Indeed simpler and cheaper for the record companies, but for me it also means more alienated listening. So with a record like this I can't help pondering how it would have been if performed all analog. I get very well written melodies and lyrics, his voice is darker than ever and the female background vocals winsome. It became his biggest seller, high on lists world wide and spawning a number of successful 45:s. And many of the songs have remained, both publically and in me - "First We Take Manhattan", "Ain't No Cure For Love", "I'm Your Man" and "Take This Waltz"...all helping to build a masterpiece in my book...if it weren't for the synths. If made the old-fashioned way it probably would have sold less in the eighties, but considered a more timeless classic today. Nonetheless, even if I have to crash through synthetic walls to get to the core I do like it a lot. He was a master of his craft with the abitity to reach out, even in circumstances like this. Issued and reissued on all possible formats all over the world through the years. First US and Canadian vinyl on Columbia (FC 44191). Japan 2017 remastered CD on Sony (SICP 7159). Premiere UK had labels as shown here in a thin fully laminated cover. (LÄK*)

FLEETWOOD MAC/SONDERAUFLAGE 92514 (-69) GERMAN RECORD CLUB ISSUE

German record club variation of the "Then Play On" LP, released there at about the same time as the ordinary fourteen track. Not sure about the title as that means "limited edition", so maybe it was just eponymous and "sonderauflage" only showing it was limited. A special revision nevertheless and even if all cuts on it can be found spread on other early issues of the album the tracking and track order is unique to this...and so is the sleeve design including two swell band pics. The audio is excellent, for exemple "Rattlesnake Shake" comes out clearer and rawer than on the UK first press. Band devotees like me probably have all tracks already, but even if so...still worth it. As it was restricted back then and now seldom seen in the used record parlours, should you be lucky enough to find a copy in one of the cheaper bins - pick, pay and run! First press copies had two-tan labels like this (later one-tan), on thick vinyl in a laminated cover. (GÖXÄ*) (FXÄC*)

NEW WAVE 6300 902 (-77) UK

One of many punk/new wave compilations issued in UK during the late seventies and early eighties, all having their own special features. To me this is one of the better, carrying a sixteen cut suite of raw and cheeky and just happens to have some of my favorite period numbers. Most of it by US acts, with one each from Australia, France, Irland and England. Punk classics like Ramones "Judy Is A Punk" and "Suzy Is A Headbanger", girl hard rock from The Runaways in "Hollywood" and Cherry Bomb", Little Bob Story doing a pleasantly grinding cover of "All Or Nothing", Patti Smith's strangely beautiful "Piss Factory"...and so on. The audio is superduper and the fact that it's on a collectible label just sweetens the deal. Good stuff...good listening. Originally released on vinyl all over Europe, Downunder, Japan and Mexico, also as UK cassette (Vertigo 7199 005), but to my knowledge never like this on CD. Premiere UK had label as shown here and thin glossy cover. (SÄM*) (FÄV*) (WLÖ*)

MICHAEL B. TRETOW/LET'S BOOGIE CBS 81143 (-76) HOLLAND

Michael B. Tretow is today most known as producer, studio engineer and designer of the ABBA sound. Even with all the talent in song-writing and performing the quartet possessed, the recordings wouldn't have been the same without him. But he also had a domestic solo carreer, creating experimental comic numbers of which a couple became Scandinavian hits. This however is nothing like any of those. The lyrics mostly humorous, but the production and arrangements are more ABBA-ish than anything else. And since he isn't a very good singer the whole thing comes out more or less mismatched to my ears. There are lovers out there, but I'm not one of those. It might be valuable for some ABBA collectors since they're all there as support, together or separately, presumably as a "thank you" for all he'd done for them so far. I don't think it's good enough to be called "the lost ABBA album" I've seen it presented as by some sellers, but the die-hard fan may be pleased to get the whole quartet on the same LP. No favorite tracks here, I'm just keeping it for the oddity and for the sake of it. To my knowledge this was the only vinyl release, pressed in Holland for the Scandinavian market. Also on Swedish cassette (CBS 40-81143) and Norwegian 1998 CD (Universal UMD 86525). First vinyl had label as shown here in a glossy stickered cover with lyric inner. (ÄBBÖ*) (HÖLX*) (SCÄ*)