GEORGE HARRISON/DING DONG DING DONG

An extra post for the evening. I know many who think very little of this New Years song, or even hate it, but clearly they've never seen the video. The combination of a former Beatle and this consciously incoherent kitch is a killer. One just have to love!

 

HAPPY NEW YEAR!

 

Have to take some time off over the shift. Back again 2021.

Happy New Year!

Erik

                                                                     

NANCY SINATRA/GREATEST HITS RS 5138 (-70) GERMANY

 

 There's been a large number variations of Nancy Sinatra compilations issued around the world through the years and they're still coming. I guess this German is as good as, or in some cases even better, than any particular other.  She had quite a few tracks high on lists in the sixties, some of them as duets with family and friends and most of them penned by Lee Hazlewood.  This compilation counts four duets with him, one with Dean Martin and one with father Frank, though on her biggest hit - "These Boots Are Made For Walkin" - she sings solo.  For me who listened a lot to radio back in the sixties and hardly missed any of those songs it's a nice time travel. All so well done - orchestral backings, mixes (even the one fake stereo "Good Time Girl" comes out all right) and the audio is excellent. A good companion for cozy moments.  Favorite track - the "Things" duet with Dean Martin.  This release seems to have been German only, also reissued 1971 on the one color label (44 109).  First had label as shown here in a fully laminated cover.  (GÖXÄ*)  (FÄV*)

                                                                                 

                                                                                

 

MERRY CHRISTMAS !

 

  Wishing You a Happy Holiday wherever You are. Either You're celebrating or not, corona-alone or with infected company, or just watching the lights and smiles through misty windows You pass.  The spirit of the season must be - we all belong.  Love/Erik

                                                                      

JOSÉ FELICIANO LSP-4421 (-70) GERMANY

 

 Every Christmas I choose an LP that will take me through the holidays.  This one was new to me when I spotted it in a bin a while ago, but thought I'd give it a try.  José Feliciano is a very skilled guitarist with a heartfelt voice and "Felice Navidad" still one of the most played modern Christmas hymns so it should fit. And it does...in a way. Twelve seasonal songs, whereof six vocal, performed with latin sentiment and embedded in Hollywood strings.  You can almost hear it as an orchestral celebration to Christmas with Feliciano as guest star.  To my ears he does best almost naked and not dressed in sweet sugar, but 'tis the season to be cloying so here that suit actually fits.  "Felice Navidad" always good regardless of backings and the rest sentimental and heartwarming enough to put me in the right mood.  Released on vinyl pretty much all over the world in the seventies, but to my knowledge not in UK.  Premiere US on RCA Victor (LSP 4421). US 2002 CD on RCA/BMG (07836 65130 2) came with three previously unreleased bonus tracks. First German had label as shown here in a fully laminated cover.  (GÖXÄ*) (CXÅ*)

                                                                                 

                                                                               

 

PETER GABRIEL/IV PG4 (-82) UK

 

 A while ago I picked out his third album and this, blew off the dust and gave them the first good listen in a couple of decades, hoping to rekindle. The former was easy to feel, made me happy and even got me up on the livingroom floor to dance (see earlier post).  This not so much.  The subjects are serious - jealousy, faith healing,  rituals and cultural conflicts -  which also reflects in the music.  I understand the messages are important, but at least I would have got them easier if conveyed by more catchiness.  Nevertheless I do find some memorable moments - "The Rhythm Of The Heat" (apparently inspired by a  Carl Jung experience in East Africa) and "San Jacinto" (about a native American and his meeting with white society) are both empathetic and touching and I would have liked "I Have The Touch" a lot if backed by real instruments...good song sadly wrecked by prominent electronics.  For "III" I thought they managed to handle those and making it sound just right, but here it's just too much.  Most of the backing is simulated with addition of sampling. It's also an early digital recording which it seems they couldn't handle properly, cause a lot of it comes through damp and uninviting.  Maybe that was the aim...I don't know but do miss some kind of welcoming feeling.  To put it short - great album, just a little too dark and synthy for my taste.  Issued and reissued on every possible format all over the world through the years.  In US released as "Security" (Geffen Records GHS 2011) and a German-language version as "Deutsches Album" (Charisma 6302 221).  Premiere UK had label as shown here in a thin fully laminated cover with pic/lyric/info inner.  (GYÄ*)  (CÄX*)

                                                                               

                                                                                 

                                                                                 

                                                                                 

TOMMY STEELE AND THE STEELMEN/TOMMY STEELE STAGE SHOW LF 1287 (-57) UK MONO

 

Tommy Steele (born Thomas Hicks 1936) started his musical carreer playing skiffle on banjo or guitar at various coffe houses in London, either solo or with Wally Whyton's Vipers Skiffle Group.  Then while working as a seaman at a ship that docked in US, he was hit by and fell in love with rock'n'roll.  At home again he started to play it himself and was discovered as the British answer to Elvis Presley, changed his name to Tommy Steele and got a contract with Decca.  The list success was almost immediate. First single - the 1956 self-penned "Rock With The Caveman" - reached #13 in UK. Soon after the cover of "Singing The Blues" got to #1 even before Elvis' own version and his second album "The Tommy Steele Story" (US "Rock Around The World" (London LL 1770) became the first domestically made LP to hit #1.  He also worked as actor and musical artist already in the fifties, has continued to do so after the rock persona faded in the early sixties and as it seems stayed active up to this millenium.  Searching the net I find some info about that second album but little or nothing on this debute.   It was the first rock'n'roll LP by a British artist and therefore worth taken seriously.  It's a live performance all right, but no clue how, where or when it was recorded. Café de Paris in London is mentioned on rear sleeve so that may have been the place.  Early rock setting with guitar, double bass, drums, sax and screaming girls.  Backing suitable and even if his voice sometimes sounds inept for the quest he nails it with presence and good humour.  This is far from Elvis' at the time dangerous and sexy charisma. Instead you get orderly British rock, more polite and friendly than sensual and reckless.  "Giddy Up A Ding-Dong",  "Teenage Party" and "Rock With The Caveman" have good groove, but as a whole rather harmless in comprison to his American role models.  Audio on this 10 inch is smashing - big, warm and natural - like having the guys over playing for you in your living room.  Musically I wouldn't call it a rock classic, but nevertheless a must for fans of early white rock'n'roll and all us who like to dig deep in music history.  Also released as 10 inch 1957 in France and Downunder. Don't know of any later issues.  Premiere UK had label as shown here with R/T tax code (used 1955-57) on thick unflexible vinyl in a fully laminated cover with crescent flips.

                                                                          

      

                                                                                         

 

APHRODITES CHILD/END OF THE WORLD 20140 SMCL (-69) UK

                                                                              

Greek outfit existing 1967-72. Today probably most known for their million selling second single "Rain And Tears",  the ground breaking 1972 psych/prog album "666" and for being the first step to fame for both Vangelis and Demis Roussos.  This was the band's debute LP, recorded in Paris after the guys got stuck there on their way to London.  Both title and front sleeve hints apocalyptic, but not sure if that reflects in the music.  What you get is a rampant amalgamation of about every genre that flowered at the time and since all sung in English not that far from contemporary British, just spiced with a big chunk of mediterranean sentiment.  Apart from a normal rock setting they also play instruments as flute, vibes, double-bass, mellotron and bouzouki. All songs are self-penned covering a wide range of styles. "Rain And Tears" and "End Of The World" languishing ballads sung by Roussos in his own well known way. "You Always Stand In My Way" and "Don't Try to Catch A River" emotional rock.  "Mister Thomas" and "The Shepherd And The Moon" some kind of folky prog, while the two longest cuts "The Grass Is No Green" and "Day Of A Fool" must be tagged as psych.  So nothing here for the orderly listener who wants a safe journey with everything in its right place, but maybe something if you're up for a challenge.  Sixties releases all over Europe, in South Africa and a couple of Southamerican countries, but to my knowledge never issued in US.  UK 2010 CD on Esoteric Recordings (ECLEC 2205) came with two bonus tracks.  Premiere UK had structured label as shown here in a laminated cover.  

                                                                                   

                                                                                   

                                                                                

                                                                                

 

GEORGE MARTIN/GEORGE MARTIN INSTRUMENTALLY SALUTES THE BEATLES GIRLS UAL 3539 (-66) US MONO

 

I'm trying to find original issues of all his sixties stuff, either credited to him alone or with orchestra.  Not necessarily because it's especially exciting or touching, as most of it isn't to my ears, but he was the fifth Beatle and a key element to what made the band the ikons they are today. So if I have a collection of the other four's solo efforts it's only fair he should be there too.  On this I get easy listening versions of tweleve Beatles related songs, "Eleanor Rigby" with male vocals the rest instrumental.  Never provocative, but all very well done with each number accordingly costumed.  Caressing versions of well known and loved songs, on this US mono conveyed by top mixes and smashing audio. Still if it wasn't for him I maybe wouldn't have bothered, but it is and therefore I do.  And the front sleeve pic is a true sixties classic, worth it just to have that original.  Also released on vinyl in Canada, UK (S/ULP 1157), Germany, France (as "The Beatle Girls") and a couple of South American countries.  First US had label as shown here in a laminated cover with ad inner.  (BÄ*)  (ÖXCÅ*)

                                                                           

      

                                                                                

                                                                                  

                                                                                   

                                                                                  

 

QUEEN/NEWS OF THE WORLD 1977 TOUR PROGRAMME FOR US

 

 An item I was very happy to find in a bin recently and now feel I must share.  A stapled LP-size programme with actual ticket presenting their 1977 US tour for "News Of The World"  https://monolover.blogspot.com/2018/12/queennews-of-world-ema-784-77-uk.html . Twenty thick glossy pages with concert dates, presentations of both band and separate members, twentyone band pics and a subscription form for Queen Magazine.  This set also included an original ticket from the Nov. 29 show in Washington DC.  I wasn't there myself and in fact never saw them live, but all this together with listening to the LP give me lots of good vibes and in a funny way a feeling of belonging.  It would be nice if someone reading this that also attended any of the concerts left a comment and told me all about it.  I'm aware this particular booklet don't show up very often and then scarcely outside US. But this one was picked from a bin in a small used record shop in Sweden forty-three years after the fact, so I guess whenever or wherever you are there's always some chance another will occure.   (QÄN*)

                                                                                

                                                                                 

                                                                                

                                                                                  

                                                                               

                                                                                      

                                                                                   

                                                                                      

 

THE MOJOS/WORKING ED 110 (-82) UK MONO

 

 British band formed 1962 as The Nomads. After changing  name to The Mojos 1963 they got a contract with Decca, releasing eight singles and one EP for the label before breaking up 1968. Today often seen as a one hit wonder because of their one high charter -  the self-penned 1964 "Everything's Al'right" -   managing #9 in UK.  The song also had later fame in the seventies as one of David Bowie's picks for his 1973 Pin Ups album.  The group saw many members come and go during their short existence, whereof the most known must be drummer Aynsley Dunbar, who btw also played on the Bowie version of "Everything's Alright" nine years later.  They never released an LP in the sixties so this 1982 Edsel collection seems to have been the first,  compiling all A:s and B:s recorded 1963-65.  What I hear here is pure Merseybeat, reminding of Swingin Blue Jeans or Gerry & The Pacemakers -  a mix of up-tempo rock and simple ballads, seemingly mostly recorded live in the studio with little or non subsequent correction.  Direct and naked, allowing connection.  All original mono with audio maybe sometimes a little too bright for my old ears, but still very enjoyable.  Favorite tracks -  the screamy "Nobody But Me", the intense "They Say" and of course "Everything's Alright".   Only released in UK, later reissue came on  white label. To my knowledge never issued on CD. First had label as shown here in a fully laminated cover.

                                                                                 

                                                                                 

                                                                                 

                                                                              

                                                                                 


 

SPOOKY TOOTH/YOU BROKE MY HEART SO I BUSTED YOUR JAW ILPS 9227 (-73) UK

 

 Following the 1970 album "The Last Puff" Luther Grosvenor left the band to reemerge as Ariel Bender in Mott The Hoople and Mike Kellie went on to The Only Ones.  After some touring with various replacements they reached a line-up where Grosvenor was replaced by session musician Mick Jones and Kellie by Bryson Graham (earlier in Mainhouse), which completed the setting that recorded this album. Going through reviews I see it's often downgraded, music sometimes described as dull and unimaginative while the lyrics are criticized for being too simple. Maybe that's true in some way, but when listening to heavy blues rock I don't expect nobel prize winning poetry or groundbreaking polyphonic novelties. I just want a good groove and if, like here, shuttled by top guitars and pleasant vocals I'm in. Style bear resemblance to Free or Bad Company, just a bit more intense.  Most of the songs have a blend of hard and soft that's very appealing with emotional vocals to raw guitar riffs and flowing organ.  So I get a well performed album with both heavy groove and lots of feeling...and in my world that's certainly a-ok.  Favorite tracks - "Cotton Growing Man", "This Time Around" and "Wildfire".  Originally released on vinyl all over Europe, in Canada and US (A&M SP-4385), Downunder, Japan and a couple of Southamerican countries, also 8-track and cassette.  Japan 2017 limited ed. CD in paper sleeve (Island UICY-78071) came with one bonus track. Premiere UK had label as shown here in a glossy fold/out cover with lyric sheet and blue Island co. inner.  (FSÄ*)

                                                                                 

                                                                                  

                                                                                

                                                                                

                                                                                

 

PAUL MCCARTNEY/PIPES OF PEACE 1C064 1652301 (-83) GERMANY

 

                                                                                   

A follow up to the sales-wise very successful "Tug Of War", which was guested by Stevie Wonder and, like this, produced by George Martin. I like that a lot (see earlier post). Apart from having a couple of very catchy songs it also conveyes warmth, making you wanna come back for the atmosphere.  On this he collaborates with another US megastar - Michael Jackson - and even if bringing good music it's also more electronic, which means not as naural and a little less cozy.  Backing band is sterling - counting Eric Stewart (10cc), Andy Mackay (Roxy Music), Dave Mattacks (Fairport Convention), Ringo Starr and Stanley Clarke among others - and George Martin's production proficient.  Title song is gripping and "Say Say Say" tophole pop.  Agreeable listening indeed, but I can't help feeling less invited to this party than I am to TOW.  Maybe it's the synths, maybe the whole attitude, or maybe it's just me.  In any case better than most other eighties stuff and a keeper for sure.   Issued and reissued on every possible format all over the world through the years.  Premiere UK on Parlophone (PCTC 1652301), US on Columbia (QC 39149). Japan 2015 2xCD + DVD (UCCO-90370) came remastered with nine bonus tracks and six films. First German had labels as shown here in a laminated fold/out cover with picture/lyric/credit inner.   (BÄ*)  (MÄCC*)  (GÖXÄ*)