GEORGE GERSHWIN/RHAPSODY IN BLUE - UN AMÉRICAIN A PARIS, CONDUCTED BY PAUL WHITEMAN P-303 (-54) FRANCE

Not that familiar with the "An American In Paris" part, but "Rhapsody In Blue" has been with me since my toddler days in front of the valve radio in the fifties. Some may think a work like that don't belong on a pop/rock page like this, but it's actually not that off. Among other things I've always liked to be captured in many of those side-long psych, prog or synphonic rock pieces so common in the late sixties and through the seventies - Genesis "Supper's Ready", Yes "The Revealing Science Of God" and Procol Harum's "In Held Twas In I" are just three exemples and there are many more good ones. But when it comes to contexture and ability to carry on emotions I havent till this day heard anything that could measure up to "Rhapsody In Blue". In less than twenty minutes it manages to show and transfer an array of human feelings - happiness, regret, wistfulness, pride and sadness - and that so resolutely it's impossible not to get moved. Even if I've heard it hundreds of times before I'm still melted and still smiling through the tears towards the end. So if you by chance haven't got to it yet, give it a spin and try to stay untouched. I dare you! The one here is just one of many many interpretations made through the years. Don't know if this is one of the better, but it's certainly good enough for me. Issued and reissued on 10 or 12 inch vinyl in US, Canada, Downunder and a number of European countries. Premiere US on Capitol (P 303). First French had label as shown here on very heavy unflexible vinyl in a thin glossy flip/back cover. (MFÄX*) (NYFÖ*)

IGGY POP/BLAH-BLAH-BLAH 395145-1 (-86) GERMANY

His seventh studio album and third created together with David Bowie, released four years after his latest LP - "Zombie Birdhouse" - and nine years after his last Bowie collaboaration - "Lust For Life". As the story goes Bowie didn't participate by singing or playing, but so responsible for the final result in producing and arranging Iggy at a point more or less denied the record, calling it "a Bowie album in all but name". And after listening to it for a while now I have to agree. "Scary Monsters" was unique, not only for the music scene at large but also for Bowie himself. I was pretty upset back then when he didn't continue on that path and came up another masterpiece in the same style. But luckily with this I'm getting pretty close. In my world these albums sounds related - maybe not siblingwise, but at least as loving cousins. I get the same kind of more or less regular songs carried by a complex layer on layer technique with various mean guitars and synth effects as partly hidden support. There's also varispeed vocals and much of his singing comes with a Bowie-ish idiom. So what I most of all hear here is a continuation of "Scary Mosters", just with another very special vocalist. And a great album it is with many fantastic tracks - especially "Winners & Losers", "Shades", "Isolation" and "Blah-Blah-Blah". I'm in love. Issued and reissued on vinyl, cassette and CD all over the world through the years. Premiere US on A&M (SP 5145), UK on A&M (AMA 5145). Most CD version came with the flip side "Little Miss Emperor" as bonus track. First German had label as shown here in a thin fully laminated cover with lyric/credit inner. (GÖXÄ*) (ÅGGÅ*)

LESLIE WEST/MOUNTAIN WINDFALL 4500 (-69) US

Mountain was and still is one of my all time favorite US hard rock bands and that mainly because of only two albums - "Climbing" and "Nantucket Sleighride" (see earlier posts). The rest of their production beyond genre average, but it's that pair that fill my mind with most joy, both presenting a perfect mix of raw and melodic making me feel both challanged and cared for at the same time. Sometimes opposites attract and that was certainly the case here when the artistically crude and outbursting singer and guitarist Leslie West met the more polished and thoughtful producer, multi-instrumentalist and singer Felix Pappalardi. This LP was tagged as a West solo album and he's behind most of the performing, but since it also includes Pappalardi as producer, arranger, song-writer, instrumentalist and was titled "Mountain" it is today often seen as the band's actual debute. And I do hear things here reminding of, or as good as, what's on "Climbing" or "Nantucket...". The slightly bouncy "Long Red" has that same balance between West's unpolished vocals and Pappalardi's soft melodic treatment, topped by a catchy organ lick. "Better Watch Out" stone hard with layers of attractive guitars. "Blind Man" a blusey guitar orgy...and so on. It may be counted as a West solo album, though musically it sounds Mountain. Not entirely up there with some of the band's later work, but certainly good enough for me. This US press sound a little dense at parts, but most of it coming out loud and clear. First issue on vinyl also in Canada (Bell Windfall 4500), Downunder (Bell 2308 017), Japan (Bell BLPL 10), UK (Bell SBLL 126) and a couple of other European countries. No clue about timeline for this copy but as the vinyl is rather thin it's probably from the seventies. It came with label as shown here in a glossy cover. (YZÄ*) (MÖU*)

BO HANSSON/SAGAN OM RINGEN SRS 4600 (-70) SWEDEN

It's funny how things sometimes work out. Today this album (eng. title "Music Inspired By Lord Of The Rings") is regarded a folk prog classic and embraced not only by fans of the "Lord Of The Rings" trilogy, but music lovers in general for its melodic and timeless expression. With that in mind it's hard to belive its beginnings were very modest. Following the Hansson & Karlsson organ-drum duo breakup due to Janne Karlsson beginning a carrer as comedian, actor and TV host, Bo Hansson found himself idle. But after a girlfriend talked him in to reading "Lord Of The Rings" he reignited and felt the trilogy needed a soundtrack. After spending three weeks in his appartment creating the music he then approached Anders Lind, who was just starting his own record label "Silence", with a demo. Lind liked what he heard and they decided to make that the premiere issue for the label (which didn't happen, since the planned second issue Gudibrallan's "Uti Vår Hage" with no. SRS 4601, only took a day to finish while this was still in the making - https://monolover.blogspot.com/2019/07/gudibrallanuti-var-hage-srs-4601-70.html ). Non of them had the money to rent a recording studio, so instead they arranged a primitive one in a summer cottage on an island outside Stockholm. There Hansson and his instruments was situated in the living room, the drummer Rune Carlsson in the bedroom and Anders Lind managing the recordings from a third smaller one. Not sure if saxplayer Gunnar Bergsten and flutist Sten Bergman were there alredy or if those contributions were somehow added later. In any case that attempt is the outcome you get from this first press. For later ones cuts would be added, together with remastring, re-edits and remixes, measures spread or all together over various issues. There were even plans to add female vocals to the British version, an attempt denied by Tolkien himself and his publishers. They didn't allow him to use the English book title either, though by adding "Music Inspired By..." it was approved. I've had copies to and from since first release and always loved it. Not the most adventurous instrumental prog, but all the more soothing and gripping with lots of intriguing parts. It's almost like I'm taking the ring journey myself from my listening chair, though with this in a much safer environment than Frodo and his chums had to endure. Favorite tracks - "Den Gamla Skogen/Tom Bombardill" (The Old Forrest/Tom Bombardill) and "De Svarta Ryttarna" (The Black Riders). Issued and reissued through differing versions and formats all over the world through the years. UK and US 1972 releases on Charisma "mad hatter" label. Premiere Swedish had label as shown here on very thick unflexible vinyl in a thin glossy cover with rear lacking both credits and the "SAM distribution" logo. (SCÄ*) (NÅY*) (CCÖ*)

JERRY WILLIAMS & THE VIOLENTS/AT THE STAR CLUB SLP-45 (-64) MONO SWEDEN

Jerry Williams (born Erik Fernström in Stockholm 1942-2018) was a young plumber that in the late fifties got seriousy caught by American rock'n'roll, as represented by artists like Chuck Berry and Little Richard. He soon started performing himself with a for the time and place spectacular stage show and managed to remain Sweden's most popular rock artist up to his recent death by constantly renewing himself without ever stepping out of the rock'n'roll context. Always friendly, mostly funny and with a true empathy for the working class he always felt like a part of. The Violents among other things functioned as his backing band 1962-65 ( for more on them see earlier post - https://monolover.blogspot.com/2018/08/the-violentslive-at-star-club-slp-42-64.html). This record has parts of a concert the constellation did at The Star Club in Hamburg 1964. To my ears it's great live classic rock, played and sung with tons of feeling. Most of it up-tempo standards backed by hard working drums, rhythmic guitars and organ. I hear all good, but if to mention one favorite it'd be "Twistin' Patricia"...a pick that the sceaming girls in the audience seem to agree with. The audio on this mono is tophole for its time, I just have to close my eyes in the listening chair and I'm there. Having a hard time finding any further facts on this vinyl from the net, so it was probably Swedish only and apart from the contemporary reel version (Phonoband C 6501) never reissued in any shape. LP came with label as shown here on thick unflexible vinyl in a thin fully laminated cover with top opening. (SCÄ*) (SÖNÄ*) (CCÖ*) (LYBÖ*)

PETER & GORDON/LADY GODIVA SCXC-33 (-67) UK EXPORT

Title track was the duo's third and last million seller, showing they still got it, but after that it was downhill in US with the 1968 "You've Had better Times" at Billboard #118 becoming their last entry. This album, as I guess hastily put together to cash in on the 45, doesn't remain as one of their finest moments. Covers of "Exodus Song", "A Taste Of Honey" and "Love Is A Many Splendor Thing" lacks the vocal magic needed to bring them home and the orchestral backing almost overdone. I actually prefer Ringo's version of the latter. On the positive side - title track is good, the self-penned Byrds soundalike "Morning's Calling" sounds fine regardless of the mimicking and the rather odd orchestral backings to "Till There Was You" and the Beatles cover "If I Fell" should work well for any open minded listener. So even if a minor disappoinment back then there are enough good moments to make it a keeper today and even listen to at occation. Originally released in US and Canada (Capitol T/ST 2664). Japan 2016 CD on Parlophone (WPCR-16940) came with fifteen bonus tracks. This UK was an export only press and never aimed for domestic release. It came with label as shown here and laminated flip/back cover. (ÖXÄP*)

BRIAN POOLE & THE TREMELOES/TWIST AND SHOUT LK 4550 (-63) UK MONO

Group formed late fifties as The Tremeloes and with a Buddy Holly inspired sound soon gathered a local fan base. In 1962 they auditioned for Decca at the same time as The Beatles and was chosen by the label (then renamed "Brian Poole & The Tremeloes) while Beatles was rejected. The band's version of "Twist And Shout" reached #4 on the UK list and it was their "Do You Love Me" 45 that knocked "She Loves You" from the number one spot. They were also included in the Decca sampler "Ready Steady Go!", released early 1964, and the rear notes on that was all about them, while The Rolling Stones, who contributed both "Come On" and "I Wanna Be Your Man", wasn't even mentioned (see earlier post). So for a short time they were on the same level as both Beatles and Stones. The setting managed a couple of more top ten singles before Brian Poole left for a solo carrer 1966 and then had seven more high charters without him. This was their second UK album of three. Got my first copy as a present shortly after arrival and liked it a lot. Today I still think it's a good period pop/rock album. Far from Stones contemporary cheekiness or Beatles inventiveness, but pleasant listening nevertheless, close in style to Garry & The Pacemakers or Freddie & The Dreamers. "Twist And Shout" with rough vocals to a "La Bamba" like backing, the rest a mix of slow and up-tempo performed with good humour in a a garage atmosphere. Most of the cuts seem to have been recorded direct live-in-the-studio and I get a lot of that "being there" feeling I like so much. A happy album from back in the days, but maybe you must have been there to appreciate it enough. Orignally also issued on vinyl in Germany, South Africa and Downunder. German 1995 CD on Oxford label (OX-CD LK 4550) came with fourteen bonus tracks. Premiere UK had label as shown here with "Recording First Published 1963" in a laminated flip/back cover...unfortunately some previous owner of the copy has peeled off the lamination, making it too stained to show a good scan of the front pic, so the one on view here I borrowed from the net.

MARIANNE FAITHFULL/GIVE MY LOVE TO LONDON NV 832061 (-14) FRANCE

Looking back at her sometimes troublesome life it's amazing she has survived, dealing with serious drug abuse, homelessness, health problems and even managed to cope with Mick Jagger and the boys for a period in the sixties. Though the carrer sometimes has appeared offhand she's always managed to renew herself and land on her feet. This album, released fifty years after the debute LP, is an example of that. Production and arrangements arty and up-to-date with enough flashbacks to keep balance. Like in the title track or the cover of Everly Bros. "The Price Of Love", done with an obvious wink to Bryan Ferry's version. The Roger Waters-penned "Sparrows Will Sing" pumping dark with warped vocals. The two Nick Cave contributions "Late Victorian Holocaust" and "Deep Water" peeled-off ballads. The Leonard Cohen cover "Going Home" with a pastoral feel including Brian Eno on vocals. She even does a Hoagy Carmichael cover with "I Get Along Without You Very Well", here very still with orchestral backing going from sweet to organized mayhem. Far from easy listening, instead one of those records that can be hard to grip initially but then grows with every spin. Issued on CD in Europe, Japan (P-Vine PCD 24369) and US (ES 012-2). To my knowledege only on vinyl in France and US (Easy Sound ES 012-1). French first had label as shown here on thick unflexible vinyl in a glossy fold/out cover including both LP and CD. (FÄV*) (MFÄX*)

THE BEATLES/ RUBBER SOUL PCS 3075 (-65) UK STEREO

Of the three original UK versions issued from these recordings - stereo, regular mono and the soon withdrawn "loud cut" mono - I'm one of few who actually prefer the latter (see earlier post). Don't know if that has to do with I use a round stylus (Shure M44-7) instead of some later thinner construction, but though the regular mono is very good I've always thought the more powerful and hard hitting loud cut is more rewarding. This stereo however is a different matter all together. After the, for its time, absolutely stunning stereo mix of "Beatles For Sale" and the totally ok one of "Help!" (see earlier posts) this comes through a lot more unbalanced at parts. The power is there for sure, but with exception of "Think For Yourself" and "What Goes On" all cuts have lead and most of the background vocals mixed hard right, giving a somewhat unnatural impression. Surprising considering the two forerunning stereos and George Martin's well known accuracy with the mixes, but can be explained by two coinciding events. At the time Martin had begun to experiment with compatible stereo mixes to enable stereos to be played on contemporary state of the art mono equipments and probably also with a future of good folds in mind. The operation was abandoned and only UK Beatles fold became "Yellow Submarine", four years later. Also the whole conduct was rushed for the record to be in the shops before Christmas. My guess is most of the mixes heard here originated from Martin's trials with compatibles and slipped through cause they didn't have enough time to make new ones. However that may be and whatever format you prefer it is a great album and that's what really matter. Premiere UK stereo had label as shown here with "Sold In UK..." in a laminated flip/back cover and rice-paper "Emitex" inner. (BÄ*) (PÖX*) (LGÅ*)

JANE BIRKIN AND SERGE GAINSBOURG/JE T'AIME SRF 67610 (-69) US

Apart from the 1968 Johnny Bode's "Bordellmammas Visor", which only had some spread limited to northern Europe (see earlier post), this must be counted as the first actual erotic album. While the Bode LP came out very raw and direct, using the whole array of four letter words, this is very French and very elegant and though picturing intercourse and other sexual practice it does in a way that only the most rigid PC police would have objected against at the time. And though the LP itself never was a top seller internationally, the "Je T'aime" 45 became a world wide hit. Musically the album offers typical contemporary French jazzy pop, smooth and melodic. I'm not very conversant in the French language, so my direct understanding of the lyrics is very limited, but taking part of some translations it seems most of it deals with erotica in some form. And even if I can't fully enjoy all the lyrics, the gist is made perfectly clear by Birkin's titillating vocals...and you don't have to be litterate to understand the title song's mouning message. As a whole the album has a timeless quality and could fit perfectly even for modern love meetings or close mingling. Favorite track - "Jane B" taking Chopin to the next level. The audio on this US press is top-notch - big and clear, providing very good listening. Issued and reissued on vinyl and CD all over the world through the years, also 8-track and cassette. Premiere French as "Jane Birkin & Serge Gainsbourg" (Fontana 885 545 MY), UK (Fontana STL 5493). French 2003 CD on Fontana (548 428-2) came with one bonus track. First US had label as shown here in a glossy cover. (YZÄ*) (GZÅ*) (ÄXÅH*) (FÄV*)