THE JIMI HENDRIX EXPERIENCE/ ELECTRIC LADYLAND 184 183/184 (-68) GERMANY

After posting the UK 2-LP and the two single album reissues plus the French Barclay one feel I have to write something about the German original. It's been reissued many times through the years on vinyl and CD and then mostly with the nude cover. However the premiere German version fold/out came as a hybrid between the US outer sleeve and the UK "small pics/white fonts" inside. Apparently the first generation sleeves were so fragile they sometimes arrived to the shops already damaged, so they were made sturdier for the second "2612 002" issue that arrived a little more than a year later. However there were still unsold "184 183/84" copies which were put in the new more durable sleeves as a transitional, but legit, mismatch. This is one of those. The matrixes seem to be some kind of crossbreed - side two and four having both "corrected" Track "613..." and Polydor "184..." stamped and side one and three with Polydor "184..." only. This also comes out loud and strong though partly with a little less edge, making it sound slightly limited while the UK as a whole hit you as a bit more right-on and natural. The distinction isn't big and most listeners wouldn't care, but it's nevertheless there. Anyway in my world it's still one of the good guys, allowing me to enjoy this masterpiece all the way. (GÖXÄ*) (JHÄ*)

LEONARD COHEN/DEATH OF A LADIES MAN CBS 86072 (-77) HOLLAND

When pondering over the later synthesized Cohen in the post on "I'm Your Man" I came to think of this...all analog, but by far his most scolded. It's been attacked by fans and critics since release, part for the song-writing and part because no one seems to think the collaboration with Phil Spector led to anything good. I think that's unfair. It may not be his best collection of songs ever, but to my taste there are highlights. Title track is a long hug I like to return to often. "True Love Leaves No Traces" surprisingly smooth and romantic for a Cohen number, but what's wrong with that? "Don't Go Home With Your Hard On" quite funny and "Paper Thin Motel" classic darkish Cohen. And why mock Spector's work? He does what he's always done in supporting and embedding and I actually think it adds something positive to the picture. It's not like any other Cohen album, but that doesn't have to mean it's bad...just different. So I will go on playing and enjoying even if everybody else seems to think it's the worst. Issued and reissued on vinyl and CD all over the world through the years, also 8-track, cassette and 8-file FLAC. Premiere Canadian on Columbia (PES 904369), US on Warner Bros. (BS 3125) and UK on CBS (S 86042). First Dutch had label as shown here and matt fold/out cover. (LÄK*) (HÖLX*)

SCHUNGE/BALLAD OF A SIMPLE LOVE SLRZ 1033 (-72) UK

One-off from this particular constellation. Haven't been able to figure out who this "Schunge" was (is?), other than he's written the songs and is behind lead vocals and guitars on the album. All further info is welcome. The backing is more known. Arranged by Michael Gibbs who prior to this had released two jazz albums on Deram and later would go on to work with Uriah Heep among others. Guitarist Chris Spedding, who apart from a solo carreer worked with acts like Elton John, Roxy Music, John Cale and Jack Bruce. Bass by renowned UK jazz musicians Roy Babbington and Jeff Clyne. Drums by the much hired session guy Barry DeSouza, who also played with Lou Reed, Kate Bush, Jeff Beck and Rick Wakeman. I first bought it because of the collectible label and initially just heard a more or less average orchestrated pop album, but after listening for a while now I'm starting to love. The songs are empathic, the backing perfectly played and the orchestral arrangements beautiful. His vocals are personal without being distressing and providing a good contrast to the mostly soothing background. Favorite tracks - "Joseph Demaino" reinforced by an attractive bouzouki played by Israeli guitarist Haim Romano and "Take It As A Dream" where the double bass works fine along the lavish strings. All so well done and very good listening. Considering the high quality, rarity and collectible label I'm surprised you can still get it comparatively cheap in the used bins. But I'm certain that will change eventually as more music lovers get to know it. Also issued as LP on Regal Zonophone in Italy and Australia. French on Vouge (LMD 30147), Dutch self-titled on Pink Elephant (PE 877 027-H) came with alternate sleeve design. To my knowledge never released on CD. Premiere UK had label as shown here and thin matt cover. (RÄZ*)

ELTON JOHN/CAPTAIN FANTASTIC AND THE BROWN DIRT COWBOY DJLPX 1 (-75) UK

An LP that went directly to #1 on Billboard and stayed on top for seven weeks. It earned gold in US two week before release and sold over a million copies in a couple of days. It's been frequently rewarded and by many considered his absolutely best. I do agree it's a very good album though if spinning him today I prefer his earlier work. This has other advantages. The colorful sleeve and labels, glossy poster and above all the two sixteen page booklets. Musically and lyrically presented as a theme album, handeling Elton John's (Captain Fantastic) and Bernie Taupin's (Brown Dirt Cowboy) early years before breakthrough, and the booklets provide a brilliant back-up to that story. The "Lyrics" one don't only have that but also twentyfive pictures more or less related. "Scraps" has about a zillion pics from their early days, further copies of articles, posters and ads, excerpts from Elton's 1969 diary and a four page cartoon - "The Life & Loves Of Elton John". A cornucopia of goodies and a very generous addition, considering the LP would have been a success with a lot less. So good listening it may be, but primarily eye-candy for me. Premiere UK had label as shown here and matt fold/out cover with two booklets and "tour" poster.

PERFORMANCE/ORIGINAL MOTION PICTURE SOUNDTRACK BS 2554 (-70) US

Music to a 1968 British crime movie starring Mick Jagger among others. Warner Bros. initially delayed the premiere as they thought the content was too violent and sexual. When finally released 1970 it was first met with lukewarm reviews, but now acknowledged as both innovative and influential. Haven't seen it myself, but always liked this soundtrack LP. I get a killer version of the Jagger/Richards composition "Memo From Turner", sung by Jagger to a sweet Ry Cooder slide guitar, Randy Newman piano and Gene Parson drums. There's also songs by Buffy Sainte-Marie and the lovely Merry Clayton who did such a great vocal backing on Rolling Stones "Gimmie Shelter". Randy Newman "Gone Dead Train" tophole blues rock. Buffy Sainte-Marie "Dyed, Dead, Red" and "The Hashishin" mouth bow psych (!) and the title track with Merry Clayton moaning to moog sounds. Add to that a couple of great slide guitar instrumentals and as a whole it's nothing less than a very good psych rock album, soundtrack or not. Also the audio on this US 1st press is excellent - big, clear and natural - providing very enjoyable listening. I guess most copies sold end up in Rolling Stones collections and well so, but it sure has a lot more than Mick Jagger to offer. Issued and reissued in America, Europe and Downunder on vinyl, reel, 8-track, cassette and CD through the years. First UK on orange WB label (WS 2554). Premiere US had label as shown here in a fully laminated cover with WB ad inner and order form sheet. (RÅ*) (YZÄ*) (ZÖNT*)

LEE HAZLEWOOD/COWBOY IN SWEDEN LHI 3101 (-70) SWEDEN

Issued as soundtrack to a TV-show Hazlewood did for Swedish television 1970. But forgetting about the origin and just listening to it as a regular LP today it remains as a very well done oddity and to my taste one of his best. It's often described as psychedelic country music. I wouldn't go that far, but the dreamy song structures and often adventurous orchestral arrangements gives it a depth I'm happy to sink down and stay with. His old muse Suzy Jane Hokum sings one track - "For a Day Like Today" - and for three more he does duets with a new one - Swedish vocalist Nina Lizell. One of the latter - "Vem Kan Segla" (I Can Sail Without The Wind) is an old traditional tune, sung softly in Swedish by Lizell while Hazlewood is translating the lyrics to English with a dark gruff voice. The effect is operative and it also became a domestc hit. Other favorites - "No Train To Stockholm", "What's More I Don't Need Her" and "The Night Before". To me an album impossible to identify with one genre alone. It's not really country, psych only in the broadest sense of the word, and though sweet and soothing very far from easy listening. One of a kind and as such highly recommended. Originally also issued on Swedish cassette and 8-track and vinyl in US and Downunder. US 2016 limited ed. CD on Light In The Attic (LITA 153) came with two bonus tracks, film DVD, a colored vinyl and movie poster. Premiere Swedish had label as shown here on thick vinyl in a laminated fold/out cover. (FÄV*) (CCÖ*) (ZÖNT*)

PETER GREEN/LITTLE DREAMER PVLS 102 (-80) UK

After enjoying his long anticipated come-back LP "In The Skies", which proved he still got it after a long period of mental illness, I was eager to hear more new stuff from one of my favorite guitar heroes. So when this showed up about a year later the expectations were high. At first I was put down by the two opening cuts - "Loser Two times" and "Momma Don'tcha Cry" - posing as some kind of funky disco, but then after calming down there were enough signature Greeny to enjoy and I gave in. "I Could Not Ask For More" classic blues with organ and harmonica. "Little Dreamer" has the same dreamy atmosphere as Fleetwood Mac's 1969 big hit "Albatross". "Walkin' The Road" up-tempo with emotional vocals and guitars. "Cryin' Won't Bring You Back" has a kind of latino blues backing slightly reminding of another FM hit - "Black Magic Woman" - and the guitars works just fine. Even if not entirely as good as "In The Skies", still with enough delicacy to make it worth while for any blues lover and a must for fans of Greeny and the early Fleetwood Mac. Audio on This UK press is very clear with perfect separation. Almost too glossy for my taste. For the blues I prefer a dirtier and even denser outcome, but this works too. Issued and reissued pretty much all over the world on vinyl, CD or cassette through the years. US vinyl on Sail records (SAIL 0112). Japan 1997 CD on Loudwoof (CRCL 4010). Premiere UK had label as shown here in a fully laminated cover with lyric/credit inner. (FXÄC*)