GILBERT O'SULLIVAN/BACK TO FRONT MAM-SS.503 (-72) UK EXPORT

In earlier posts I have confessed my love for his first LP "Himself", but also personal doubts about the third "I'm A Writer, Not A Fighter". Luckily for me this second album is a lot more like the debute. No semi-funk or songs larded with prominent electric pianos as on "I'm A Writer...". Instead I hear friendly and romantic, some in a twenties or thirties style garnished by welcoming orchestrations. Playing it now as I write I'm getting many heartwarming moments, making me wanna return and listen again. Favorite tracks - "Alone Again (Naturally)", "What Could Be Nicer (Mum The Kettle's Boiling)", "The Golden Rule" and "Who Was It" - all having the same kind of idiom and atmosphere that made the debute so great. Issued and reissued all over the world on vinyl and CD, also 8-track and cassette in many countries. US vinyl as "MAM-5". Japan 2012 CD on Victor (VICP-75087) came with three bonus tracks. Initial UK came in two versions - this export and a domestic (SS-502). Only difference I can detect is this has "Alone Again (Naturally)" instead of "Clair", both world-wide block busters at the time. Why they went to so much trouble in releasing two separate versions instead of just including both tracks on one I don't know. If anyone reading this does I'd appreciate a hint. In any case both versions had label design as shown here in a matt cover with fold-out lyric insert, poster and blue block stereo inner. (ÖXÄP*)

THE BEATLES/REVOLVER PCS 7009 (-66) UK STEREO

Like the previous Rubber Soul this also saw three original UK variations. First mono with the so called "Remix 11" of "Tomorrow Never Knows" that was almost immediately withdrawn and replaced plus this stereo. For Rubber Soul I'm one of few that actully prefer the rarer "loud cut" edition, but in this case rather listen to the regular mono variation of TNK as that sounds cooler and more on the spot. RM 11 is just too much of everything (see earlier post). The RS two-channel mix comes out unbalanced parts, but this works a lot better. Power is good, most tracks have a natural outcome from healthy overlapping and with exception of the bad balanced beginning of "Taxman" it's ok listening. Not even close to the mono when it comes to punch and feeling, yet as a mid-sixties stereo totally all right. For me who's been accustomed to the mono alone for over fifty years there are some nice variations between the formats to enjoy, though not as many or life-changing as on for exemple "Sgt. Pepper" or "White Album". I guess some Beatles collectors would like to own all three original UK:s, but if you only wanna go for one I recommend the regular mono for the potency, the balance and the cooler TNK. (LGÅ*) (BÄ*) (PÖX*)

IAN HUNTER & MICK RONSON/Y U I ORTA 838 973-1 (-89) HOLLAND

Ian Hunters seventh studio solo album, this time sharing the billing with his old time collaborator Mick Ronson (1946-93). Recorded six years after his latest "All Of The Good Ones Are Taken" and meant as a kind of come back. But it didn't sell as expected and the label dropped him soon after, making this his last original album before the 1996 "Dirty Laundry". For me who early on got hooked on Mott The Hoople and dig most of his previous solo LP:s this is good listening. Maybe a little more towards hard rock than before, but still garnished with that special and familiar voice and tons of exquisite guitars from Ronson. "Big Time" is classic rock'n'roll, "Livin' In A Heart" a gripping ballad and "Sweet Dreamer" a sentimental guitar instrumental. Favorite track - "American Music" where the combination of sincere lyrics, top vocals and great guitars to a catchy melody lead to something so fine I can't get enough - https://www.youtube.com/watch?v=X67Scbwrdn4 . Issued on LP, CD or cassette all over the world at the time. To my knowledge not released on vinyl in UK. US, Australian and South African LP:s on Mercury. UK 2003 CD on Lemon Recordings (CD LEM 6) came with two bonus tracks. Premiere Dutch vinyl had label as shown here in a fully laminated cover with picture/credit/lyric inner. (MÖHÖ*) (HÖLX*)

TEN YEARS AFTER/POSITIVE VIBRATIONS PC 32851 (-74) US

The band's eighth album, last before breakup and a fifteen year hiatus ending with the 1989 "About Time" (see earlier post). Consensus among critics and some fans seems to be it lacks energy and all they do here is repeat old tricks. That may in a way be true, but for old fans like me it still offers good stuff and not least a bunch of pleasing rock'n'rollers. The uptempo "Going Back To Birmingham", "You're Driving Me Crazy" and "I Wanted To Boogie" played in a way that makes it hard to sit still while listening. The long "Look Me Straight Into The Eyes" inventive enough with tempo changes and warped vocals and "Nowhere To Run" so signature TYA it's impossible for me to resist. I also get Alvin Lee's familiar vocals and lots of great guitars. Won't go to history as any of their best, but still very much worth having and enjoying, especially for the already TYA accustomed. Issued and reissued on vinyl and CD over the world through the years, also 8-track, cassette and FLAC download. Premiere UK on Chrysalis (CHR 1060). EU 2014 CD on Chrysalis (CHRX 1060) came with seven live tracks as bonus. Early US had label as shown here and glossy cover. (YZÄ*) (XYÄ*)

PETER GABRIEL/SO PG 5 (-86) UK

Then by far his most popular album. Loved by fans and crtics alike, topping lists all over the world, earning 3x platinum in UK and 5x platinum in US. And the no less than five spawned 45:s did very well too. Amazing as all that was back in the mid-eighties it was a different time, the world has changed a lot since and we with it. Question is - is is still that good in this new time and age and does it still give me goosebumps? After giving it my first profound hearing in a decade or so I'm happy to say - it is and it does. I'm not turned on by "Sledgehammer" anymore, but the rest is just awesome. The duet with Kate Bush in "Don't Give Up" has a timeless beauty that no changing zeitgeists can conquer. "In Your Eyes" an intriguing piece of world music, managing to be serious and seductive at the same time. "Red Rain" and "Mercy Street" deep and commited, yet very catchy. There were many big sellers released around that time, but not many have survived this well. I'm still touched. Issued and reissued on every possible format, with or without bonus tracks, all over the world through the years. First US on Geffen (GHS 24088). Premiere UK had label as shown here in a thin fully laminated cover with laminated lyric/credit inner. (GYÄ*) (CÄX*)

SCUM OF THE EARTH (-??) FRANCE

I usually don't buy bootlegs or counterfeits, but sometimes issues appear that are just too good to pass. Here a French, limited edition (?), compilation of very rare US late fifties and sixties garage. All originally A or B-sides of non-selling 45:s, larger part one-offs recorded by then neglected outfits for small obscure labels. Most of the originals impossible to find today at even close to decent price, so for me it's lovely to get them all on one place for a fraction of the sum you'd pay for just one of them. Counting seventeen cuts from bands I know very little about it's hard to go into detail with any of them, but either the songs can be tagged early hard rock, soul or psych they all have about the same ambience. Up-tempo mostly carried by organ, tinny or fuzzy guitars, hard working drums and outbursting vocals. Recordings sound direct live-in-the-studio, unproduced and/or unembellished. Genuine and down to earth with flaws still in...heaven for the garage lover. Got many favorites here, but to pick a few from one-off 45:s - Gin Gillette "Train To Satanville" 1961 flip side bringing hard-core soul with female vocals, Mad Mike & The Maniacs "The Hunch" outrageously wild A-side of a 1961 45, The Motivations "The Birds" 1963 instrumental psych A-side slightly reminding of the Batman theme, The Crusade "Psychedelic Woman" fuzz-embedded A-side from 1967. Audio shifts a little depending on origin, but most of it surprisingly good. It came with blank labels as shown here and sleeve as simple as it gets - hard inner surrounded by two printed sheets. Rear sheet say this issue was limited to 500 copies and this has no. 238 hand written, but as it is a bootleg impossible to say if any of that is correct. (ÖRJ*) (ÖGÄ*) (MFÄX*) (SÄM*)

CREAM/SWLABR 2499 013 (-71) SCANDINAVIA

An in its way quite remarkable compilation. Not posing as any kind of "Greatest Hits..." or "Best Of...", instead named after their most unutterable song title. And apart from "Badge", which did OK in UK but not so much in the rest of the world, and "Strange Brew", the tracking is more about their less hit oriented stuff. I find the sleeve design, where the members are buried in some kind of tubed paste, very bracing, but it was hardly inviting enough to attract a larger public. Top that with two of the songs comes misspelled - "World Of Paine" and "Cat's Squirrl" - and it can be seen as a lemon in the Cream discography. But it does give an opportunity for those not familiar with the band already to dig a little deeper in the songbook and maybe enjoy some of their less crowd-pleasing moments. All cuts are the original stereo mixes and the audio very good. Naturally a must for any Cream collector worth the name, but also fitting for the beginner who want a deeper knowledge. As I understand originally a German compilation, also issued on vinyl in France and Downunder. First Scandinavian had label as shown here in a thin fully laminated cover. (CCÖ*) (CÄRÄ*)

THE WHO/FACE DANCES HS 3516 (-81) US

The Who was one of the bands who's albums I spent a lot of time with in the sixties. Then just part of my everyday life, but looking back I understand why they were so important for the still growing teen. There was a tough surface well fitting the often unsecure guy, but also good catchy melodies to cling to and it all came innovative, not seldom with some kind of vision. For me that went on till "Who By Numbers", which to my taste was their last great album. After that it seems band members fatigue and bad health in combination with changing studio surroundings caused a change of direction. I still bought their albums back then, but as they didn't sound exactly like the band I knew and loved I started to lose interest. On this their ninth studio album, released after Keith Moon passed away and being replaced by former Small Faces/Faces drummer Kenny Jones, I hear an ageing band. Songwriting still top-of -the -line, but presentation rather uneven. A couple of the songs work for me - like "You Better, You Bet", "Another Tricky Day" and "Daily Records" - but as a whole it doesn't embrace or floor me the same way as many of their earlier albums. However it did very well, reaching #1 in Canada, #2 in UK and #4 on Billboard, eventually selling millions and earning platinum status in US. Audio on this US press is very good. As it has "GUARANTEED BRAND SPANKING WHO" etched on side one matrix and "WHO IS JOE SUIT" on side two, I guess they were originally UK made (right me if I'm wrong). Issued and reissued on every possible format through the years. Premiere UK on Polydor (WHOD 5037). Japan 1999 CD on Polydor (POCP 9207) came with five bonus tracks, 48 page booklet, mini poster and obi. First US vinyl had label as shown here in a fully laminated cover with lyric/credit inner and large "face" poster. (YZÄ*) (WÖH*)

THE FORCE PRO 593 (-74) US MONO + STEREO PROMO

According to label a "november in-door sampler program". In this case to promote the Warner/Reprise "Loss Leaders" sampler serie sold by mail order for a couple of bucks each, which in its turn was to promote the labels regular stock program. So a kind of promo-promo. To me it seems a little odd making an "in-door" promo for records exclusively sold by mail, but maybe I don't get that concept right or there was more to it. The whole thing sounds like fit for radio so that might have been the main aim. Only cuts where I can compare against the originals are Ron Wood "I Can Feel The Fire" and "Take A Look At The Guy" which both are edited as mono here. The rest mix-wise a mish-mash of stereo, mono and monoish. All succeeding perfectly with connected channels, but here and there getting somewhat wider and/or having stereo effects when played as such. However it is a fine sampler with many good tracks if you're into that period. Audio not the most dynamic, but soft and even making it very good listening for idle moments. I guess this was the only issue. It came with label as shown here, glossy stickered cover with "Loss Leader" insert and inner with order form (unfortunately my own insert has been lost, so I borrowed that pic from the net). (YZÄ*) (SÄM*) (ÖRJ*) (ÖXCÅ*) (LÖZZ*)