SUMMER BREAK

Taking a blog break to rest my ears and mind.  Even if the Swedish summer often gets too hot for me nowadays due to the climat changes and Corona may hamper normal social activity, I still need some kind of vacation from creativity...even if it just be doing crosswords, watching TV, taking long bicycle rides early mornings before the heat is on or enjoying some solo picnic.  Planning to be back with a new stack in a couple of weeks if I can stay virus free and manage to avoid sunstroke.  See You then.  Wishing You a lovely summer wherever You are. Kindly/Erik

IT'S A BEAUTIFUL DAY S 63722 (-69) UK

For more background please check post on their second LP "Marrying Maiden".  Not totally into to that yet, but keeping it as a grower.  With this however I'm all in from the beginning.   Sweet sunshine psych mixed with rock'n'roll, all very well performed including lots a organ,  violin and vibrant femal vocals.  I do appreciate the offensive tracks more - like the long haunting "Time Is", or the almost disturbing  "Wasted Union Blues" with its squeeky interplay between violin and guitar. But also intrigued by the much softer "White Bird", again with some guitar-violin synergy towards the end.  And it is interesting to hear the "Bombay Calling" intro, which Deep Purple so shamelessly stole (borrowed?) almost note by note for their epic "Child In Time".  To me this is good listening all through, including a small but not unimportant piece of rock history, and as such highly recommended.  Issued and reissued on vinyl and CD all over the world through the years, also 8-track and cassette. Premiere US and Canadian on Columbia (CS 9768). Japan 2008 limited ed. in paper sleeve CD on Muskrat Records (RATCD 4283).  First UK had label as shown here on thick vinyl in a matt fold/out cover.  (FÄV*)

PINK FLOYD/A SAUCERFUL OF SECRETS UK MONO SX 6258 VS. UK STEREO SCX 6258

One of those releases where the formats differ so much it can put the listener in separate places and since both have their moments I guess there are fans for either one. The most obvious divergencies would be mono has a much longer fade out for "Set The Controls For The Heart Of The Sun" and the "Corporal Clegg" stereo a loud messy guitar added totally missing on the mono. No clue what the plans were around the versions, but since the mono sounds well balanced and collected with every detail in its place I believe that was first hand. In comparison the stereo comes out more playful, almost busy. I'm probably all wrong, but can't help getting a picture of a couple of guys piping down in the studio after the recordings, creating a stereo in high spirits giving it all they got. More experimental than natural, but nevertheless interesting. I do prefer the mono for relaxed listening, getting it as I guess it was meant to be, but on the other hand appreciate the stereo for its playfulness and partly more detailed effects. Like two different records, fitting different moods. The stereo I used for the comparison has the somewhat later black/silver label, but as the matrixes are -1/-1 with 2/2 mothers and it came in the original laminated flip/back cover...close enough. (PÅX*) (CPYC*) (MÅW*)

TRAFFIC ILPS 9081T (-68) UK

The debute album from this constellation - "Mr. Fantasy" -  came with a cornucopia of goodies. Well written songs, wholeheartedly performed and generously embellished by inventive whims.  An epiphany back then and I guess still positive enough to bring a smile on any sixties lovers face.  In comparison to that this follow-up was to me as a small disappointment. A very good period album indeed, including classics as  "Feelin' Alright?", "Pearly Queen",  "Forty Thousand Headmen" and "You Can All Join In", yet missing some of that happy let-go feeling that totally pervaded the debute.  You could call it a little more mature and I suppose many prefer it like that, but for me the seemingly unruly outcome of the debute works better.  That said...the audio on this UK press is marvellous - big, strong and natural with top separation...and the sleeve design not bad either.  Issued and reissued on vinyl and CD all over the world through the years, also Reel, 8-track and cassette.  US 2001 CD on Island (314 542 852-2) came with three bonus tracks.  First UK had label as shown here on thick vinyl in a stiff fold/out cover with stapled picture booklet inside.   (ÖSÄP*)  (TXÄW*)

ROLLING STONES/MADE IN THE SHADE COC 79102 (-75) US

When I first saw this title I thought it was a compilation of B-sides and previously unreleased, made in the shade of their more prominent work. But you get no hidden gems here, instead a collection of eight cuts from three of the best rock LP:s ever made, plus two highlights from "It's Only Rock'n'Roll".  One can always discuss trackings on compilations like this, and I for one would have preferred for exemple "Rocks Off" or "Moonlight Mile" over "Angie", but apart from that it's close to perfect.  No weak tracks or fillers, just tons of good rock'n'roll.  Even if I have all tracks before, many of them many times, it's still worth it.  I will never get tired of hearing tracks like "Tumbeling Dice",  "Rip This Joint" or "It's Only Rock'nRoll" and getting them in a different milieu and package could never be a bad thing.  Also the audio on this press is stunning, big and clear not standing back to any of the original issues.  Don't know if there are still people out there who need an introduction to Rolling Stones, but if they exist this is highly recommended to all of them.  Issued and reissued on all possible formats all over the world through the years.  First UK with same number and package.  Premiere US had label as shown here in a stiff matt cover with "cloud" inner.  (YZÄ*)  (RÅ*)

FREE/HEARTBREAKER ILPS 9217 (-72) UK

The band's sixth album and last before final breakup. By then bassist Andy Fraser had left the band to form "Sharks" together with Chris Spedding, here replaced by Tretsu Yamauchi (just out of "Faces"). Paul Kossoff was down on drugs and didn't show up for all the takes, so US session musician Snuffy Walden was brought in as support. For a band on the edge of disintegrating this is a pretty good offspring. With all that's been in the music world and beyond since "Wishing Well" still holds as a rock classic with a sweet catchy melody to dark hefty backing, crowned by Paul Rogers magnetic vocals. "Come Together In The Morning" a heavy rock ballad with brazen guitars. "Heartbreaker" and "Seven Angels" both slow and heavy enough if you're into such. Over all you get a lot of Paul Rogers voice and that could never be a bad thing. Issued and reissued on vinyl and CD all over the world through the years, also 8-track and cassette. First US on Island (SW-9324). Japan 2002 Limited ed. in paper sleeve (Island UICY-9203) came with six bonus tracks. Premiere UK had label as shown here in a thin matt cover with picture/lyric inner. (FDÄ*)

MIKE OLDFIELD/TUBULAR BELLS V 2001 (-73) UK

A million-selling classic that by now most music lovers own, have heard or at least heard of. Im not getting in to its already well documented background here, but whatever you wanna know you can probably find in this vast and detailed Wikipedia article https://en.wikipedia.org/wiki/Tubular_Bells . Even if I've heard it many times before I can safely say that it still works for me. Not entirely sure if it's just the music that makes me feel good today, or if it's the attached memories from my free and reckless seventies that does it, but either way it has a magic impossible to deny. It wasn't much noticed at release, first after a part was used in the sundrack to "The Exorcist" movie it started to sell around six month later. To this day it has sold over 15 million copies and reached top ten on many lists around the world, which is unique for a mostly instrumental prog album. For a long time I've been trying to find a very first, pre-Exorcist press copy, but as you always can find at least 5-6 variations for sale on the net, all presented as premiere, it's hard to be sure. Yet after some research I now believe the copy shown here is if not the absolutely first so at least early. The label is black and white, the sleeve fully laminated and the matrixes handetched simply V-2001-A and V-2001-B.

BABE RUTH/FIRST BASE SHSP 4022 (-72) UK

British rock band founded 1970 as "Shacklock", as the guitarists surname. After changing name to Babe Ruth they got a contract with Harvest and recorded three albums for the label whereof this was the first. It became quite successful in US and Canada, but initially not much noticed in UK.  To my ears this is very good progressive hard rock.  Sturdy bass/drum backing including some rhythmic gaming and an abundance of good guitars  topped by Jennie Haan's emotional vocals.  "The Runaways" rather sweet, but the rest downright heavy.  Favorite tracks - "The Mexican" with its pumping bass, eventually leading in to a rock cover of the theme to "For A Few Dollars More".  "Wells Fargo" very heavy, crowned by an intense saxophone and the cover of Zappa's "King Kong" worth it because of the excuisite guitars. I don't see any need to jump tracks on this one. It all works out.  Issued and reissued on all possible formats all over the world through the years.  First US and Canadian on Harvest (SW-11151). German Digipac CD on Repertoire Records (REP 4554-WP) came with info sheets and two bonus tracks.  Premiere UK had label as shown here with "GRAMMOPHONE" top left in a thin glossy cover with pic/lyric insert (gone with this copy so that pic I got from the net).   (FÄV*)  (HÄVL*)

LED ZEPPELIN/THE SONG REMAINS THE SAME SS 2-201 (-76) US

Listening today it's obvious they were one of the best live rock bands back then. Not many other combos could get top performances from every member so tight on such a big stage in front of a vast public and make it work all the way. Soundtrack to a concert movie filmed at Madison Square Garden at their 1973 world tour, but for different reasons both movie and soundtrack were held back three years before finally released 1976. I saw them in Stockholm during that tour, sitting just below stage, and was blown away. Probably wrong to compare my own experience from back then with what I'm hearing from a peace of plastic today, but I'm doing it anyway. What I saw and heard in Stockholm was a four piece rock band consisting of real people. Stoned I guess and struggling maybe, but the music was tight and powerful hitting like a pile driver in the gut. Far from ordinary of course, yet in a way they came out more as buddies than ikons. No one could expect an album to exactly capture such presence, but hearing this now it's like they didn't even try. I'm getting too much of everything, overproduced under a glossy surface, creating a distance that will paint you a picture rather than let you in. So for me a top show, just badly delivered. I'm aware remakes have been done bringing more direct audio and I will post one of those later, this is about the original only. And in spite of all the above there are still lots of good things to encounter. If you can go beyond the surface and comprehend the core there's tons of good live music to enjoy. Also the fold/out package for this US original (Presswell) is beautiful having pics with submerged frames on front and back, wide spine, black inners and a six page booklet inside. Yummy! (LÖZ*) (YZÄ*) (LYBÖ*) (ZÖNT*)

THE BYRDS/FIFTH DIMENSION SBPG 62783 (-66) UK STEREO

Following is very personal, but thought maybe someone out there can relate. Never had a 1st press US mono or stereo of this LP. Till now only version I've carried with me all those years is a UK mono (see earlier post). I did listen to a UK stereo at a friends at the time and then thought...though the mono had its disadvantages as being cut very loud with way too big bass and almost getting messy at parts, it still sounded better than the stereo. But letting my mind drift back I realise we used a rather poor paraphernalia at that time and the ascultation was shallow, so now I'm trying again with better equipment and wider, more receptive ears. And what do you know...I've always loved having a UK 1st mono though not too keen on hearing it because I thought the loud cut was too offensive, but now with this stereo I can suddenly enjoy the music a lot more. The mix is very good for a four channel recording - partly panned but well kept together and most of the time giving a natural impression. As the mono cut loud, but never messy or bursting the seams. I still like having the mono in my collection, but for listening from now on my first choice will be this stereo. Premiere UK had structured label with "33" as shown here and laminated flip/back cover with CBS ad inner. (XYGZ*) (MÅW*)