PETER GREEN/THE END OF THE GAME RS 9006 (-70) GERMANY

 

 His first solo album, recorded just after he left Fleetwood Mac 1970.  Initially frowned upon or even hated by many fans of the band or him, especially as it musically had very little to do with their earlier work. Instead we were served slightly edited instrumental jam sessions, more jazzy than anything else and far from the expected blues or rock marvels.  But in today's zeitgeist with all that's been inbetween it's gathered quite a few new fans as one of the earliest issues totally consisting of a studio jam, but also for the skilled performances. Here he's backed by  among others Alex Dmochowski (who also played with Aynsley Dunbar, Frank Zappa and Heavy Jelly), Nick Buck (Hot Tuna) and Zoot Money (who played with about everyone).  The whole thing may be a partly scary trip to take for the already accustomed fan of early Mac, but nonetheless necessary for any openminded music lover.  And you also get some of that old familiar Greeny soft guitar in the mid part of "Hidden Depth", while the end of the song is a lot more violent.  Question is - was this event a sign of his growing mental illness, or just an easy place for him to go to let off some steam? Maybe both, but I don't care which.  It's here and I like it and that's good enough for me.  Originally released on vinyl in US, Canada, Japan, Europe and Downunder. Premiere UK orn Reprise (RSLP 9006).  UK 2020 CD on Esoteric Recordings  (QECLE 2710) came with four bonus tracks.  First German had label as shown here in a fully laminated cover.  (GÖXÄ*)  (FXÄC*)

 

THE MONKEES/INSTANT REPLAY SF 8016 (-69) UK

 

 Their seventh studio album and first after Peter Tork's departure.   By then the television show had been put down and it seems all was coming to an end.  First time I heard it back then I remember liking the eclectic output, covering different styles as psych, rock, folk and pop, thinking it could mean some kind of rebirth for the band.  It was first much later I learned it actually consisted of previously unissued tracks from sessions recorded 1966 and on.  That doesn't make it less interesting, on the contrary - it presents a further insight to band's early days and still very good listening.  I get the chance to hear the song that was planned as their debute single - "Tear Drop City" - but was cancelled in favor of "Last Train To Clarksville".  A good old Monkees pop song, here slightly sped up from the original take.  "Shorty Blackwell" quite adventurous heavily orchestrated psyk.  "Just A Game" sweet baroque with nice orchetstral backing.   "Me Without You" catchy twentyish style with a surprisingly cheeky guitar sound towards the end.  It wasn't a very big seller back then and not held high by old band fans, but I like it.  Not just because it fills lots of blanks from the beginning, there are also a couple of very good songs to enjoy.  Issued and/or reissued on vinyl pretty much all over the world through the years. Premiere US on Colgems (COS 113).  EU 1995 CD on Rhino (4509-97661-2) came with seven bonus tracks. First UK, also as mono (RD 8016), had the smaller orange label as shown here in a laminated cover. 

 

PAUL McCARTNEY/PRESS TO PLAY 1C 038-157764 (-86) GERMANY

 

 Not any of my favorites by the man, but as it is McCartney feel I have to write something and be done with it.  All tracks self-penned, some with 10cc:s Eric Stewart who also played on the album together with guest appearances by Phil Collins, Pete Townshend and Carlos Alomar among others.  The voice is there and he is a good songwriter, which shows in the up-tempo "Press" and "Move Over Busker", but also the ballads "However Absurd" and "Only Love Remains". So a good core for a another great album indeed if it weren't for the synths covering the whole thing up in a cold mist.  McCartney has always been good to me and even if I don't jump up and down to everything he did I could always feel close and cozy with him.  Well written meodies, often catchy and conveyed by production and arrangements bringing a warm friendly atmosphere.  I get nothing of that here, just feeling frozen and aloof. There are good intentions buried deep down, but to find them I have to put on yet another sweater.  Maybe not worth the effort, so insted I will bury myself in his follow-up tp this - "Flowers In The Dirt". That has all the warmth I need from an album and remains one of my McCartney favorites (see earlier post).  Issued and reissued on vinyl, cassette and CD all over the world through the years. Premiere UK on Parlophone (PCSD 103), US on Capitol (PJAS 12475). Original CD issues came with 13 tracks, while some later ones were enhanced to 15.  First German had label as shown here in a matt fold/out cover with lyric inner.  (MÄCC*)  (BÄ*)  (GÖXÄ*)

 

JIMI HENDRIX EXPERIENCE/ARE YOU EXPERIENCED 612001 (-67) MONO AUSTRALIA

 

Time for a much needed rewrite of this issue. The recording itself so outstanding and mindblowing at arrival and still today unique with its  perfect blend of melodic and experimental with the most exquisite guitars on top.  I've had a number different versions through the years, but seldom got that connection I always want to enjoy a record to the fullest.  For exemple lost my last UK copy long time ago as I thought it sounded too bassy and therefore partly too dense.  Instead I found this Aussie mono and it brought me a lot closer. Thought it sounded clearer with better separation and the balance more natural than arranged.  I got the impression that was how it sounded at recording while most other issues edited the audio in some way to make it easier listening.  So instead of a smoothened top album I got to visit the recordings. But now after finding another UK mono copy I can't hear much difference between this and that. Can't exactly explain why, if it's due to change of pressing quality, playing equipment or in me. This Oz one still comes out a bit clearer at parts, but the UK also sounds great and since that is the original it may also be held as canonized and above criticism.    (JHÄ*)  (DÖW*)

 

JUNE TABOR/AIRS AND GRACES 12TS298 (-76) UK

 

 Not counting the 1976 "Silly Sisters" collaboration with Maddy Prior (see earlier post) this was her debute, released a little later same year and not a minute too soon.  Since then she has remained one of the foremost interpreter of classic British folk music with her very personal voice, so dark and strong and safe to carry any song with or without backing.  Like here where many of the numbers come a capella and the rest with sparse instrumentation.  I don't have time and place to describe the separate songs with all the love I want, so I'm just saying - if you're into female vocal, folk music or just wanna enjoy a marvellous voice, don't miss this one.  She'll bring you in and hold you captured all the way...and that's where I am right now. For details on the songs and participants check pic below.  This post became a lot shorter than planned, but think I made my point already so 'nuff said for now.  Please also check my posts on some other of her albums To my knowledge only issued in UK and US (1977 vinyl on Antilles AN 7043 and 1985 on Shanachie 79055).  UK 2019 CD on Topic (TTSCD 004) came with four bonus tracks.  Premiere UK had label as shown here in a matt cover.   (QÖP*)  (BRYF*)  (FÄV*)  (JÖB*)

 

 

 

MEGA'S/MEGANIQUE DL 1002 (-68) HOLLAND

 

 Dutch band of which I can't seem to get more info than they were from Rotterdam and recorded this one-off album for the record store owned Dankers label, situated in the Coolsingel area of Rotterdam. If you can read Dutch there's also member info on the back sleeve pic below.  Listening to it today I hear a competent pop psych album made in a contemporary British style, divided between six covers and six self penned. The covers are nicely done, albeit too close to the originals and to my taste not reaching up to any of them, yet BeeGees "In My Own Time" works very well and both Zombies "She's Not There" plus Loving Spoonful's  "You Didn't Have To Be So Nice" have enough charm to make them worth a spin ot two.  Of the band's own compositions  the soft "Kind Words" and the happy "Play The Clown" are worth while. All over I find some of the vocals quite disturbing, especially when they're doing quires, going from slightly off to downright false.  But if you can live with that there's good music to enjoy.  So even if not one of the better from the late sixties pop psych jungle, still in its way odd enough to find a way into many genre collections and certainly has a place in mine.  Released as compatible stereo. Rather narrow and sometimes monoish, but it works both ways.  This Dutch seems to have been the sole issue.  It came with label as shown here in a laminated cover.   (HÖLX*)

 

FOUR TOPS/REACH OUT STML 11056 (-67) UK

 

Motown is probably the label that's given me most pleasure through the years, so to pick out the best of all their wonderful albums would be impossible, but if I tried this certainly belongs to top five. It seems they hit all the nails at once here.  Top vocals, excellent backing and inventive arrangement applied on well chosen songs, making it both sincere and incredibly catchy.  It was their last to be handeled by Holland-Dozier-Holland and also became their most successful album, spawning six US top 20 singles, whereof the title track reaching #1.  Apart from doing Motown indoor products they also cover one Tim Hardin song - "If I Were A Carpenter" - and two originally issued by The Monkees - "Last Train To Clarksville" and "I'm A Believer.  I kind of like the Monkees own versions, but the ones here come with so much feeling and power the originals almost seem bland in comparison.  I could go on celebrating every track, but settle with just three making me do happy moves in my listening chair -  "Reach Out I'll Be There",  "Bernadette" and "Standing In The Shadows Of Love", the latter a rework of the 1963 Supremes song "Standing At The Crossroads Of Love".  For a long time I've been trying to find a US or UK mono, but as those never seem to surface in the local bins I decided to try a stereo. And it's not bad at all. As most UK Motown issues cut loud, but not too loud in this case.  Maybe a little unbalanced at parts, but nothing disturbing so enjoyable listening indeed.  This is the good stuff and a must for any lover of sixties soul.  Issued and reissued on vinyl and CD pretty much all over the world, also 8-track, cassette and 12xfile FLAC.  Premiere US on Motown (M/MS 660)  https://monolover.blogspot.com/2022/11/four-topsreach-out-mt-660-67-us-mono.html .  Early UK came with label as shown here in a laminated flip/back cover.   (TÖMÖ*)  (FÖRH*)

 

THE ASSOCIATION/GOODBYE, COLUMBUS WS 1786 (-69) US

 

Roaming through the bins in big haste I saw this in the corner of my eye credited to "The Association" and as I didn't have it before picked it with great expectations.  Well at home saw it was a soundtrack to some long forgotten US comedy and The Association only was behind four of the tracks, where of two are versions of the title song.  "Brendas Theme" is a quite long dreamy piece and good as such,  "It's Gotta Be Real" may be called a pop trifle, still well sung in cozy atmosphere.  To me the shining star here is the "vocal" version of "Goodbye, Columbus".  Very good sunshine pop with layers on layers of sweet vocals and well up with their best efforts from a couple of years earlier.  The rest rather ordinary film music and nothing to be aflame about. So maybe not enough band stuff for the Association fan, but what is can make it worth while and for me it has a sure place among their other albums.  Also issued on vinyl in Canada, Downunder and a couple of European counties, but not UK.  Japan 1999 CD on W.B (WPCR 10195) came with the 45 version of "Goodbye, Columbus" as bonus track.  Premiere US had label as shown here in a glossy cover.   (ÄKÖ*)  (ZÖNT*)

 

THE LOVED ONES/MAGIC BOX WG-S/25/5127 (-67) AUSTRALIA

 

When roaming around the bins my mind sometimes miss I have a certain record already and buy yet another, just to come home and find my old forgotten copy.  It has happened sometimes through the years, but not a big problem, especially when it's a classic garage LP as this.  So almost the same as I posted four years ago, only differing in label design.  Yet well worth a repost, so here I go again - Though only existing for about two years they are still by many remembered as the most exciting Australian rock band of the sixties with big live following and considerable domestic record sales. Formed 1965 by former members of local Melbourne groups "Red Onions Jazz Band" and "Wild Cherries". Their first singles and an EP became national hits and they were forced to excessive touring all over downunder. It seems the schedule wasn't handeled very well by the company - the "boutique label" W&G Records - and by the time this first LP was about to be a couple of the original members had already quit and the rest were exhausted. So instead of all fresh recordings it's largely a compilation. Former A-sides, B-sides and EP cuts and as far as I can see only one exclusive to this album - "Shake, Rattle and Roll". A couple of the singles were issued in US and Europe and there was also a selftitled French EP (Disques Festival FX 1528 M), but the LP was Australian only. Listening and grabbing it as an entity today you get a garage band grasping a mulitude of genres - pop, blues, jazz, psych. With all certainty inspired by groups as Animals, Stones, Downliner Sect and the growing US psych scene, but a lot more humorous and undeluted giving a truly genuine impression. The cuts differ a lot in quality - performance as well as audio - from rather bad to tophole, yet put together it's a fine garage album, honest and heartfelt - just as I want it. As I understand this was the first Australian rock LP to be mixed in true stereo and all cuts are more or less. I've been told when Raven Records made a remastering for CD 1985 (RVCD-02) they by mistake (?) only used the left channel resulting in a new (fake) stereo version, which also was used by Karusell for their 1995 CD (551130-2). Don't have the means to confirm it, but if accurate the true stereo does not exist on CD so far, only on this and the Aus 1972 vinyl reissue on Astor (WG 5127). Early issues on WG came with various label designs, including this black in a laminated cover. (DÖW*) (ÖGÄ*) 

 

THE ELECTRIC CRAYON SET KIRI 044 (-86) UK MONO

 

 Yet another of those to me indispensable BamCaruso compilations, allowing you to dig deep in British music history and get to know outfits that otherwise would have gone with the wind.  In this case I get to hear lots of top psych, pop or r&b numbers that for years only existed on impossibly rare 45:s or buried deep down in some vault, but also get a chance to trace some beginnings of members in later more renowned bands. The Attack seems to have been a real greenhouse for later British music, as Alan Whitehead went to Marmalade, Jim Avory to Thunderclap Newman, Micky Jones to Spooky Tooth, John Du Cann to Atomic Rooster and David O'List to Nice, Jet and Roxy Music.  Peter Dunton from The Flies went on to Gun, Bulldog Breed and T2, while his bandmate Robin Hunt also graced Bulldog Breed and T2.  John Dalton from The Mark Four later played in The Kinks. Dave Lambert from Fire would go on to Strawbs, while his bandmate Paul Brett went to Velvet Opera.  All cuts are as far as I can hear original takes and the audio if not all over top notch yet very pleasing.  I love it all, but if to pick a few -  The Attack "Anymore Than I Do" has some very outspoken O'List guitars reminding of what he did for early Nice. The Score's rather raw psych version of Beatles "Please Please Me" is impossible to resist and The Poets "I Love Her Still" from 1965 so oddly arranged it can almost be called early psych.  So much goodies here it will satisfy any lover of British sixties music who prefer vinyl but not wanna spend a fortune on the originals.  This issue was UK only, also rereleased on Rubble (FORLP 2905) and Past & Present Records (PAPRLP 005). First had label as shown here in a fully laminated cover and inner with info and pics on all the involved bands.  (SÄM*)