SPOOKY TOOTH/YOU BROKE MY HEART SO I BUSTED YOUR JAW ILPS 9227 (-73) UK

 

 Following the 1970 album "The Last Puff" Luther Grosvenor left the band to reemerge as Ariel Bender in Mott The Hoople and Mike Kellie went on to The Only Ones.  After some touring with various replacements they reached a line-up where Grosvenor was replaced by session musician Mick Jones and Kellie by Bryson Graham (earlier in Mainhouse), which completed the setting that recorded this album. Going through reviews I see it's often downgraded, music sometimes described as dull and unimaginative while the lyrics are criticized for being too simple. Maybe that's true in some way, but when listening to heavy blues rock I don't expect nobel prize winning poetry or groundbreaking polyphonic novelties. I just want a good groove and if, like here, shuttled by top guitars and pleasant vocals I'm in. Style bear resemblance to Free or Bad Company, just a bit more intense.  Most of the songs have a blend of hard and soft that's very appealing with emotional vocals to raw guitar riffs and flowing organ.  So I get a well performed album with both heavy groove and lots of feeling...and in my world that's certainly a-ok.  Favorite tracks - "Cotton Growing Man", "This Time Around" and "Wildfire".  Originally released on vinyl all over Europe, in Canada and US (A&M SP-4385), Downunder, Japan and a couple of Southamerican countries, also 8-track and cassette.  Japan 2017 limited ed. CD in paper sleeve (Island UICY-78071) came with one bonus track. Premiere UK had label as shown here in a glossy fold/out cover with lyric sheet and blue Island co. inner.  (FSÄ*)

                                                                                 

                                                                                  

                                                                                

                                                                                

                                                                                

 

PAUL MCCARTNEY/PIPES OF PEACE 1C064 1652301 (-83) GERMANY

 

                                                                                   

A follow up to the sales-wise very successful "Tug Of War", which was guested by Stevie Wonder and, like this, produced by George Martin. I like that a lot (see earlier post). Apart from having a couple of very catchy songs it also conveyes warmth, making you wanna come back for the atmosphere.  On this he collaborates with another US megastar - Michael Jackson - and even if bringing good music it's also more electronic, which means not as naural and a little less cozy.  Backing band is sterling - counting Eric Stewart (10cc), Andy Mackay (Roxy Music), Dave Mattacks (Fairport Convention), Ringo Starr and Stanley Clarke among others - and George Martin's production proficient.  Title song is gripping and "Say Say Say" tophole pop.  Agreeable listening indeed, but I can't help feeling less invited to this party than I am to TOW.  Maybe it's the synths, maybe the whole attitude, or maybe it's just me.  In any case better than most other eighties stuff and a keeper for sure.   Issued and reissued on every possible format all over the world through the years.  Premiere UK on Parlophone (PCTC 1652301), US on Columbia (QC 39149). Japan 2015 2xCD + DVD (UCCO-90370) came remastered with nine bonus tracks and six films. First German had labels as shown here in a laminated fold/out cover with picture/lyric/credit inner.   (BÄ*)  (MÄCC*)  (GÖXÄ*)

                                                                                 

                                                                                   

                                                                                  

                                                                                   

 

THE BEST OF THE STEVE MILLER BAND 5C054 80287 (-70) HOLLAND

 

I've seen the prices on original issues of Steve Miller Band's first three albums have skyrocketed in these parts last decades.  I still miss Children Of The Future and Sailor, but when they rarley show up in the bins in acceptable nick it's always too much for my wallet. So I was happy to find this Dutch collection carrying three cuts from the debut, five from Sailor and four from Brave New World.  You can always argue with song choice on compilations, but the one here works well for me.  I get my Steve Miller favorite - "Space Cowboy" - coupled with the psychish "Children Of The Future" and "Song For Our Ancestors", the cool blues "Key To The Highway" and some other goodies.  The audio a-ok, clear and well separated, making it enjoyable listening.  Highly recommend to all vinyl loving band fans having a hard time finding his early work at an acceptable cost.  Also released on vinyl in Germany, Denmark and Downunder.  To my knowledge never issued on CD. First (?) Dutch had label as shown here in a thin laminated cover.  (HÖLX*)

                                                                                  

                                                                                

                                                                               

      

CREAM/FRESH CREAM 33-206 (-67) US MONO

 

 So far I've noticed three different variations of Fresh Cream issued around the world 1966-67.  The original ten-track released in UK. Then in a couple of countries that was enhanced to a twelve-track, adding "Wrapping Paper and Coffee Song". This  was the third, where they omitted "Spoonful" and replaced it with "I Feel Free", a form that originally seems to have been US only.  They all came in both mono and stereo and biggest difference in sleeve design was the shape of the "Fresh Cream" logo on front.  To me the most rewarding is the twelve-track. Not just because it was the one I grew up with, but also because of two more great songs.  The UK on Reaction may be the first choice for many as it was the first and this US has the advantage of being the only original LP carrying "I Feel Free".  So they all have advantages making it near impossible to choose if you only can pick one.  Guess the outcome would depend on where you were then.  Comparing the audio from this US mono with a UK original I hear some difference. They sound about the same, but to my ears the UK comes through a bit clearer while the US has more rounded edges with at least a couple of songs seemingly cut louder.  The matrixes on this copy has etched C-12489-A/C-12490-A and both sides with "AT" and "W".  The "AT" probably stands for an Atlantic pressing though not sure what the "W" means. Probably an early press with ridged label as shown here on heavy vinyl in a glossy cover.   (YZÄ*)  (CÄRÄ*)  (CPYC*) (ÖXCÅ*)

                                                                                 

                                                                                     

CREDENCE CLEARWATER REVIVAL/CREEDENCE GOLD F-9418 (-72) US

 

 Sometimes when getting a "Best Of..." or Greatest Hits" it can happen you don't agree with what's presented as such.  But to my taste this is exactly as promised in the title -  true gold. I don't think anyone could argue with the track choice here.  Maybe if they'd crammed in one or two more cuts, yet good as it is.  Even if you have all their original albums, getting so many goodies in a row should add something to both enjoyment and collection. Audio very clean and well separated, right up there with the originals I have on the UK Liberty LP:s. Even partly somewhat neater which could cause some minor dilemma for people with sensitive ears and minds used to get their Creedence a little dirtier, but no big deal I guess. Issued and reissued all over the world on vinyl and CD through the years, also reel, 8-track and cassette.  First UK on Fantasy (FT 501).  Earliest US came on differently designed brown labels. The label shown here was used by US Fantasy 1977-79, which gives an ok time frame for this copy. Still matrix no:s coincides with early pressings and it came in the original gimmick sleeve -  with four flaps on front, each having a member silhouette with pic inside (as shown below) - so to me in a way original just with a later label design.  (YZÄ*)  (CÖR*)

                                                                                 

                                                                                 

                                                                                  

THE TEMPTATIONS/LIVE AT LONDON'S TALK OF THE TOWN STML 11141 (-70) UK

 

 

Not counting the Supremes collaborations this was their fourth live album and last for over thirty years. Recorded at the "Talk Of The Town" nightclub in London, supported by Burt Rhodes And His Orchestra (steady backing machine at Talk Of The Town and among other things Rhodes also co-wrote the music for the Bond movie "Doctor No").  Produced by legend Norman Smith (1923-2008), who after serving as pilot in WW II went on to work with acts as Beatles, Pink Floyd and Pretty Things.  This is more or less a Temptaions Greatest Hits, performed live.  I get a six-song medley coupled with eleven full lengths and two short introductions and it's full speed ahead most of the time.  Up-tempo numbers with pumping bass and insistent orchestra. Even the slower cuts have so much energy they wont let you rest. Audio on this UK press is very good and stereo mix mostly so natural it allows me to just close my eyes and be there. It all comes in one unbreakable package so it's hard to pick favorites, but why not the medley where classics are woven together in a very vigorous way. Maybe you have to be a Temptations fan or at least a Motown buff to like it like I do, but it can also be recommended to lovers of well conveyed live performances.  Premiere US on Gordy (GS 953). Seventies vinyl also Downunder, Holland, Japan and France.  To my knowledge never legally issued on CD. First UK had label as shown here in a laminated flip/back cover.  (TÖMÖ*)  (LYBÖ*)  (ÄIÖ*) 

                                                                                

                                          

                                                                   
                                                                                                                                                                          



                                                                             

LED ZEPPELIN/VINTAGE LED ZEPPELIN 1971 CN 4194-S (-83) UK

 

 Part of a concert performed in London spring 1971, originally recorded by BBC:s Transcription Services as "Led Zeppelin In Concert-305" for radio transmit only and never aimed for sales of any kind. However since then copied numerous times on various LP and CD counterfeits under differing names. This is one of those.  To my taste their official live - "The Song Remains The Same" - though very well performed came out way too smooth and far from when I saw them live myself 1970 and 1973 (see earlier post), making it hard for me to connect to the groove.  It's a lot easier here.  A string of some of their best known numbers - "Immigrant Song", "Heartbreaker", "Black Dog", "Going To California", "That's The Way", "What Is And What Should Never Be",  "Communication Breakdown", "Stairway To Heaven" and a "Whole Lotta Love" medly including a cover of Elvis'  "A Mess Of Blues".  I take the audio on this bootleg isn't all up there with the BBC original, but certainly good enough for me.  Turning up the voulme I can let my mind drift back to the concerts I saw.  In comparison to TSRTS less balanced and sometimes a little messier, but a lot more authentic.  So if you want your Zeppelin smoother go for TSRTS, but for those who for better or worse want to get close to how they really sounded on stage back then this is the better choice.  (LYBÖ*)  (LÖZ*)  (ÖRJ*)

                                                                                   

                                                                                   

 

VANILLA FUDGE/RENAISSANCE SD 33-244 (-68) US

 

 The band's third album and first to mostly include self-penned songs.  It's my absolute favorite of theirs. If "psych-prog drama" was a genre in itself this would be the pinnacle within and then mainly because of two tracks -  "The Sky Cried - When I Was A Boy" and "The Spell That Comes After".  My mind always shapes pictures while listening to them - the former as an injured heart pulsating while bursting with feelings, the latter down on its knees oozing with desperation. Very personal I know, but they do induce strong emotions in me.  For more also check post on the UK mono.  That is a fold and not a very good one, most of it coming through damp and too crammed, especially the two aforementioned cuts.  So I just thought the original stereo wasn't compatible and that was it. Though, to my surprise, after finding this US original and connecting the channels I get a much better mono result with further separation and power.  Not sure what the British did or why, but it isn't the only exemple from the late sixties where the UK stock mono actually sounds measlier than a straight fold would have, same goes for "Let It Bleed" and "Beck-Ola" (see earlier comparisons) and probably a couple more.  So I truly enjoy this US stereo.  Still massive and overwhelming, but open enough to allow the feelings to sip through.  It was also issued as US mono promo. I would very much like to have that...slim chance I know, but a guy can hope. As usual I'm having a hard time finding an exact time frame for a US copy. This has "CT" on label and matrix, which indicates a Terra Haute, Columbia Records, pressing and as it came with ridged glossy label on rather heavy vinyl in a sleeve with laminated front I guess very early.  (YZÄ*)

                                                                                 

WINGS/BACK TO THE EGG 7C066-62799 (-79) SWEDEN

 

 An album scolded by many crirtics at release and still today considered a low point by many. I don't understand any of that.  To my taste a killer and as a whole certainly on my McCartney/Wings top ten list.  Side one sterling. Starting with a strange "Reception" before the Beatlesque and very emotional "Getting Closer", then going on over the furious "Spin It On" and homely heavy "Old Siam Sir" to the oddly beautiful "Arrow Through Me". Danny Lane's "Again And Again And Again" could have been a trifle, but so well done here it moves me anyway. Side two somewhat more uneven,  but a "Rockestra Theme" with participants as Hank Marvin, Pete Townshend, John Bonham, Kenney Jones, John Paul Jones, Ronnie Lane and Gary Brooker playing together with Paul can never be wrong at any circumstance. Worth it just to know they're there.  And the finish - the Rockestra "So Glad To See You Here" intense with awesome vocals and the twenties pastich "Baby's Request" very sweet.  So in my world a top album, well worth to be spun again.  Been fruitlessly penetrating the bins for a UK or US copy for some time now before I took a chance on this Swedish. Glad I did cause the audio great and since the label, sleeve design and inner coincides with both those I don't need to look further.  Issued and reissued on every possible format all over the world through the years. Premiere UK on Parlophone (PCTC 257), US on Columbia (FC 36057). Japan 1993 CD on Odeon (TOCP 7860) came with three bonus tracks. First Swedish had label as shown here in a thin fully laminated cover with glossy credit/arty inner.  (BÄ*)  (CCÖ*)  (MÄCC*)

                                                                                  

                                                                                  

                                                                                   

 

THE BUTTERFIELD BLUES BAND/THE RESURRECTION OF PIGBOY CRABSHAW EKS 74015 (-67) US

 

 Band formed 1963 by Paul Vaughn Butterfield (1942-87). They eventually became one of the leading US blues/rock outfits in the sixties, releasing successful albums and playing at both Fillmore East and West, Monterey and Woodstock. Butterfly himself was posthumously elected  into the Blues Hall Of Fame 2006 and the band as a whole to Rock And Roll Hall Of Fame 2015. For more details on him and the band I recommend the vast Wikipedia article. This was their fourth LP. Superficially a cool blues album reinforced by partly prominent brass, well fitting for soft amusements like holding hands in front of the fire place.  But getting in you will also hear top performances on guitar, saxes and harmonica to well balanced and adaptive backings. So to me enjoyable both as mood music and close listening.  Favorite tracks - the dark blues "Tolling Bells", the fullfledged and intense "Double Trouble" and "Drivin' Wheel" cause I'm always up for a good organ solo. The audio on this US press is just dandy and the stereo mix tophole for its time.  I'm having a hard time to distinguish all signs on these matrixes, but what I can see is EKS 74015 A (AL)/EKS 74015 B (AL), which indicates an Allentown pressing.  Issued and reissued on vinyl and CD in US, Canada, Europe, Downunder and Japan. UK on Electra (EKL/EKS 4015). US also as mono (EKL 4015). Can't say if this US was absolutely first, but must have been early with ridged label as shown here on rather heavy vinyl in a glossy cover with Electra inner.  (YZÄ*)

 

HARD-UP HEROES DPA 3009/10 (-74) UK MONO + STEREO

 

 When spotting this 2-LP set in a bin a while ago I had to ask myself - do I really need one more compilation of UK 45 cuts? But after checking the track list and the small note inside fold/out saying -  "Anything that was originally in mono is still in mono. Anything originally in stereo is still in stereo. Anything that was originally badly mixed is still badly mixed" -  the answer was simple...yes I do! Here I get twentyfour tracks as they were made in the sixties, five stereo the rest mono.  A couple that are rather common on compilations - like Zombies "Tell Her No"  (stereo version here), Rod Stewart "Good Morning Little Schoolgirl", Nashville Teens "Tobacco Road", David Bowie "London Boys" and Small Faces "Watcha Gonna Do About It" -  coupled with early stuff from Alexis Korner/Cyril Davies, Graham Bond (classic setting with Jack Bruce, Ginger Baker, Dick Heckstall Smith),  and John Mayall with Eric Clapton. But also the really rare like The Big Three "Some Other Guy",  The Mojos "Everything's Al'Right",  Ron Wood's band The Birds "Leaving Here" and The Warriors "You Came Along" including Jon Anderson (Yes) on vocals and Ian Wallace (King Crimson) on drums.  The three tracks that make me the happiest are the 1963 recording by Steve Marriot (Small Faces, Humble Pie) "Give Her My Regards" where he's doing his best to sound like Buddy Holly,  Joe Cocker's 1964 cover of Beatles "I'll Cry Instead" which has power but only sold a handfull back then and Timebox "Beggin" recorded some years before they renamed as "Patto".  So many old and new favorites here, but if I have to chose it'll be the Joe Cocker one.  Considering the origins the audio is smashing throughout, giving both the music lover and historian in me many joyous moments.  1974 vinyl issues in Europe and Downunder, also on UK cassette, but to my knowledge never reissued on CD. Premiere UK had labels as shown here in a laminated fold/out cover with facts on all tracks inside f/o and "red box" mono inners.    (SÄM*)