JUICY LUCY VO 2 (-69) UK

 

                                                                                    

 Their debute LP and the first in an album trilogy that together, to my taste, constitutes one of the better British blues/rock offerings of the period. (For more also check post on their second - "Lie Back And Enjoy It" https://monolover.blogspot.com/2020/06/juicy-lucylie-back-and-enjoy-it-6360_30.html - and third - Get A Whiff A This" https://monolover.blogspot.com/2013/01/juicy-lucyget-whiff-this-ilps-9157-71.html .) Heavy  and tight with top guitars, rough vocals and lots of catchy moments, certainly dirty enough to attract your inner pig...if you got one of those.  This is the rawest of the three, musically with firm roots in the American south. Swamp blues, no doubt having inspiration from Captain Beefheart and Dr. John, but living its own life in the UK.  Taking off with the self-penned blossoming "Mississippi Woman", then a furious "Who do You Love" cover, over the messy and heavy "She's Yours She's Mine" blues and after a couple of more pearls ending up with the mystic "Are You Satisfied?", which hovers in the same area as "Gris-Gris".  The audio on this UK press is great - big and strong with fine separation. Issued and reissued on vinyl and CD all over the world through the years, also 8-track and cassette.  First US on ATCO (SD 33-325) had a  fruitier, but less nude sleeve design.  US 1997 CD on One Way Records (OW 34433) came with two bonus tracks. Premiere UK had label as shown here with larger B-side swirl and "A Philips Record Product" in a matt fold/out cover with swirl inner.  (WLÖ*)

                                                                                

                                                                                   

                                                                                    

                                                                                     

                                                                                

                                                                               

 

SMOKEY ROBINSON & THE MIRACLES STML 11172 (-71) UK

 

 UK forteen track version of the US 1970 twelve track compilation "A Pocket Full Of Miracles" (Tamla S-306), adding "The Tears Of A Clown" and "(Come Round Here) I'm The One You Need". It also has totally different front sleeve design, no doubt spotlighting TTOAC, which was a song first appearing on the 1967 "Make It Happen" LP (see earlier post on the mono -   https://monolover.blogspot.com/2013/04/smokey-robinson -miraclesmake-it-happen.html ). Then after being remixed and released as a UK 45  reaching #1 on the British chart in 1970. To my taste that is the pinnacle of this album, but there's a lot more to enjoy. I'm feeling embraced and taken care of, either by intense cuts like "Flower Girl" and "Get Ready", or heartfelt ballads as "Darling Dear" and "Who's Gonna Take The Blame", all providing a cozy background to soft moments or just making me rest peacefully. A nice journey paved by sweet audio and totally ok stereo mixes.  Good to both body and soul. As a long time fan of the band and Motown I may be biased, but guess this will do it for any lover of US soul.  Issued as twelve track on vinyl also in Canada (same as US), Germany (Tamla Motown (1C 062-92 003) and Downunder, while this forteen track seems to have been UK only. Also on US and UK cassette and 12xfile FLAC, but to my knowledge neve released on CD. First UK had label as shown here in a laminated flip/back cover. (SXÖM*)  (TÖMÖ*)

                                                                               

                                                                                      

                                                                         
      

                                                                      

 

DONOVAN/OPEN ROAD DNLS 3009 (-70) UK

                                                                             

One of my happy albums and well worth a repost with added songs. I'm skipping the context here and just making it a token of love. Big fan of almost everything he did from "Sunshine Superman" up to the mid seventies, but to my taste this is his best. It has been labeled folk/psych, folk/prog and even garage, while he himself dubbed it "Celtic rock". For me it transcends all genres because it's not trying to be anything special, just a couple of cool laid-back comments on things as they were. Most of the melodies are simple and catchy and the lyrics intelligent and funny, sometimes borderline mean. Backing is basic guitar/bass/drum, flexible and done with lots of good humor. Donovans vocals are as good as ever with a kind of free spirit, not always hitting the prosody but winging it just fine. The whole album has a loose friendly atmosphere making me return to it again and again. This Dawn issue sounds great - open and natural, like a live performance in your living room. Released on vinyl all over the world through the years, also US reel, 8-track and cassette.  Premiere US LP on Epic (E 30125). Brazil mono issue on CBS/Epic (44061). UK 2018 CD on Donovan Discs (V1002) came with one bonus track.  First UK had orange label as shown here in a thick matt f/o cover without name or title on front. (SYSÖ*) (TÖW*) (DÖNL*)

                                                                                

                                                                              

                                                                                           

                                                                               

                                                                                  

                                                                                     

                                                                                     

 

BADFINGER/NO DICE SAPCOR 16 (-70) UK

 

The band's second or third album, depending on how you count.  For more background check post on their previous - "Magic Christian Music"  https://monolover.blogspot.com/2019/06/badfingermagic-chistian-music-sapcor-12.html.  While that had no more than healthy sales, this did a lot better.  It was met with mixed reviews. Some critics frowned while others even compared them to The Beatles. And it sold quite well, reaching #28 on Billboard and the the spawned 45 "No Matter What" managed #8.  Listening today I get the Beatle atmosphere, created by producers Geoff Emerick and Mal Evans, both long time collaborators to George Martin and The Fab Four. It's so well done all the way - performance, arrangements, production, audio - making it good to the ears. Still it doesn't touch me very deep.  "Magic Christian Music" was at least partly magic, making me feel, but here I can't seem to reach below the surface.  With all the good stuff going on in there I wanna be caught, but can't. I kinda like "No Matter What" and "I Can't Take It", but that's about it. Very frustrating.  Better return to MCM.  Issued and reissued all over the world on vinyl and CD through the years, also reel, 8-track and cassette. First US on Apple (SKAO 3367), Brazil mono (APCOR-16).  Japan 2010 CD on Apple (TOCP 70885) came with five bonus tracks.  Premiere UK had label as shown here in a glossy fold/out cover.   (PÄY*) (BÄ*)  (ÄPLÄ*) 

                                                                              

                                                                                   

                                                                               

                                                                             

                                                                                  

 

JERICHO AMLS 68079 (-72) UK

 

 Israeli hard rock/prog/psych band founded 1965 in Tel Aviv as The Churchills. After years of local success they were spotted by guitarist Robb Huxley from The Tornadoes, which was touring Israel late sixties. He joined the band and brought them to England where they got a contract with A&M and recorded an unsuccessful album as Jericho Jones - "Junkies Monkeys and Donkeys" (AMLH 68050). This was their second and last for the label. It didn't sell a lot either and was long hidden in the lost gem department before being rereleased on vinyl and CD and rediscovered by lovers of the more adveturous hard rock. For me, who always appreciate well written and skillfully played mind-bending music, it's a true killer. Starting with the furious "Ethiopia", which can be described as an unholy marriage between Love Sculpture's "Sabre Dance" and Pink Floyd's "Interstellar Overdrive", duly officiated by a kraut minister then carried by a mean guitar riff to excessevly pumping drums and bass. And on it goes for four more tracks, some parts soft some stone hard -  relatively spaced out, but at the same time so well put together the journey stays secure (exemples below).  Only downside is it's impossible to have as background since it catches the attention 100%, making it impossible to to good with other things while listening.  1972 issues also in Italy (Regal Zonophone 3C 062-93933) and South Africa (Same as UK). German 1990 vinyl and CD reissues on Repertoire Records. 2018 Israeli vinyl on Black Gold Records (BG 040). Swedish (unofficial?) 2010 CD on Flawed Gems (GEM 38) came with two bonus tracks. To my knowledge never released in the US. Premiere UK had label as shown here in a thin floppy cardboard sleeve.

                                                                                   

                                                                                

                                                                      

                                                                               

                                                                           

                                                                                   

     




 

BEACH BOYS/SMILEY SMILE ST 9001 (-67) STEREO DENMARK

 

 Never had a US stereo or mono or a UK stereo so maybe my selection is too meager to make a fair comparison, but find this interesting enough to post anyway.  As I learn from Steve Hoffmans and some other places the originally issued UK mono was a fold from a fake stereo. And though ok balanced it does come out somewhat duller than you would expect from a true mono. Therefore it was good finding this Danish stereo.  As the matrix numbers coincide I guess it's from the US stereo tapes. Not even close to a two-channel mix and the only differences I can hear when pushing the mono button are miniscule differences in width and balance.  But either way it plays louder and clearer than my UK mono and using the button I get a slightly better mono result providing more enjoyable listening.  Not sure what's behind the preferable audio, but if anyone reading this knows, please comment and tell.  In any case this will be my first Smiley Smile choice from now on.  Premiere issue with older label design as shown here in a UK Garrod & Lofthouse laminated flip/back cover.   (BÅB*)  (CCÖ*)

                                                                                  

                                                                                    

                                                                                  

                                                                               

                                                                               

                                                                                

 

YARDBIRDS/HAVING A RAVE UP WITH THE YARDBIRDS SCXC 28 (-66) UK EXPORT STEREO

 

 UK export press of the US stereo. Never aimed for the UK market, but exported to and sold on the European continent only.  For me this is both good and bad news.  To start with the bad - this version was fake stereo only, coming through unbalanced with some of the tracks having the music strong in one speaker and fainter in the other and some just sounding enhanced mono. Also side two consists of live tracks already present on the "Five Live Yardbirds" mono, which was issued in a number of countries 1964 . So for us who already have and enjoy one of those the rechanneled versions here are downgrades.  On the positive side - the six studio recordings on side one are all true killers still hitting hard over fifty years later, as early hard rock and/or psych. And if I don't sit in front of the speakers but just use it as background it's still enjoyable listening and using the mono button to connect the channels makes it totally ok mono. I do prefer the US mono https://monolover.blogspot.com/2012/06/having-rave-up-with-yardbirds-ln-24177.html .  But since it is the only chance to get some of the songs on early British LP and also that it was the only Yardbirds UK export, it is valuable to me in other ways and a sure keeper. First (only?) press came with label as shown here in a lamintaed flip/back cover.  (YÄB*)  (ÖXÄP*)

                                                                                    

                                                                                  

                                                                               

                                                                               

                                                                                  

                                                                              

                                                                                  

McGUINNESS FLINT EA-ST 22625 (-70) UK

 

 Maybe not a supergroup per se, but with members carrying so much history they at least brush the concept. Tom McGuinness just out of Manfred Mann.  Hughie Flint had been in John Mayall's Bluesbreakers.  Benny Gallagher and Graham Lyle already then prominent songwriters.  Only new to the limelight was keyboardist Dennis Coulson.  This debute LP became kind of a breakthrough, reaching #10 in the UK while the spawned 45 - "When I'm Dead And Gone" - got all the way to #2.  But due to pressure from the label, illness and cancelled concerts the band started to resolve already following year. New members went in and out and non of their four consecutive albums did even remotely that well.  I've seen them described as a "rock" band or "blues rock band", but listening to this today I'd rather call it country rock. A mix of ballads and light up-tempo, all more or less in debt to the American west.  A cool background to household chores or friendly meetings, but nothing for deep encounters. Favorite tracks -  "When I'm Dead And Gone" has a happy Mungo Jerry feel to it that may cause bodily movements, "Who Do You Love" annoyingly catchy and "Mister Mister" a neat twenties pastiche.  Issued and reissued on vinyl and CD all over the world through the years, also US 8-track.  First US on Capitol (SMAS-8-0625). Japan 2016 CD (Capitol UICY-77741) came with two bonus tracks. Premiere UK had label as shown here in a structured fold/out cover.  (MÄNÄ*)

                                                                            

                                                                               

                                                                               

                                                                              

                                                                                                                                                                                                                                                               

 

TINY TIM/TINY TIM'S 2ND ALBUM RS 6223 (-69) GERMANY

 

 Man with a rather sprawling and sometimes inconsistent background story. For my perception check post on his debute "God Bless Tiny Tim" https://monolover.blogspot.com/2013/09/tiny-timgod-bless-tiny-tim-rslp-6292-68.html  .  He had a couple of years as an American idol and then sometimes as a novelty or even ridiculed for his strange look and vibrating falsetto. But those times are long gone and today I find myself being one of very few who truly appreciate his first two albums.  I do because the song choice partly relies on very melodic pieces from the American twenties and thirties and it's so well done. Produced by Richard Perry, who also arranged together with top names as Gene Page, Perry Botkin Jr and Darneill Pershing.  So the label really went all in to give him the best backing possible and it worked - the orchestrations are smashing and the mix superduper.  I get that sometimes his falsetto can be irritating to modern listeners, but when he holds back and just sing you can hear he was a good vocalist too.  Pieces like "Community", "Come To The Ball", "Neighborhood Children" and "Down Virginia Way" are just lovely here and in "Great Balls Of Fire" he do sound like his are. I must admit that when I heard "Community" yesterday, for the first time in years, I got goosebumps to the high-pitch refrain. An entertaining piece of work indeed and very good listening for all non-prejudice ears.  Late sixties vinyl issues in US, Canada and Downunder (Reprise RS 6323), UK (RSLP 6323) and South africa (RRC 6323). also US 8-track, cassette and reel. To my knowledge never issued like this on CD, but the Warner Bros/Rhino 3xCD "God Bless Tiny Tim: The Complete Reprise Studio Masters...and more" (RHM2 7866) has it all.  First German had label as shown here on medium thick vinyl in a fully laminated cover.  (GÖXÄ*)

                                                                                 

                                                                                  

                                                                              

                                                                                    

                                                                                         

                                                                                   

                                                                                   

 

IDLE RACE/THE BIRTHDAY PARTY LBL 83132 (-68) UK MONO

 

 Have to do a better repost of this brilliant album. This time with renewed pics and added songs. When Roy Wood left Mike Sheridan & The Night Riders for Move 1965 he was eventually replaced by Jeff Lynne. With Lynne in charge the group re-named, added guitarist Johnny Mann from Carl Wayne & The Vikings and changed repertoire from early sixties style pop/r&b to more contemporary pop/psych. Through recommendations from former band mate Roy Wood the reformed combo got a contract with Liberty 1967. After issuing two unsuccessful singles they got to record this debute LP with help from producers Eddy Offord (later renowned for his work with ELP and Yes) and Gerald Chevin (who also worked with Move at the time) plus orchestral arranger Cy Payne. I think it's a great album. Apart from being too short - clocking in at under thirty minutes - I can't find anything bad with it. Clearly inspired by contemporary Beatles and Move, still one of a kind. A perfect blend of experimental and melodic, catchy and exciting, with a lovely atmosphere. There's quite a lot on it reminding of the further Lynne/Wood collaborations for late Move and early ELO, in a way making the three bands inseparable both historically and musically and this one of the first trials in that succession, No sure how this mono differs from the strereo, but it sure sounds great to me - big and strong with top separation. Have yet to find a corresponing stereo (LBS 83132) for comparison and when I do you'll be the first to know. US stereo on Liberty (LST-7603) came with other sleeve design. UK vinyl reissues 1976 on Sunset (SLS 50381)1976 and Parlophone 2014(0825646335374). UK 2020 2xCD on Grapefruit Records (QCRSEG 065D) came with both mono and stereo versions plus ten bonus tracks. Premiere UK had label as shown here in a laminated fold/out cover. (YMÖ*)(RÖWS*) (XLÄ*)