BUSH SPB 1012 (-70) UK

  Canadian heavy blues outfit formed late sixties by former memers of r&b band Mandana - vocalist/guitarist Domenic Troiano (1946-2005) and vocalist Roy Kenner - together with Finnish/Canadian drummer Pentti "Whitey" Glan and Indian/Canadian bassist Prakash John. This became their only album before disbanding a year or so later. After the split Troiano went on to work with The Guess Who and James Gang, Kenner with James Gang and Law, Glan with Lou Reed and Alice Cooper, Prakash John with Alice Cooper, Lou Reed, Funkadelic and Parliament. Considering the members later whereabouts there must have been lots of talents to pick up after the break and that shows here already.  A very well performed blues rock album with quite a few progish elements. All tracks self-penned and produced by Reb Foster (American DJ and manager who also worked with bands as Turtles and Three Dog Night). Even if rather adventurous at some parts most of it comes out quite smooth and good to the ears. A record I don't sit straight and listen to all through all the time, but always good to have as background for balmy chores. Favorite track - "Drink Your Wine" with its out-there guitars. Premiere Canadian on RCA (DS-50086), US on Dunhill (DS-50086). Also originally issued on vinyl in France, Downunder and a couple of South American countries. Canadian 1995 CD on Pasqua Music (MAGHCD 22) came with four live tracks as bonus. First UK had label as shown here in thin fully structured cover. (CÖLÖ*)

                                                                                 

                                                                                

                                                                                  

                                                                               

                    
                                                                              

 

DAVID BOWIE/LABYRINTH (FROM THE ORIGINAL SOUNDTRACK) SV-17206 (-86) CANADA

 A soundtrack from a 1986 movie that didn't do well with critics or public - more on that here  https://en.wikipedia.org/wiki/Labyrinth_(1986_film) . Haven't seen it myself, but since Bowie stands behind five of the songs it's enough to treat and collect it as a Bowie album. And as such it brings both good and bad news...at least for me. Even if my synth allergy has eased through the years and I can tolerate more now than thirty years ago, this is just too much. His songs are all well written and his vocals as good as ever, though the almost overall electronic dressing makes it too made-up to my ears and hard to connect. It may make sense in the movie, but listening to it on vinyl today I can't get all in. It's a pity  cause songs like "As The World Falls Down", "Underground" and "Magic Dance" have a very good Bowie core, just here almost hidden from me. However...even if not one of his best, still probably a must in any befitting Bowie collection...for better or worse. Issued and reissued on all possible formats all over the world through the years. Premiere UK on EMI (AML 3104). First Canadian had label as shown here in a fully laminated cover with picture/info inner.  (YZÄ*)  (PKÅ*)  (ZÖNT*)  

                                                                                

                                                                                 

                                                                                

                                                                                 

                                                                                   

                                                                          

                                                                             

                                                                                  

 

WOWIE ZOWIE!/THE WORLD OF PROGRESSIVE MUSIC SPA 34 (-69) UK STEREO

  Had the mono version of this forever https://monolover.blogspot.com/2021/12/wowie-zowiethe-world-of-progressive.html . But since that is a fold I've been longing to find its all true stereo conterpart at a reasonable price. Now I have and feel it's time for an updated repost. It's a chance to get some of the best from ten very rare albums, caught close to the fact on vinyl.  A compilation dedicated to late sixties progressive as issued on contemporary UK Decca or Deram LP:s. Blending acts that now over fifty years later seems to be more or less forgotten by the large public - like Touch, William R. Strickland, John Cameron Quartet, East Of Eden, Keef Hartley and Johnny Almond - with more familiar ones as Genesis, John Mayall, Moody Blues and Savoy Brown. Since all albums involved are today sought after and in some cases sold for big bucks it is a chance to at least get a taste of what was going on without losing shirt. You can always discuss track choices on compilations, but to my taste this is a quite all right mix of melodic and adventurous. Audio shifts a little depending on original recordings, but most sounds very good and non bad. Originally also released on vinyl in France, Germany, Israel and Downunder, but to my knowledge never on CD. Premiere UK stereo had label as shown here in a laminated cover with die-cut hole on rear and blue rim inner.   (SÄM*) 

                                                                                

                                                                              

                                                                                 

                                                                             

                                                                               

                                                                                  

                                                                               

 

THE SCAFFOLD/THANK U VERY MUCH 6018 (-68) US

  For more check post on their UK "L the P" LP  https://monolover.blogspot.com/2014/02/scaffoldl-p-pcs-7077-69-uk.html and read the presentation from the rear sleeve below. This US album can be percieved as a kind of early greatest hits as it almost entirely consists of 45 A:s and B:s originally issued on UK Parlophone 1966-68. Though a compilation it's also their only genuine studio album - no live takes, no poetry reading or story telling, just a collection of songs.  All self-penned and handeled by some of the foremost sixties producers in UK - George Martin, John Burgess, Tony Palmer and Norrie Paramor. Spinning through I'm getting very English and perky more or less whimsical numbers, much in the same vein as Bonzo Dog Doo Dah Band https://monolover.blogspot.com/search?q=(B%C3%96G%C3%84*) , done with tons of positive energy and well calibrated backing. And even if some of it may seem dated in this very different day and age I can't help smiling and feeling a little bit lighter when listening. Exemples below. All cuts here are true stereo. As they originally emerged in mono only it could be they were remixed for this issue.  To my knowledge this was the only release, also as white label mono promo. All cuts on here and a couple more can also be found on the UK 1982 LP "Singles A:s and B:s" (See For Miles CM 114), or the Parlophone 2002 CD "Thank U Very Much - The Best Of Scaffold".  Premiere (only?) US vinyl had label as shown here in a laminated cover.  (YZÄ*)  (MÖK*)

                                                                               

                                                                                    

                                                                            

                                                                                   

                                                                                        

                                                                                   

 

EMERSON LAKE & PALMER/WORKS VOLUME 2 K 50422 (-77) UK

  Before hearing this the title and cover design made me believe it was a continuation of the grand set-up 2-LP "Works" project  https://monolover.blogspot.com/2013/05/emerson-lake-palmerworks-k-80009-77-uk.html , issued eight months previous. Instead I got a compilation largely consisting of leftovers from earlier sessions coupled with 45 cuts. When a band on the edge of dissolving issue a collection like that there might be crap involved - unfinished takes, disused mixes or substandard songs - so expectations best kept low. But this is surprisingly good. Not only having all qualities of an original album it's also to my taste one of their better. Always been a fan of Greg Lake's vocals and I get a lot of that here. "Tiger In A Spotlight", "Brain Salad Surgery", "Watching Over You", "So Far To Fall", "I Believe In Father Christmas" and "Show Me The Way To Go Home" each one embellished by that warm baritone. The remaining six instrumentals are all of the lighter kind - honky tonk, ragtime, jazzy or just weird - more reminding of "Tarkus" or "Trilogy" than any of the later LP:s. As a whole a playful positive album and by far their most accessible. So if you prefer the combo's intriguingly complicated moments it may not satisfy 100%, but if you like proficiantly performed catchy melodies and Lake's special vocals this is home. Released and reissued all over the world through the years on vinyl, cassette, 8-track and CD. First US on Atlantic (SD 19147). Premiere UK had label as shown here and thin matt cover with embossed "ELP" logo on front. (ÄPY*)

                                                                                   

                                                                                    

                                                                               

                                                        
                                                                               

                                                                                  

                                                                                

                                                  
                                                                                

                                                    


 

WOMB DLP-25933 (-69) US

 San Francisco band formed 1967 by guitarist, keyboardist and vocalist Karyl Boddy. Other members were Greg Young on guitar, Chris Johnson on bass, Roluf Stewart on woodwind, Roy Brunecker on drums and Rory Butcher doing percussion and vocals. There are no additional facts I can get on the band or any of the members other than they spent most of 1969 touring with Grateful Dead and still had time to record two albums, of which this was the first. Not sure what happened to them after that, but all further info is welcome. I've seen this LP sometimes been called indecisive or too busy, but I'd just say eclectic ...and that in a very good way. A strange but delectable mix of folk, blues, prog and psych. All excellently performed and conveyed by top audio. Maybe nothing for the faint hearted,  but should fit the open minded music lover who don't mind if the ride sometimes takes unexpected turns. Favorite track - the 17:33 long "Happy Egoist" where they blend sweet with ugly in a tophole way. Full album below if You wanna try. To my knowledge this US was the only issue, also as 8-track (Paramount PA 81015). Vinyl had label as shown here in a top-opening cover with pic/lyric inner.  (YZÄ*)  (FÄV*)

                                                                                

                                                                                 

                                                                                     

                                                                               

                                                                                  

 

SLADE/SLADE ALIVE! PD 5508 (-72) US

 

I'm always up for good live albums, ones that catch all of me and make me believe I'm in the audience when I close my eyes in the listening chair. Already posted a couple of favorites - like "Colosseum Live", "The Who Live At Leeds", "Hep Stars On Stage" and ten or so more https://monolover.blogspot.com/search?q=(LYB%C3%96*) . And here's another that makes me sense I'm there. Not only because of the energy and tight performance, but also the mix and audio. Apparently recorded in three nights at a total cost of £600 and using the initial mix. The audio on this US press is superduper, making the music come out very offensive, almost intrusive, thus creating a natural connection to my mind. It's far from pretty, just very passoinate and raw rock'nroll. I get three self-penned tracks combined with covers of Ten Years After's "Hear Me Calling", Loving Spoonful's "Darling Be Home Soon", Steppenwolf's "Born To Be Wild" (also used in a studio version on their debute album "Beginnings"  https://monolover.blogspot.com/2022/04/ambrose-sladeballzy-srf-67598-69-us.html ) and Bobby Marchan's "Get Down With It". Since it all sticks together like one happy gig it'd be impossible for me to pick favorite tracks, so adding the full album below for You to do it instead. Issued and reissued on every possible format all over the world through the years. Premiere UK on Polydor (2383 101). EU 2017 Deluxe Ed. CD on BMG (BMGAA03CD) included a 28 page booklet. First US had label as shown here in a laminated fold/out cover.  (YZÄ*)  (LYBÖ) (ZPÄ*)

                                                                                 

                                                                                 

                                                                               

                                                                                 
                                                                               

 

DAVID BOWIE/TIN MACHINE 064-7 91990 1 (-89) EEC

 

Another move from rock's foremost chameleon. After the 1987 "Never Let Me Down" album flopped with both critics and fans Bowie saw the need to re-invent himself again.  He teamed up with guitarist Reeves Gabrels, bassist Tony Fox Sales and drummer Hunt Sales for something completely different. As the story goes the idea was to do something they liked themselves, without regards to public demands. And for us who'd followed the man up till then the result was somewhat surprising. Mostly towards hard rock and/or psych and not as melodic as before. Apparently the tracks were recorded live in the studio with Bowie improvising the lyrics as they went along. So no need to complain about the forwardness or the honesty of it all, though I do miss good melodies. Bowie was a master of writing touching tunes and catchy hooks and you don't get enough of those here. However the band is impeccable, especially the guitars, his vocals as notable as ever and to my taste a couple of the tracks really stand out and lift the whole album to a very agreeable and collectible Bowie level - the psycedelic "I Can't Read", the frenetic "Bus Stop" and the jolie laide "Video Crimes". So even if not my favorite Bowie LP I couldn't do without it. Issued and reissued on every possible format all over the world through the years. Premiere UK vinyl on EMI USA (MTLS 1044). Japan 2014 remastered CD on Parlophone (WPCR-80101). First EEC had label as shown here in a fully laminated stickered cover with lyric inner.  (PKÅ*) 

                                                                                  

                                                                                 

                                                                               

                                                                              

                                                                                       

                                                                                

 

HAPPY HOLIDAYS!

 I'm taking a blog break over Christmas and New Years, but will be back 2023 with a new stack and hopefully new energy. Wishing You Happy Holidays wherever You are. Warm Hugs/Erik

                                                                      

MARIANNE FAITHFULL/COME MY WAY LK 4688 (-65) UK MONO

  She's had a very long carrer, stretching from 1964 till today.  (Her full story too much to get into here, but you can get it  from her site http://www.mariannefaithfull.org.uk/biography/ .)  She was always adaptive to changing zeitgeist, shown by her biggest hit - the 1979 LP "Broken English"  https://monolover.blogspot.com/2018/04/marianne-faithfullbroken-english-m1-79.html  and the 2014 "Give My Love To London" https://monolover.blogspot.com/2020/01/marianne-faithfullgive-my-love-to.html . This 1965 debute sounds light years away from those. Part of a simultaneous two album release.  While the other, selftitled, had a more crowd pleasing pop-oriented style, this relied on traditional folk tunes performed by acoustic settings. It got mixed reviews, didn't sell a lot and soon became overshadowed by its more modish sibling. As a fan of British folk tunes and distinct female vocals I like it. Especially the jazzy version of "House Of The Rising Sun", the intense "Lonesome Traveller" and the talkie "Full Fathom Five" just to hear her speak back in 1965 (nice voice!). Originally released also in South Africa and Downunder. UK 2007 CD on Rev-Ola (CR REV 229) came with four bonus tracks. Premiere UK had ridged label as shown here in a laminated cover.  (FÄV*)  (BRYF*)

                                                                            

                                                                            

                                                                           

                                                                                 

                                                                               

 

TEARS GLP-500 (-74) SWEDEN

 

Swedish glam rock band, formed 1968 in Katrineholm, consisting of singer Lars Furberg, guitarist Eddie Eriksson, bassist Matti Vourinen and drummer Hans Fogelberg. This was the first of three LP:s they recorded 1974-76, also called "The Pink Album". Clearly incented by acts as Sweet, T.Rex and David Bowie, shown by the pink sleeve and heavy make-up. But if you can look past all that you'll find a good rock'n'roll album, not all heavy but with some very fine guitars. Produced by the band, all songs self-penned and even if the Sweet inspiration can be recognised it comes out original enough to stand on its own. I especially like the heavier tracks - "We All Like Music, Don't We", "Ooh Lah" and "Duke Of Friday" - but the album as a whole could be a nice addition to any respectable glam rock collection. Released in Sweden only. Reissued 2022 with one bonus track on vinyl (KING 105 LP) and CD (KING 105 CD). Premiere Swedish had label as shown here in a glossy fold/out cover.  (SCÄ*)  (CCÖ*)