DAVID RUFFIN/FEELIN' GOOD MS 696 (-69) US

 His second solo album after leaving The Temptaions 1968. Issued about the same time his former band mates had started to explore soul from a psychedelic angle with their "Cloud Nine" LP, which was praised and rewarded, managing #4 on Billboard 200 and #32 in UK. This, on the other hand, is far from psych and instead closer to classic Temptations. A mix of ballads and up-tempo, most of it heavily orchestrated and more languishing than challenging. It didn't do that well - only reaching #148 on Billboard and not charting in UK. Listening now that seems a little unfair.  This is a very enjoyable soul album. Good choice of songs, including a cover of Traffic's "Feeling Alright", elegantly arranged and produced and his vocals as personal and emotional as ever. It has stood the test of time well and still feels embracing enough both as background and for close listening.  Also the audio on this US press is beautiful - strong and clear.  My favorites here would be the more up-tempo cuts - "Loving You (Is Hurting Me)", "I Could Never Be President", "I Don't Know Why I Love You" and "The Letter".  First UK on Tamla Motown (STML 11139). Japan limited ed. 2013 CD on Motown (PROT 1100). Premiere US had label as shown here in a glossy cover with Motown inner.  (TÖMÖ*)  (ÄIÖ*)  (YZÄ*)

                                                                             

                                                                                

                                                                                  

                                                                            

                                                                              

                                                                                

                                                                                 

                   
 

CLIMAX CHICAGO BLUES BAND/A LOT OF BOTTLE SHSP 4009 (-70) UK

 UK Staffordshire rock band formed 1967. Have since gone through a name change - by dropping "Chicago" 1972 - and a large number of settings and label changes, but still active and still going strong. This was their third album, recorded at George Martins A.I.R. studios and produced by Chris Thomas (who helped producing Beatles "White Album" and also have worked with Pink Floyd, Procul Harum, Roxy Music and Sex Pistols...to name a few). Two of the cuts - "Seventh Son" and "Louisiana Blues" - are covers, eight self-penned and one - "Cut You Loose" - without any writers credit, but probably by the band.  This is a record for all us who at times enjoy getting floored by some really heavy blues rock. Playing it loud is like being run over by a steamroller - mostly big bass, pumping drums and howling guitars. There are calmer moments, but still no mercy.  You don't get a whole lot of catchy melodies or delicate tone sequences here, just standard blues...dark and demanding. If that is your thing and you by chance haven't got it yet it's highly recommended. Full album below. Issued and reissued on vinyl and/or CD all over the world through the years. First US 1971 on Sire (SI 4901) had totally different sleeve design. EU 2013 CD on Esoteric Recordings (ECLEC 2375) came with four bonus tracks. Premiere UK had label as shown here, without the "EMI" logo, in a fully laminated cover.  (HÄVL*)

                                                                               

                                                                                

                                                                               

 

JAMES TAYLOR APCOR 3 (-68) UK MONO

                                                                             

Today a man that has become one of the most loved and best selling artists with six grammy awards and over a hundred million sold records.  Full story way too big and intriguing to get into here so for that I refer to the Wikipedia article  https://en.wikipedia.org/wiki/James_Taylor .  This is about the debute LP only. After failing success as part of a band in US, suffering from bad mental health and heroin addiction, he moved to London to try as a solo act. Recorded a couple of demos with songs he'd written years earlier and gave them to Peter Asher (part of Peter & Gordon, brother to Paul McCartney's then girlfriend Jane and head of the newly formed Apple label). Asher liked what he heard and set out to make an album. Taylor got to write some additional material on the spot and was then brought into the hi-tech Trident studios in London with Peter Asher as producer, Richard Hewson (who later would do string arragements to Beatles "Long And Winding Road") as arranger and support from both Paul McCartney and George Harrison.  To my taste with a stunning result. The melodies are gripping, his vocals warm and sensitive and the arrangements adventurous enough to tickle, but never overshadowing. The result was loved by many critics, but for some reason didn't sell accordingly and nor did the spawned "Carolina In My Mind" 45. I'm listening now as I write and can't believe it didn't become an instant success. After all this time it still sounds fresh and welcoming and you just wanna get in there and enjoy. And the mono audio here is some of the best I've percieved - big and clear with perfect separation, making it natural and touching. A separat mix for sure - check this for confirmation  https://monolover.blogspot.com/2022/06/james-taylor-uk-stereo-sapcor-3-vs-uk.html  . It also led to further inspiration back then, when George Harrison used the song title "Something In The Way She Moves" as opening line in his hit "Something". So not only the beginning of one of the most successful music carreers ever. It is a great album, well worth to be spun and savored over and over. Issued and reissued all over the world on LP and/or CD through the years, also cassette and 8-track. First US on APPLE (SKAO 3352). UK 2010 CD on Apple (5099990581120) came with four bonus tracks.  Premiere UK had label as shown here in a laminated fold/out cover with flips and lyrics/credit inside plus a black inner. (BÄ*)  (ÄPLÄ*)  (YMÖ*)

                                                                                

                                                                                   

                                                                              

                                                                            

  

                                                  
                                                                             

                                                                             

 

THE 5TH DIMENSION/UP, UP AND AWAY SCM-91000 (-67) US MONO

When spring arrives I usually feel dark and in need of something bright, something to pick me up. I sense this will do. Group formed as The Versatiles 1965. Between 1967-73 they were a hot item, managing twenty top 40 hits on Billboard, whereof many top ten, making frequent TV appearances and getting a grammy award. Two of their recordings - "Up, Up And Away" and "Aquarius/Let The Sunshine In" also became big international hits.  Still active and performing, now with Florence LaRue as only remaining original member. This was their debute LP.  Though today overlooked by many collectors and/or music lovers there are many reasons to pick it up and give it a chance.  A mix of covers and self penned, but all sounding very much them. A couple of the songs are ballads, but most positive and happy sunshine pop. All nicely done - the vocals are magnificent, production (by Johnny Rivers and Marc Gordon) and arrangements (Jim Webb) top notch. Also the audio is just dandy providing pleasant listening. Don't have a stereo to compare with, but after spinning it quite a few times I'm positive the mono mix is legit. No fold could be this good. I'm most taken by the happy cuts here so those would be my favorite tracks - "Up,Up And Away", "California My Way", "Go Where You Wanna Go" and "Learn How To Fly".  Issued and reissue on vinyl and/or CD pretty much all over the world through the years, also reel, cassette and 8-track. First UK on Liberty (LBL/LBS 83038). US 2000 CD on Buddha Records (74465 99665 2) came with three bonus tracks, including two 45 cuts from The Versatiles.  Premiere US (also as stereo SCS 92000) had label as shown here on heavy vinyl in a glossy cover.  (YZÄ*)  (ÖXCÅ)

 

                                                                               

                                                                       

                                                                             

                                                                               

                                                                               

GROUP 1850/AGEMO'S TRIP TO MOTHER EARTH 844083 PY (-68) HOLLAND

 Group formed as "Klits" 1964 in Hague, Holland. Starting as a beat band, but after name change 1966 begun to explore the psych scene with following domestic impact. They were signed by Philips and after a couple of ok selling singles got to make this debute LP. It was a small hit on home turf, but didn't make it at all elsewhere so soon after release the label ditched them and the album fell into oblivion. Today it has been rediscovered by psych lovers and collectors around the globe and by many considered one of the best acid rock albums ever.  And for me who's brain sometimes like to devour odd musical stuff it certainly is a delish dish. Undoubtedly much influenced by a bunch of other bands, but even if the recipe for making it this good seems to have been something like - take equal parts Pink Floyd and Zappa, add a table spoon Crazy World Of Arthur Brown and spice with female vocal - it's still noticeable as special. All cuts self-penned. Though the melodies mostly have simple bodies they're carefully dressed in effects, reverb and excellent performances, together creating a dreamy atmosphere which remains throughout. Not going into the separate tracks here as that might be too much to handle in this space, but you can enjoy the whole album plus bonus tracks below. In any case I guarantee an interesting journey for anyone into the gracefully eccentric. Originally also issued on vinyl in UK (Philips SBL 7884). Vinyl reissues in Holland 1999 (Pseudonym VP 99.003) and EU 2013 (Music On Vinyl MOVLP 2114). Dutch 1997 CD on Pseudonym (CDP 1047  DD) came with thirteen bonus tracks. Premiere Dutch had label as shown here in a laminated fold/out cover. The package also included 3D glasses which sadly is missing with this copy.  (HÖLX*) (FÄV*)

                                                                               

                                                                                  

                                                                                    

                                                                             

 

TAMLA MOTOWN PRESENTS 20 MOD CLASSICS STML 12125 (-79) UK MONO

 Compilation containing twenty cuts first released on UK Stateside label before Tamla Motown was established in Britain - six from 1963 and the rest from 1964. All original mono takes, remastered for this issue at Abbey Road studios. I get so many classics here - Martha Reeves & The Vandellas "Heatwave" and "Dancing In The Street", Mary Welles "My Guy", Temptations "My Girl", Marvin Gaye "How Sweet It Is (To Be Loved By You)" and Supremes "When The Lovelight Starts Shining Thru´ His Eyes" - coupled with others maybe today less known, like Velvelettes "Needle In A Haystack" and "He Was Really Saying Something" plus Marvelettes "You're My Remedy" and "Too Many Fish In The Sea". So a very well compiled record showing much of the power Motown had early on. You could argue against the remastering, claiming that after such it isn't really original anymore. I can sense that some of the tracks have somewhat more reverb than when first released, but the audio is very good all through so I guess they thought it was needed to loosen things up a bit and make it easier listening. And to me it's totally ok, either using it as background or in my listening chair reminiscing.  This was UK only, also on cassette (TC-STML 12125). Reissued 1984 on Tamla Motown (ZL 72032). First had label as shown here in a thin glossy cover.  (SÄM*)  (TÖMÖ*) (FÄV*)

 

                                                                               

                                                                                  

                                                                                

                  
                                                                               

                                                                               

                                                                                

                                                                            

KIM FOWLEY/THE DAY THE EARTH STOOD STILL MNWL-7P (-70) SWEDEN

  Kim Fowley (1939-2015) was an American rebel, cult figure and musical jack-of-all-trades - singer, songwriter, musician and producer - often working outside mainstream limits. He seems to have been involved with about everyone in the fifties and sixties - Phil Spector, Barry Gordy, P.J. Proby, Cat Stevens, Zappa, John Lennon and Family, just to name a few - and many more in the seventies and eighties. I can't count them all here so for full story go to https://en.wikipedia.org/wiki/Kim_Fowley . 1970 he visited Sweden and helped out at the newly started independent MNW label. Among other things produced albums for the domestic acts Contact and Scorpion and also recorded this solo album. Can't find any backing credits, but since it was recorded at the same time as Contact's "Nobody Wants To Be Sixteen"  https://monolover.blogspot.com/2013/04/contactnobody-wants-to-be-sixteen-mnwl.html  and Contact member Lorne DeWolfe stands as co-writer to three of the tracks that's probably the band behind the man here.  I like it a lot. A mix of rather rude garage rockers and ballads, most with political, or at least concerned, lyrics.  Odd, but also engaging, with lots of zest.  Favorite tracks -   "Night Of The Hunter", "Is America Dead?" and the "Cadillac" cover. 1970 release in Sweden onyl, reissued 1990 on black/orange label. French 1993 CD on Spalax (14260) and 2012 vinyl on Klimt Records (MJJ 348 LP). Premiere Swedish had label as shown here on thick unflexible vinyl in a matt fold/out cover with record pocket inside.  (NÅY*)  (CCÖ*)  (SWÄU*)

                                                                             

                                                                                    

                                                                                 

                                                                                

                                                                                   

                                                                                  

                                    
                                                                          

                                                                                 

 

FREE/TONS OF SOBS ILPS 9089 (-69) UK

 Band formed after Paul Kossoff and Simon Kirke left Black Cat Bones to try for something new. https://monolover.blogspot.com/2013/07/black-cat-bonesbarbed-wire-sandwich-sdn.html  They recruited singer Paul Rogers from the band Brown Sugar and the then 15 y.o. bassist Andy Fraser, who had played with John Mayall. Got a contract with Island and recorded this album 1968, though it wasn't released till 1969. To my taste a fantastic debute, considering the members were in their mid to late teens. Produced by Guy Stevens, who was known to hate overdubs and second takes, so what you get is more or less live in the studio with them doing their stage act. And it is a very much living album offering lots of being-there feeling. One can hear seeds to what's to come later with and after their "All Right Now" breakthrough, but this early more untamed.  For us who enjoy the combination of garage, skill and top audio there's joy everywhere here.  Paul Rogers vocals sweet as ever and the bass/drum backing darkly fluorishing. I'm especially in love with Kossoff's guitar play. Raw and partly almost unbridled, yet safe and on the spot. These kids really knew their thing and no surprise they would become a million selling act just a year or so on. My favorite tracks below. 1969 issues in US (A&M SP 4198), Canada, South Africa, Downunder and Japan. EU 2001 CD (Island IMCD 281) came with eight bonus tracks. First UK copies came on "eye" label, then the "block" label, so this, just a year later, is the third label design. But since it's in the original fold/out cover with the first matrixes ILPS+9089+A2/ILPS+9089+B2 and the audio is great...close enough.  (FDÄ*)  (ÖSÄP*) (GÖJ*)

                                                                                  

                                                                               

                                                                            

                                                                               

                                                                             

                                                                             

                                                                                  

                                                                       

 

FACES/SNAKES AND LADDERS -THE BEST OF FACES K 56172 (-76) UK

  To my taste a top compilation offering some of the best from their carreer.  Guess regular album cuts would have been enough to satisfy any devoted fan, but here you also get two single A-sides for the first time on LP - "Pool Hall Richard" and "You Can Make Me Dance, Sing Or Anything" - plus the very different 45 mix of "Had Me A Real Good Time" to sweeten the deal. Only got one problem with it. Don't understand why they included the instrumental "Pinapple And The Monkey" from the debute album when there were so many other more felicitous rock'n'rollers to choose from.  "That's All You Need" or "My Fault" for example. In my world PATM is as misplaced here as "Flying" would be on a Beatles Greatest Hits. Luckily the rest fits just fine and the audio pleasing so I can turn up the volume and feel part of the music. I know LP compilations are seen as obsolete by many today, but for an old vinyl lover like myself this is needed as an essential piece of the Faces puzzle. Issued and reissued on LP and/or CD all over the world through the years, also cassette and 8-track. Premiere US on Warner Bros. (BS 2869). Can't seem to locate any CD with bonus tracks.  First UK had label as shown here in a thin matt cover.  (SXÅH*)

                                                                                

                                                                                   

                                                                                

                                                             
                                                                               

                                                                                

                                                                                  

 

AMBROSE SLADE/BALLZY SRF-67598 (-69) US PROMO

 

                                                                                  

  I've always liked Slade. It's unique for a band to play such dirty rock'n'roll and still become a million seller and household name. For me it all comes down to the blend of catchy melodies, prole feeling and Noddy Holders vocals. Songs like "Coz I Luv You", "Mama, Weer All Crazee Now", "Gudbuy Gudbuy" and many more has a perfect balance between raw and friendly, making me feel both challanged and cozy at the same time.  This, by many called the first Slade album, isn't there yet. I can hear what's to come in the covers of Steppenwolf's "Born To Be Wild" and Amboy Duke's "Journey To The Center Of The Mind", but the in comparison subpar production, arrangements and audio makes it hard for me to enjoy all of this as much as I do their later stuff. In my world it is the choice of covers that makes it worth while. Apart from the aformentioned I also get Beatles "Martha My Dear",  Idle Race's "Knocking Nail Into My House" and Zappas "Ain't Got No Heart". A truly rare combination.  I know this has become a holy grail for many Slade fans and I would like to like more, but I'm still too attached  to heir later albums - like "Slayed?", "Alive" "Old, New..." and "In Flame" - to be jumping with joy.  Premiere UK as "Beginnings" on Fontana (STL 5492). Japan 2006 CD in paper sleeve on Air Mail Archive (AIRAC 1299) came with two bonus tracks.  US promo had label as shown here.  Unfortunately this copy was without sleeve when I picked it from a bin a while ago, just came in a custom carboard, so I'm not touching that till I find a suitable replacement.  (ÖRJ*)  (YZÄ*) (ZPÄ*)

                                                                           

                                                                                 

                                                                                  

                                                                                 

MASCOTS/YOUR MASCOTS LK 4704 (-65) MONO SWEDEN

 Swedish group existing between 1963 and 1969, releasing twentyone 45:s and two albums. A couple of the early singles became domestic hits while the LP:s didn't do that well. All the way undoubtedly inspired by the UK music scene with a corresponding change of styles. This debute album sounds all merseybeat. Listening to it today it's quite special among Swedish mid-sixties rock albums. Many of the domestic groups back then can be described as garage rockers - lots of rattling guitars, heavy organ, nervous backing and often bad English lingua. Although this has some garage feeling - simple settings with direct recordings - the result comes more soft. Lead vocals, backing, arrangements and production sounding very British, having a warm cozy atmosphere and top audio. Seven of the twelve tracks were also available as 45 A:s or B:s. Nine are self penned - where of six under group pseudonym "M. Fair" - the rest covers. Most interesting choice is the Lennon/McCartney composition "Tip Of My Tounge". The Beatles couldn't make it work at some early sessions, so they dropped it and the tapes were trashed. First covered by Tommy Quickly 1963 (Pye 7N 35137) without reaching the charts - a fast up-tempo version in a kind of perky Hermans Hermits style. The one here has slower pace with arrangements and harmonies more reminding of contempo-rary Beatles recordings. The album was pressed in Germany for the Scandinavian market on vinyl and reel-to-reel and that was it back then. Reissued in UK on CD 2014 (RPM Records Retro 951) with nine bonus tracks. Premiere release had label as shown here, thick unflexible vinyl and thin glossy cover.  (SCÄ*) (ÖGÄ*) (CCÖ*)