A KINKY HOLIDAY

 Going for a summer break to rest my brain and ears and enjoying doing nothing. No new posts for a while now, but will be back with a new stack before you know it. Wishing You a great summer wherever You are. The songs below are from the Kinks "Muswell Hillbillies" LP https://monolover.blogspot.com/2012/07/the-kinksmuswell-hillbillies-sf8243-71.html . One of their absolutely best and one of the more remarkable albums ever made, combining empathetic with catchy thus making it feel-good in the best possible way.  Love/Erik

                                                                        

                                                                                  

                                                                               

HONEYBUS/STORY DML 1056 (-70) UK MONO

  Have to post a reminder of this great but today almost fogotten album, with added music. Group started 1967 by songwriter and session musician Pete Dello. His compositions earned them success with the singles "Do I Still Figure In Your Life" and the UK top ten hit "I Can't Let Maggie Go".  The former has been covered by a number of artists, among them Joe Cocker on his debute album  https://monolover.blogspot.com/2012/04/joe-cockerwith-little-help-from-my.html  .  Dello didn't like playing live or touring so he left in August -68. In spite of couple ok selling 45:s the group never recovered and disbanded at the end of 1969. This album had been recorded by then and was released posthumously 1970. Skillfully produced by Ivor Raymonde (who earlier worked with Dusty Springfield, Alan Price and Walker Brothers among others) it should have been a hit, but since there were no band, no one was there to promote it and it quickly disappeared from the shops. Very sad cause it is a lovely piece of work - intelligent pop with baroque and psych turns and every track is a winner (just listen below). If I have to pick a favorite - "Under the Silent Tree". This mono is with all certainty a fold, but it sounds great so from a good compatible. Also released on vinyl in Australia (Deram SMLA 1056). UK 2008 CD on Rev-Ola (CR REV 249) came with eleven bonus tracks. Premiere UK mono had label as shown here in a laminated cover with mono/stereo die-cut hole on rear and red rim inner.  (UKÖ*) (YMÖ*) (DÄRR*)

                                                                                  

                                                                                   

                                                                          

                                                                                  

                                                                              

                                                                                    

                                                                                

 

TOE FAT/TWO SLRZ 1015 (-70) UK

  For background check post on the band's debute  https://monolover.blogspot.com/2013/04/toe-fat-2c-062-04374-70-french.html . After that Ken Hensley quit to form Uriah Heep and Lee Kerslake first went to National Head Band before joining Uriah Heep 1971. They were replaced by drummer Brian Glascock (later in Carmen and Captian Beyond) and guitarist Alan Kendall (later with BeeGees) for this second and last album as Toe Fat. "John Konas" credited as bassist in The Gods and Toe Fat was in fact Brian Glascock's brother John Glascock (later in Carmen, Chicken Shack and Jethro Tull).  Though one can hear here some connection with the band's earlier phases as The Gods and the first Toe Fat setting this comes out surprisingly different. I get a bluesy number in "There'll Be Changes" and a dreamy "Indian Summer", but the rest stone hard rock. All numbers penned by the band. Top performance with spendid guitars and Cliff Bennett doing apt hard rock vocals very far from his original Rebel Rousers  https://monolover.blogspot.com/2013/03/cliff-bennett-and-rebel-rousers-pmc.html . Maybe not all pioneer though there are parts that lifts it above prosaic. Like the ukulele intro to "Stick Heat" or the tempo changes in "Midnight Sun".  But to me the most remarkable is that Peter Green himself took part in the recordings (uncredited) and plays lead guitar on one track - "A New Way" - which starts cool and Albatross-like and then moves over to harder stuff. So even if not an absolute top-of-the-line rock album there are enough goodies to make it more than just something for label and genre collectors. Early seventies vinyl also in US (Rare Earth RS 525), Italy and France.  1995 UK 2xCD on BGO (BGOCD 278) as "Toe Fat I & II" came with the band's both albums. Premiere UK had label as shown here in a laminated flip/back cover.   (RÄZ*)  (ÖRHÄ*)

                                                                              

                                                                                

                                                                            

                                                                             

                  
                                                                               

                                                                               

 

 

ELMER GANTRY'S VELVET OPERA S8-63300 (-68) UK

 Band started out as a the blues/soul outfit Five Proud Walkers, but after supporting Pink Floyd at a tour they were inclined towards a more psych agenda.  First renamed simply Velvet Opera, the Elmer Gantry addition came after singer Dave Terry took the persona of the title character from a Sinclair Lewis novel.  This was the only LP recorded by this setting. It didn't sell and soon after both Dave Terry and guitarist Colin Firster quit. Following a second album - "Ride A Hustlers Dream" as Velvet Opera - with a partly new setting,  bassist John Ford and drummer Richard Hudson left to become the new rhythm section in Strawbs - and that was it.  Listening today it is very hard to understand why this album didn't hit. Maybe they were too much ahead of their time and/or too much to handle for the average listener. I hear a smorgasbord of different styles - psych, prog, r&b and rockabilly - skillfully performed with power and lots of catchy moments.  To may taste every track is a winner, but if I have to pick favorites it'd be the more psychedelic ones, certainly odd yet inviting enough to stick - "What's The Point Of Leaving", "Dream Starts", "Intro/Mother Writes" and the strange semi-baroque instrumental  "I Was Cool".  The audio on this press is tophole - loud and clear with often prominent bass and drums.  Early vinyl issues also in US and Canada (BN 26415). UK 2013 CD on Grapefruit Records (SRSEG 026) came with eleven bonus tracks, including single and Demo versions. Premiere UK had (also as mono (8-63300) had label as shown here in a laminated cover.   (DÄJ*)

                                                                                   

                                                                                 

                                                                                    

                                                                     

                                                                               

                                                                                

                                                                                 

 

MANFRED MANN/THE MIGHTY QUINN SR 61168 (-68) US

 

Often presented  a US eleven track version of the UK fourteen track Mighty Garvey album (Fontana TL/STL 5470), but it could also be seen as an exclusive.  Apart from a totally different sleeve design this omitts the three "Happy Families" tracks, and "Harry The One-Man Band", instead adding "Semi-Detached Suburban Mr. James" - a 1966 45 A-side.  While the UK was a kind of theme album built around the made-up person "Mighty Garvey", all traces of that was expunged here and instead you get a pop/psych LP with no concept attached.  It feels good to have the three top singels "The Mighty Quinn", "Ha Ha Said The Clown" and "Semi-Detached Surburban Mr. James" on the same plate, together with other highlights as the catchy "Each And Every Day" plus psych numbers like "Every Day Another Hair Turns Grey" and "It's So Easy Falling". My only reservation would be the audio on this press. Bass low in the mix most of the time, making it sound very sharp. A little more warmth would have made it a lot better.  Title song is mono and comes out great, while  HHSTC sounds like some kind of fake stereo.  The rest true stereo.  In any case special enough to earn its own safe  place on the shelf.  Vinyl issues also in Canada and Downunder.  Premiere US had label as shown here in a glossy sleeve.   (MÄNÄ*)  (YZÄ*)

                                                                                  

                                                                             

                                                                               

                                                                            

          
                                                                               

 

URIAH HEEP/VERY 'EAVY, VERY 'UMBLE 6360 006 (-70) GERMANY

                                                                                  

For me Uriah Heep was and has remained one of the most important rock bands of the seventies. It's interesting to follow their journey from sixties psych/prog band The Gods https://monolover.blogspot.com/2013/02/the-godsgenesis-sx-6286-68-uk-mono.html , over the a bit more r&b based Toe Fat https://monolover.blogspot.com/2013/04/toe-fat-2c-062-04374-70-french.html , to this hard rock/prog outfit. First Toe Fat singer Cliff Bennett was asked to join the new setting, but he declined and instead wanted to continue with the old band. In lieu they hired vocalist David Byron (born David Garrick 1947-85), who earlier had been in the band Spice with guitarist Mick Box 1967-69.  As I see it that was the lucky break they needed. The feeling, skill and creativity was already there and Byron's schooled voice became the icing on the cake - controlled with a very wide register allowing him to change between raw and fine tuned operatic in a second. In my world their finest time was from the second album Salisbury  https://monolover.blogspot.com/2015/02/uriah-heepsalisbury-6360-028-71-uk.html  up to The Magician's Birthday  https://monolover.blogspot.com/2015/01/uriah-heepthe-magicians-birthday-ilps.html . The rest with Byron is good too, just a little more uneven.  On this debute it's like they're testing different approaches trying to find their own special sound. You could call it "trial and error", but luckily almost without error. "Gypsy" is a classic killer with tons of evil organ and mean guitars to Byron's versed vocals.  "Real Turned On" ear-grabbing with tons of good Mick Box guitars. "Walking In Your Shadow" and "Dreammare" showing that even very hard rock can be truly catchy. Have to admit neither the ballad "Come Away Melinda" nor the blues trial "Lucy's Blues" does anything for me, but the rest certainly good enough to make it a must. Issued and reissued all over the world on all possible formats through the years. First US as "Uriah Heep" on Mercury (SR-61294) came with different sleeve design, omitting "Lucy's Blues" and instead adding an early recording of "Bird Of Prey", different from the one appearing on the UK "Salisbury".  2016 EU CD on Sanctuary Midline (SMRCD 048) came with eight bonus tracks.  First German had labels as shown here in a laminated fold/out cover.   (WLÖ*)  (ÖRHÄ*)  (GÖXÄ*)

                                                                               

                                                                                   

                                                                           

                                                                             

                                                                                 

                                                                               

                                                                                   

 

                                                                         



 

FAIRPORT CONVENTION SP4185 (-69) US

  US variation of the UK "What We Did On Our Holidays"  https://monolover.blogspot.com/2017/01/fairport-conventionwhat-we-did-on-our.html . The bands second LP, first with Sandy Denny and the first of three by the outfit that would help to set a pattern for much of the UK folk rock that flourished in the seventies. For more on the album itself please check the link above, here I'm more interested in what differ the both issues. While the UK sleeve has a kind of arty doodle front with a live pic on rear the front here has an exclusive and very lovely group image where Denny looks so adorably huggable while the rear shows a rather dull medieval drawing of a city. It's the same tracking though the audio differs. The US is cut louder and gives a wider impression throughout while the UK is more down to earth with a bit more clarity.  Both come good in their own ways so I guess what one perfer is down to personality ...or just mood. And cause the one I'm in now needs a bigger hug I go for the US.  Apart from UK and US also issued in South Africa (Fontana STL 233). Australian release in both mono and stereo (Festival FL 33356/SFL 93356). Japan 2003 CD (Island UICY-20056) came with three bonus tracks. First US had label as shown here is a glossy cover.   (FÄHZ*)  (YZÄ*)  (FÄV*) 

                                                                                

                                                                                

                                                                             

                                                                                

JAMES TAYLOR UK STEREO SAPCOR 3 VS. UK MONO APCOR 3

                                                                                 

 Listening to this mono I always took for granted it was legit because of the top audio and perfect balance  https://monolover.blogspot.com/2022/04/james-taylor-apcor-3-68-uk-mono.html   . But as I also have seen claims on the net that it's a fold thought I'd settle the matter once and for all. And no doubt it's a separate mix. The fadeouts almost coincide though there are a couple of small differences - e.g. The "Carolina In My Mind" stereo is four seconds longer and the "Knocking Around The Zoo" mono fades two seconds later. But you only have to compare connecting the channels on the stereo with the real thing to be sure. Mono has a very natural balance while mimicking a fold alters that in a not so good way. For exemple - on the CIMM mono the drums are quite loud setting a clear pace, yet folded they don't appear that prominent which makes the song less dynamic. There may be other differences, but for me all the above is enough to certify - this mono is a separate mix. The stereo in itself sounds great too - big and strong with lots of overlapping. In fact they both come out so good it's hard to choose sides, but if I have to - mono it is!  (BÄ*)  (ÄPLÄ*)  (MÅW*)  (CPYC*)

                                                                                 

                                                                                    

 

GLAD/FEELIN' GLAD ABCS 655 ( -68) US

 Band started as surf rocking The New Breed 1963. After getting local attention and releasing a couple of ok selling singles they changed musical direction 1967 towards the then more popular psych pop scene and their name to Glad. But the transition failed saleswise and soon after this recording they changed path again, this time towards country rock and their name to Redwing, releasing a couple of albums that was well recieved by both public and critics. Also worth noticing is the bass player here - Timothy B. Schmit - left the band 1970 and went on to bigger fame with Poco, Eagles and Ringo Starr's All Star Band. So even if this album almost sank without a trace back in the days and has stayed forgotten by most it is a notable part of American rock history and thus well worth to be recognized. And listening today it remains a good exemple of sixties sunshine psych. I can't help hearing similarities with then more popular outfits like Association or Mamas & Papas, though with enough peculiarities to make at least some of it special. The tracks that hit me hardest are the very mighty "A New Tomorrow", the uptempo "Pickin' Up The Pieces" and the baroque pop "Love Needs The World" with beautiful string arrangements by Eirik Wangberg. As a whole maybe a bit uneven, but with enough good pieces to pick up for any lover of late sixties American pop and rock.  To my knowledge this US was the only vinyl issue. Japan 2022 CD on Vivid Sound (VSCD 5994) in paper sleeve. First (only?) US had label as shown here in a glossy cover with "ABC" ad inner.  (YZÄ*)