CROSBY, STILLS, NASH & YOUNG/ DEJA VU 1 13 1503 (-74) RECORD CLUB ISSUE CZECHOSLOVAKIA

 

  For more on the release please also check the US https://monolover.blogspot.com/2018/02/crosby-stills-nash-youngdeja-vu-sd-7200.html and Japanese https://monolover.blogspot.com/2018/07/crosby-stills-nash-youngdeja-vu-mt-2023.html issues. As always I love to find odd variations of classic albums. And this ticks most of my boxes. A Czech record club issue on yellow Supraphon label with an all exclusive sleeve design. A laminated four page fold/out with arty front and picture rear. Inside lyrics in both english and Czechish, a long introduction to the band in Czechish and a group image. The audio is just fine - both warm and direct. Coming out almost identical to the US (Presswell) variation so providing very good listening. For me this is a treasure and one of many manufactured behind the iron curtain back in the days. Not all were tophole from there and then, but quite a few stood out and well worth to be found and explored if you're in the mood for something different. Here's a link to some of my other finds from that era  https://monolover.blogspot.com/search?q=(B%C3%85C*)&max-results=20&by-date=true .  (BÅC*)  (ZHÄ*)

                                                                                  

                                                                                 

                                                                               

                                                                               

                                                                                  

                                                                                

                                                                                   

 

SMOKESTACK LIGHTNIN'/OFF THE WALL SBLL 116 (-69) UK

 

One-off LP from a US West Coast outfit that's new to me and I can't seem to find much info about. Aparently drummer Art Guy came from surf group New Dimensions that relesased one album 1963 - "Surf'n Bongos" (Sutton S/SU 332) - and bassist Tom Beaudry (aka Kelly Green) who later would be a vocalist in Frijid Pink (at least that's the info I get from the net - but it is really the same Kelly Green?). They also appeared in the Robert Clouse movie "Dreams Of Glass". This record, consisting of two self-penned tracks and seven covers, was produced by Bones Howe, who earlier had handeled stuff by Turtles, Association and 5th Dimension.  It's an all very well performed blues album, mostly smooth with occational female background quires. Singer Ronnie Darling has a nice voice and there are very good guitar parts. A couple of the cuts maybe a little too run-of-the-mill-bluesy for my taste, but there are highlights - like the raw "Light In My Window" and the up-tempo "Till Tuesday" including some very forceful vocals and guitars. I also like the thrashy guitars embellishing the "Smokestack Lightning" cover. So in my world a somewhat uneven blessing, still well worth to explore for about any lover of sixties blues rock. Premiere US on Bell (BELL 6026), also as 4-track, 8-track and Reel . Further originally issued on vinyl in France and Downunder. US 2008 CD on First Of May (89112). First UK (also as mono - MBLL 116) had label as shown here in a laminated flip/back cover. 

                                                                               

                                                                               

                                                                            

   

                                                    
                                                                               

                  
                                                                                   

                                                                                   

 

FOUR TOPS/REACH OUT MT-660 (-67) US MONO

 

 For more please check post on the UK stereo https://monolover.blogspot.com/2020/09/four-topsreach-out-stml-11056-67-uk.html . One of my all time favorite Motown albums. Every track is a winner and all performed with so much positive energy it's impossible not to be uplifted. Been looking for a US or UK mono version a long time, but for some reason failed to locate one in the local bins. Now I have and it's good, but not as expected. There's a very dominant bass on many of the cuts, wich makes it bouncy enough, but partly less well separated. As a big seller it was pressed at various locations in US. This one by Columbia's plant in Terre Haute. No clue if a mono pressed at some other plant could have a different outcome, but I will continue to scrape the bins and maybe I'll find one to be sure. In any case I am very pleased with this for now, both in my listening chair and dancing with myself in front of the speakers. Happy music below. Early US copies had label design as shown here in a glossy cover with Motown ad inner.  (YZÄ*)  (TÖMÖ*)  (FÖRH*)  (ÖXCÅ*)

                                                                                   

                                                                             

                                                                                      

                                                                             

   

 
                                                                                                                                                             

                                                                                     

                                                                                      


 

LORD SUTCH AND HEAVY FRIENDS SD 9016 (-70) US

  

An LP that after a BBC poll was named "the worst album of all times", in Rolling Stone Magazine called "absolutely terrible" and after the recordings dismissed by the partaking musicians...could that really be something to like? David Edward Sutch (1940-99) was a jack-of-all-trades on the British scene in the sixties. Politically active with his "National Teenage Party", operating a radio station and performing a novelty horrow show as "Screaming Lord Sutch". He had no talent in singing, but still managed to release a couple of singles 1961-66, whereof "Jack The Ripper" became a minor hit. This his debute album was recorded spring 1969 and backed by a couple of the finest rock musicians Britain could offer back then - Jimmy Page and John Bonham (Led Zeppelin), Jeff Beck (Yardbirds, Jeff Beck Group), Noel Redding (Jimi Hendrix Experience) and Nicky Hopkins (who at this time was working with Rolling Stones). As the story goes the musicians didn't expect any of it to be released, so they played for fun without regards. To my taste there are things to savour here. The vocals are quite poor which gives most of the album a kind of bad mojo, but if you can look past that you'll find some truly pleasing garage rock played by the best. There are very good guitars here - like Jimmy Page's relaxed and playful notes in "Whailing Sonds" and "Cause I Love You", or Jeff Beck's adventurous ones in "Gutty Guitar". Not everything fits 100%, but that's part of the charm. You get the impression they'd just met in the studio and went along for a laugh. I'm positive that with another singer, or maybe all instrumental, this would today be considered a minor blues/rock classic. Favorite track - the psych "Flashing Lights".  Also issued on vinyl over Europe, Downunder, Japan and Mexico and Canada. First UK on Atlantic (2400 008). UK 2013 CD on Esoteric Recordings (ECLEC 2405). Premiere US had label as shown here in a laminated cover.  (YZÄ*)

                                                                           

                                                                                  

                                                                                 

                                                                          

 

 

PETER GABRIEL/PASSION 303 539 (-89) EU

  Initially composed as soundtrack to the Martin Scorsese movie "The Last Temptation Of Christ", but after spending time changing and developing the music, Peter Gabriel decided to release it under his own name and it became his eighth album. And since I haven't seen the movie or heard the original soundtrack I'm taking it in as a regular studio album. Listening to it now it has very little in common with the two surrounding regular albums - the 1986 "So"  https://monolover.blogspot.com/2020/03/peter-gabrielso-pg-5-86-uk.html  or the 1992 "Us" https://monolover.blogspot.com/2020/04/peter-gabrielus-213-143-92-germany.html . I know it has been grammy awarded and celebrated as a landmark of world music, but I can't get all in. Gabriel is one of the best songwriters of his time, able to include important messages in more or less regular songs bursting with feelings going right to the gut and heart. I don't get enough of that here. Even if very well arranged and performed by a number of skilled artists it doesn't move me as I had hoped. Maybe having seen the movie would have helped...or maybe I just don't have the brains for it. I will keep it as part of my Genesis/Gabriel collection, but doubt I will spin it a lot henceforth. Full album below if You wanna try. Issued and reissued all over the world on 2xLP, CD and cassette through the years.  Premiere EU had label as shown here in a stickered laminated cover with pic/lyric/info inners.  (GYÄ*)

                                                                                

                                                                                 

                                                                                       

                                                                                   

                                                                            

 

DAVE CLARK AND FRIENDS SCX 6494 (-72) UK

 A kind of follow-up to the 1971 "The Dave Clark Five Play Good Old Rock'n'Roll"  https://monolover.blogspot.com/2019/07/the-dave-clark-fiveplay-good-old-rock.html. As with that this is also a blend of Dave Clark Five recodings - in this case five previous 45 A-sides - and later studio recordings led by Clark and former band keyboardist and singer Mike Smith. Friends include drummer Clem Cattini (who has played on 45 UK #1 singles among other things), guitarist Alan Parker and singer Madeline Bell (both then members of Blue Mink https://monolover.blogspot.com/2014/02/blue-minka-time-of-change-srza-8507-72.html ) plus actor Peter Davidson (Dr. Who 1981-84) who wrote and sang the track "Officer McKirk". Considering the pick-and-mix on about every level here one could expect a fragmented and uneven result, but it comes out as a surprisingly collected pop/rock album. Starting with an emotional cover version of Neil Young's "Southern Man" carried by some very good guitars. Then follows a mix of covers and self-penned, some ballads some uptempo, but most built on a rock foundation. Favorite tracks - "Southern Man", the psychish "I Don't Know" and the  smooth rocker "Won't You Be My Lady". All very well done with top audio, providing pleasant listening.  It didn't sell a lot back then and doesn't show up often in the bins, but if You're an old DC5 fan or just dig well done rock and happen to find one at an ok price it should be worth while. Also issued on vinyl in Germany, Japan and Downunder. German 2002 CD on Rock-In-Beat-Records (RB 218) came with seven bonus tracks. Premiere UK had label as shown here in a fully laminated cover. 

                                                                                  

                                                                            

                                                                               

                                                                                  

                                                                                 

 

QUEEN/THE MIRACLE 064-792357 1 (-89) GERMANY

 I was out of my Queen comfort zone when getting in to "The Works" in a previous post. https://monolover.blogspot.com/2022/10/queenthe-works-emc-24-0014-84-uk.html and with that realised there were also things to love on the post-Jazz albums. This was their thirteenth and first studio recording after Freddie Mercury was diagnozed with HIV.  As with "The Works" there are lots of electronics involved, but also some good rock'n'roll. I especially like the guitars here. Brian May is especially mean in "The Party" and "Was It All Worth It?", but also providing more sensitive support in tracks like "The Miracle" and "I Want It All". It seems their songwriting was as elaborate as ever, but though I've spun it a lot lately I still haven't found anything here that moves me the same way as for exemple "Killer Queen" and "In The Lap Of The Gods...Revisited" from Sheer Heart Attack https://monolover.blogspot.com/2016/02/queensheer-heart-attack-emc-3061-74-uk.html  "Who Needs You" from News Of The World https://monolover.blogspot.com/2018/12/queennews-of-world-ema-784-77-uk.html or most tracks from A Night At The Opera https://monolover.blogspot.com/2016/03/queena-night-at-opera-emtc-103-75-uk.html . But even if it turns out less miraculous for me than much of their early stuff it's still to my ears much better than most contemporary releases from other acts and a keeper for sure. Full album below. Issued and reissued on all possible formats all over the world through the years. I can't count them all. Premiere UK vinyl on Parlophone (PCSD 107) and US on Capitol (C1-92357). First German had label as shown here in a fully laminated cover with pic/lyric inner.  (GÖXÄ*)  (QÄN*)  (PÖX*)

                                                                                 

                                                                                 

                                                                               

 

DAVID McWILLIAMS/ VOL. 2 MMLP 10 (-67) UK MONO

 David McWilliams (1945-2002) was a singer/songwriter from Northern Ireland. Though releasing a number of ok selling albums and 45:s from 1967 up to his death  he is today often seen as a one-hit-wonder for his biggest hit - "Days Of Pearly Spencer". I've had this and the follow-up LP "Vol. 3"  https://monolover.blogspot.com/2012/11/david-mcwilliams-vol-3-mmlp-11-67.html  for decades and always liked them for the well written songs handeled by Mike Leander's tophole production and arrangements. And among many good tracks there's one that really nails it, one that at least in my book is worth to be uplifted as an all time classic - "Days Of Pearly Spencer". An uptempo ballad about a homeless alcoholic about to take his last steps. The refrain is absolutely hauting with its contrast between the low-fi vocals - apparently created by McWilliams singing from a phone box near the studio - and Leander's beautiful string arrangements. It can still give me sweet goosebumps after all those years and I'll probably never get tired of hearing it. And this UK mono captures it perfectly - strangely smooth and hard hitting at the same time. Vinyl issues also in Canada (Epic BE 803) Japan (Columbia YS-2024-M), Downunder (Decca SKLA 7640) and all over Europe. US 1969 10-track version on Kapp had other sleeve design. French 2002 CD on Magic Records (3930160) came with three bonus tracks. Premiere UK (also as stereo SMLP 10) had ridged label as shown here in a laminated cover. 

                                                                                  

                                                                                 

                                                                                 

                                                                                

 

FLO & EDDIE MS 2141 (-73) US

  After Turtles disbanded 1970 the vocal duo Mark Volman and Howard Kayland stayed busy. Apart from being part of Zappas'  Mothers Of Invention on stage and four albums 1970-72, they also provided vocal backing on one Steely Dan plus four T.Rex albums early seventies and released two solo ones the same period - the 1972 "The Phlorescent Leech & Eddie" and this. I haven't got in to the first yet, but the one here has been in my collection to and from ever since release and always been able to encourage me when things looked bad. So sparkling positive it always put me in a good mood. Rhythm section including bassist Jim Pons (Turtles, Mothers) and drummer Aynsley Dunbar (New Animals, Bluesbreakers, Mothers, his own Retaliation  https://monolover.blogspot.com/2013/06/the-aynsley-dunbar-retaliationdoctor.html  and many more). Produced by Bob Ezrin and, as the story goes, made to go along with Alice Cooper's "Billion Dollar Babies" tour, which the duo was part of. What you get is a mix of self-penned and covers. Today I may be able to live without the comic numbers "The Sanzini Bros" and "Carlos And The Bull", but a couple of their other own songs comes with a true Turtles quality - like "If We Only Had The Time" and "Another Pop Stars Life". Though what really makes me come back for more spins are the cover versions. For exemple Kinks "Days" and Small Faces "Afterglow" are treated with so much love it's impossible not to be touched. However You don't have to take my word for it. Full album below - just listen and enjoy! Originally also issued in Canada, UK (Reprise K 44234), France, Germany and Downunder. US 2008 2xCD on FloEdCo (MFO 48001) came with both this and "The Phlorescent Leech & Eddie". Premiere US had label as shown here in a structured cover.  (YZÄ*)

                                                                              

                                                                              

 

PINK FLOYD/SOUNDTRACK FROM THE FILM "MORE" SCX 6346 (-69) UK

   Soundtrack to a movie about hippies doing drugs and having sex on Ibiza. Never seen it myself, but luckily there's no need for that to embrace the music. Like another Pink Floyd soundtrack - "Obscured By Clouds" https://monolover.blogspot.com/2012/12/pink-floydobscured-by-clouds-shsp-4020.html - this can be enjoyed as a regular album and a very good one too. It was their third and first without Syd Barrett. Recorded on low budget in about two weeks and apparently much of the material improvised as they went along exploring whims and recording them without too much planning or ulterior motives and still making it sound so good. I can enjoy later overloaded albums like Dark Side Of The Moon or Whish You Were Here, but feel a lot more at home with their earlier stuff. This is the Floyd I like. A blend of pastoral, hard rock and experimenting, at the same time out there and very catchy. Stylewise more reminding of Atom Heart Mother https://monolover.blogspot.com/2012/12/pink-floydatom-heart-mother-shvl-781-70.html than their first two LP:s. For me it all sticks together so it would be impossible to choose just a couple of favorites, but adding the whole album below if You haven't heard it yet or just want an update.  Issued and reissued on every possible format all over the world through the years. First US on Tower (ST-5169). Japan 2017 remasterd CD in paper sleeve with obi (Sony SICP 5403). Premiere UK had label as shown here, having "Sold In UK..." below EMI logo, in a laminated three flap flip/back cover with green rear and couple facing left.  (PÅX*)  (ZÖNT*)