CLIFF RICHARD AND THE SHADOWS/CINDERELLA SX 6103 (-67) UK MONO

 A combo that today by many is seen as dated, but I still carry a torch for them as they were one of the acts that in the first years of the sixties paved the way to modern pop and rock for a then very young Swedish radio listener. This is a later exemple of what the guys could do, but one I can still enjoy. Music penned by The Shadows for a childrens play, performed with help from Norrie Paramor Orchestra and Mike Sammers Singers, all produced by Paramor. Regardless of what one may think about the style and/or genre this is very well done. Meticulously arranged and produced with smashing mono audio. One track has solo vocals by Irish session singer Jackie Lee (who among others also worked with Jimi Hendrix, Tom Jones and Elton John), one a duet between Lee and Richard, two by The Shadows, while the rest is sung by Richard, either with The Shadows or to string arrangements. As a whole not the least nasty or adventurous, but a good mix of songs, most of them with a happy twist. Favorite tracks - "In The Country", "Hey Doctor Man" and "The Flyder And The Spy". Also issued on vinyl in Holland, Israel, Downunder and Taiwan. UK reel (TA-SX 6103). To my knowledge never issued in US or on CD. Premiere UK (stereo SCX 6103) had label as shown here in a laminated flip/back cover.  (CXÄ*)  (FÄV*)                                                            

                                                                                 

                                                                                   

                                                                                 

                                                                             

                                                                                 

                                                                           

PINK FLOYD/A MOMENTARY LAPSE OF REASON 7480681 (-87) HOLLAND

                                                                                    

 After Roger Waters left the band and went solo the remaining members started to work on various solo projects, but as those didn't reach the same success as the group efforts David Gilmour, Nick Mason and Richard Wright got togther to record an album as Pink Floyd. Since Roger Waters claimed he had the right to the group name there were legal disputes, but they were resolved out of court 1987. So they had to struggle even outside the studio to get this record out and the question is - was it worth it?  All cuts penned by Gilmour, whereof six co-written with non-group members. Backed by lots of additional personel, among them Jim Keltner (Plastic Ono Band) on drums and Tony Levin (King Crimson) on bass. Handeled by multi-awarded producer Bob Ezrin. Listening today it's sounds very much like the Dark Side Of The Moon/Whish You Were Here period. Rather dark with excellent guitars and enough quirks to keep you awake. The melodies aren't that strong overall, but both "Sorrow" and "Learning To Fly" have enough weight to nail me to the listening chair. Also the audio is very good to the ears. So a fine record, but not my favorite Pink Floyd sound. I loved them most from the debute up to and with "Obscured By Clouds". That was a period of unbridled spontaneity where they created some of the best psych tracks ever.  But that's me. If you're into their later stuff this will make a good addition.  Issued and reissued all over the world on every possible format. First UK vinyl on EMI (EMD 1003), first US on Columbia (OC 40599). First Dutch had labels as shown here in a glossy fold/out cover with slighty structured lyric inner.  (PÅX*)  (HÖLX*)

                                                                                    

                                                                               

                                                                                   

                                                                                     

                                                                                     

                                                                                    

 

NANCY SINATRA/COUNTRY MY WAY RS 6251 (-67) US

 Continuing my Nancy Sinatra odyssey. Here on her fifth album she's doing country pop, as often with help from Lee Hazlewood, who produced and also provides vocals on two tracks. One cut - "By The Way (I Still Love You)" - penned by Hazlewood, the remaining covers of country songs or more regular pop ones with a country twist.  Most known track today would be "Jackson" - a Wheeler/Lieber composition that's also been recorded by Kingston Trio and Johnny Cash/June Carter among others. Her version, co-sung by Hazlewood, reached #14 on Billboard and became a hit in many other countries. I may not be a big fan of the country pop genre, but enjoy this because of the throughout high quality. Everything is top class - backing, arrangements, stereo mix and audio and her voice really fits the form. It has some added reverb, but not too much so good listening anyway. Apart from "Jackson" I also especially enjoy the very soft songs "End Of The World" and "Lonely Again". Issued and reissued on vinyl and CD all over the world through the years, also reel, 4-track, 8-track and cassette. First UK on reprise (RLP/RSLP 6251). US 1996 CD on Sundazed (SC 6056) came with three bonus tracks. Premiere US (also as mono R-6251) had label as shown here in a laminated cover.  (YZÄ*)  (FÄV*)

                                                                               

                                                                                    

                                                                               

                                                                                  

                                                                              

 

DIANA ROSS PRESENTS THE JACKSON 5 STML 11142 (-70) UK

 The combo's debut album. Motown artist Gladys Knight early became a big fan of the brothers and talked Berry Gordy into signing them. However Gordy doubted they would make a breakthrough of their own and therefore claimed the popular Diana Ross as the one who'd discovered and was handeling them (read "her" presentation below). I wasn't all in with their second and third albums (see earlier posts), thought they came out a little bit too cute and even mushy at parts. This hits me much better. It still has a lot of that classic Motown feeling I love so much with cover versions of songs from Temptations, Four Tops, Marvin Gaye, Stevie Wonder and the Miracles. Most of the songs are uptempo with heavy bass and drums and Michael's childish voice sounds a bit more tamed than on the follow-ups. This is good listening all through, epecially "I Want You Back" (Billboard #1), the cover of Sly Stone's "Stand" and the intense "Nobody". A happy record. Issued and reissued on vinyl and CD all over the world through the years, also reel, cassette and 8-track. Premiere US 1969 on Motown (MS-700). First UK had label as shown here in a fully laminated cover with Motown ad inner. (TÖMÖ*)

                                                                                      

                                                                              

                                                                               

                                                                              

     

                 

                                                                                   

                                                                              

                                                                               

                                                                             

  



 

JOHN LENNON/THE JOHN LENNON COLLECTION IC 064-1 78224 1 (-82) HOLLAND

 First posthumous Lennon album, mixing five EMI 45 cuts and six album ones with six from "Double Fantasy" on Geffen. As DF was rather new and still in the shops at this time I don't understand why so many was picked from that. To my taste the cuts that was used as CD bonus tracks later - "Cold Turkey" and "Move Over Ms. L" - could have been on the original instead. Otherwise this works just fine for me. It has quite a few tracks in common with "Shaved Fish"  https://monolover.blogspot.com/2012/11/john-lennonshaved-fish-pcs-7173-75.html  , leaving out "Woman Is The Nigger Of The World" and "Cold Turkey" but also adding his excellent "Stand By Me" cover, the single remix of "Love" and the uncut version of "Give Peace A Chance", which on "Shaved Fish" was divided into two segments. So both collections have their advantages and best kept together. The audio here is very good, maybe a little smoothened in comparison to the originals, but still providing enjoyable listening. Issued and reissued all over the world on all possible formats. First UK on Parlophone (EMTV 37), US on Geffen (GHSP 2023) as a fifteen track, omitting "Stand By Me" and "Happy Xmas (War Is Over)".  EU 1994 CD (Parlophone 7 91516 2) came with the seventeen track version plus the two aforementioned as bonus. First Dutch had label as shown here in a fully laminated cover with picture/lyric inner. (BÄ*)  (JYZÖ*)  (HÖLX*)

                                                                              

                                                                                

                                                                                

                                                                                         

                                                                                  

 

OMEGA REDSTAR/TROMBITÁS FRÉDI ÉS A RETTENETES EMBEREK LPX 17390 (-68) MONO HUNGARY

 Budapest band first existing 1962-87, then reformed 1994. By far the most successful Hungarian outfit. Not only popular in East Europe, but also embraced by lovers of psych and prog in many other countries. Eventually they would turn to space rock and electronic, but this debute (eng. "Freddie The Trumpeter And The Terrible People") is very much psych rock and prog with some folky elements. Very well conveyed by this excellent sounding mono press with flute, organ, trumpet, strings, keyboards and lots of fuzz guitars. I also get some rythmic gaming and odd vocals. So a quite complicated concept and lyrics in Hungarian doesn't make it easier to comprehend. Maybe not the most enjoyable first listen for the fainthearted who doesn't understand the language, but if you're into this kind of music and look for something out of the ordinary it's certainly worth a spin. Full album below. To my knowledge this was only legally issued in Hungary. 2022 CD on Grund Records (GO 03) came with three bonus tracks. First vinyl (also as stereo SLPX 17390) had label as shown here in a fully laminated cover.  (BÅC*)

                                                                                   

                                                                                 

                                                                                 

                                                                                    

                                                                                       

 

MARVIN GAYE/LET'S GET IT ON STMA 8013 (-73) UK

 The ninth Marvin Gaye LP I'm posting here. For the others please check  https://monolover.blogspot.com/search?q=(G%C3%96JI*)&max-results=20&by-date=true  . All there are classic sixties Motown, solo or duet, slow or uptempo, melodic and catchy, though not often with any kind of concept, just good collections of songs. But this, his twentieth, can be called a true theme album and the theme is - erotica. Though recorded at several occations between 1970-73 in different studios it's still put together as a cardinal entity, blending soul and funk music to sexually charged lyrics. It became his most successful album and have since been widely regarded as landmark for its genre. Listening today I'm taken on a very smooth ride through titles like "Just To Keep You Satisfied", "Keep gettin' It On", "Come Get To This" and "You Sure Love To Ball", all certainly pointing in the same direction. Now over fifty years later the lyrics themselves may not come out too daring, but together with the suggestive music it still has the ability to catch. Full album below so You can see if You go with the groove. Issued and reissued on vinyl and CD all over the world through the years, also cassette, 8-track, blue ray and file. Premiere US on Tamla (T 329V1). US 2001 2xCDcame with thirtysix bonus tracks, including demos, alternate mixes and versions. First UK had label as shown here in a glossy fold/out cover.  (TÖMÖ*)  (GÖJI*)

                                                                                    

                                                                                

                                                                                     

                                                                                 

 

THE TURTLES/THE TURTLES PRESENT THE BATTLE OF THE BANDS HAU 8376 (-69) UK MONO

  Their forth album, a concept one by some called Turtles' equivalent to Sgt. Pepper. Presented as a competition between eleven bands, covering about every pop style apparent back then and supposed to give the impression the tracks were recorded by different acts. It might be fun to have that set-up in mind when listening, but even without it's simply a very nice Turtles album. The pop parody "Elenore" (#6 on Billboard) is catchy, the odd country-ish "Chicken Little Was Right" very funny, the Beach Boys style "Surfer Dan" superficially very close to the originals and "Buzzsaw", with its heavy organ and fuzz guitar, can be heard as light garage psych. This mono is without doubt a fold from the stereo tapes. I don't have a stereo to compare with, but listening close it's possible to detect some lack of symmetri in places. Anyway it works just fine as background and as long as you don't get your ears to near very enjoyable. Issued and reissued pretty much all over the world on vinyl and CD through the years, also reel, cassette and 8-track. Premiere US 1968 on White Whale (WWS 7118) came in a fold/out cover with them posing as the different bands inside. EU 2017 2xCD on Edsel (EDSK 7120) came with eleven bonus tracks. First UK, also as stereo (SHU 8376), had label as shown here in a single fully laminated cover with die-cut hole on rear and red or blue rim inners.

                                                                                     

                                                                                    

                                                                                      

                                                                                   

                                                                                  

 
 

THE BEACH BOYS/BEACH BOYS CONCERT T 2198 (-64) UK MONO

 The group's first live album, recorded in Sacramento, California, at two occations - Dec 1963 and Aug 1964 - it remains one of few recorded live performances with the band's original line-up. It was very well recieved and became the first live album to top the Billboard pop charts. Apart from Beach Boys classics as ""Fun Fun Fun", "I Get Around" and "Little Deuce Coupe" they also perform a number of covers for the first time on album - e.g. "Johnny B. Goode", "Monster Mash" and "The Wanderer". Apparently the recordings did undergo quite a lot post-production, but nothing obvious to my ears. It has all the nerve of a true live and the voices works as well on stage as in the studio. For us used to later live recordings the audio here might come out somewhat subpar, yet sounding good for a 1964 issue and it still has the ability to put me there if I close my eyes in the listening chair. I guess a must for Beach Boys fans, both for its musical and historical values. Issued and reissued on all possible formats all over the world through the years. Premiere US on Capitol (S/TAO 2198). Japan 2001 CD on Capitol (TOCP-53167) came with one bonus track. First UK had structured label as shown here in a cover with larger "mono" on front. This copy has the smaller, so somewhat later. (BÅB*)  (LYBÖ*)