DOWNLINERS SECT/ THE COUNTRY SECT 33SX 1745 (-65) MONO DENMARK

 For more on the band and their rather riveting history please check post on the debute  https://monolover.blogspot.com/2017/01/downliners-sectthe-sect-33sx-1658-64-uk.html . This follow-up is a bit more diverse, blending r&b, country, blues and ballads, but by the same fearless garage manner. Mostly countryish in a very simple way, with sparse instrumentation and frequent use of skiffle board. Vocals never pretty, but always fitting the mood. You never know if they're serious with the result or just having fun. I love records like this, so honest and revealing yet in some strange way very catchy. And the audio on this vinyl is smashing - big,strong and natural. I sincerely hope they were having fun making it, cause I sure have listening to it. Favorite track "I Got Mine". Full album below. First released in UK (33SX 1745), sixties issues also in New Zeeland (33MSX 1745) and Canada (Capitol T 6161). Then reissued on vinyl and/or CD over Europe and in Japan. German 2005 CD on Repertoire Records (REP 5036) came with six bonus tracks. This Danish press came with the same stamped matrice numbers as UK (XAX 2872-1/XAX 2873 -1) in a Garrod & Lofthouse laminated flip/back cover, so I guess the only difference is the label design.  (CCÖ*)

                                                                                  

                                                                                 

                                                                                 

 

IKE AND TINA TURNER/OUTTA SEASON BTS 5 (-68) US

 

I very seldom buy records I haven't heard before just because of the sleeve, but this I couldn't resist. Designed by Tom Wilkes (who also made the covers for Beggars Banquet, Safe As Milk, All Things Must Pass and Harvest among others) it's a wit on the 1930 movie "Check And Double Check", where white actors color their faces black to fit in. Here it's the opposite, they're posing as white people singing the blues. I've seen it has got very mixed reviews from critics, some rather bad, so my expectations were kept low, but when listening to the record for the first time I was hit by a good blues album. Mostly a bit softer than you might expect from the duo, but with top vocals from Tina. Larger part covers of regular blues numbers with simple yet on the spot backing, allowing her voice to flower. She's the star here for sure. The audio on this US press is superb - loud and clear with perfect separation...almost tactile. Very good listening all through. Hard to pick favorite tracks, but why not "I've Been Loving You Too Long" and "Rock Me Baby". Sixties issues in Canada, Israel, Australia (in mono and stereo), New Zeeland and over Europe. UK on Sunset (SLS 50314). Also on US reel, 8-track and CD (Good Time Records GTRCD 1386).  Premiere US had label as shown here in a glossy fold/out cover.  (YZÄ*)  (FÄV*)

                                                                                  

                                                                                  

                                                                                  

                                                                               

                                                                                

 

BEDLAM CHR 1048 (-73) UK

                                                       

 British hard rock band formed 1972 as a kind of supergroup with drummer Cozy Powell (earlier with Jeff Beck), bassist Dennis Ball (who'd played with Long John Baldry), singer Frank Aiello (Truth) and guitarist Dave Ball (Procol Harum). They broke up 1974 and this became their only original album, produced by Felix Pappalardi (Mountain), who also played keyboards on most of the tracks. To me much of it sounds close to Mountain with a touch of Cream, no surprise with Pappalardi in charge. Very well played and produced with top audio and everything penned by the band. I'm not totally in love with all of it, but a couple of the cuts hit me just right - like "Seven Long Years" overflowing with good guitars, the heavy "The Beast" and the very raw "Set Me Free". Even if to my taste a little uneven it's still a good exemple of early hard rock when it was really hard, before synths and refined studio equipments took over the genre. As an analog recording with classic rock instruments it hits your ears instead of caressing them in some slimy way.  Issued and reissued pretty much all over the world on vinyl and CD through the years, also cassette and 8-track. UK 1998 CD on Zoom Club Records (ZCRCD 8). Premiere UK had label as shown here in a glossy cover, some with an insert sadly missing with this copy.

                                                                                 

                                                                                  

                                                                                   

                                                                            

                                                                                    

                                                                                  

 

EDDIE COCHRAN/MY WAY LBY 1205 (-64) UK MONO

 His first posthumous LP, the 1960 "The Eddie Cochran Memorial Album"   https://monolover.blogspot.com/2015/11/the-eddie-cochran-memorial-album-lby.html  started as "Twelve Of His Biggest Hits" in US (Liberty LRP 3172), but got a name change after his tragic death in a car accident same year. That was a killer, containing numbers that changed rock'n'roll forever - e.g. "Summertime Blues", "C'mon Everybody" and "Somethin' Else". This UK collection isn't that exciting, but still has enough to get through. With cuts first published between 1959-64 it's obviously a mix of originally issued and ones picked from the vaults after his death. To my taste rather uneven, though a couple of the tracks do touch. "My Way", "Little Lou" and the covers of "Blue Suede Shoes" and Long Tall Sally" are all good rock'n'roll. Also the instrumental "Eddie's Blues" shows he was a good and rather inventive guitar player. Audio shifts a little between tracks, but most sounds very good and non bad. Don't think this record won over any new fans back then, but probably a must for the die-hard ones. Issued in UK only 1964, then reissued on vinyl from 1968 and on in UK, France, Belgium, Germany and South Africa. Also on French cassette, but to my knowledge never like this on CD.  Premiere UK in mono only had label as shown here in a laminated flip/back cover.  (XLÄ*)

                                                                                 

                                                                                   

                                                                                 

                                                                                

 

THE STANDELLS/THE STANDELLS IN PERSON AT P.J.'S SML 83847 (-64) STEREO GERMANY

 Los Angeles garage rock band formed 1962. After a couple of memeber changes, popular live performances and recording one 45 for Linda Records they got signed by Liberty, which resulted in three singles and this debute album in 1964 alone. Listening today this live offering is far from the rawer and more original stuff they would produce later, but however that may be, counted as a debute album it has a lot going for it. Very well played and sung with lots of presence and nerve. Also he audio is remarkable and the stereo comes natural. I'm getting very good connection and feel like I'm among friends. Song list mostly consists of covers of well known numbers, but they do them so well, with so much vigour you don't miss the originals one bit. Tracks like "I'll Go Crazy", "Money" "Bony Moronie", "Louie Louie" and of course the Beatles cover "You Can't Do That" all bring big smiles to my face. This is a happy album. The energy, skill and audio combined makes it one of my favorite sixties live LP:s for sure. Premiere release in US and Canada (Liberty LRP/LST). UK 1965 issue on Liberty (LBY 1243). French 2004 CD (Magic Records 3930397) came with one bonus track. It was also reissued in US as "Live And Out Of Sight" on Sunset (SUS 5136) with other sleeve and some different tracking, but that's another story. First German had label as shown here on thick unflexible vinyl in a laminated cover.  (LYBÖ*)  (GÖXÄ*)

                                                                                

                                                                                       

                                                                                   

                                                                               

                                                                                

                                                                                     

 

OTIS REDDING/OTIS REDDING IN PERSON AT THE WHISKY A GO GO SD 33-265 (-68) US

 Continuing to pick every Otis Redding original I can find in the bins. Here's one of many posthumous issues, released after his death in a plane crash 1967. A selection of songs from three live shows recorded at the Whisky a Go Go in Los Angeles 1966. So before his wider breakthrough at the Monterey festival, but already with that blend of skill and power that made him unique on the scene back then. He's doing seven self-penned songs together with covers of classic Rolling Stones, James Brown and Alan Toussaint songs - all hits one way or another. This is just how I want a live album - grand, yet intimate, with top performance and lots of nerve. The audio is excellent and when closing my eyes in the listening chair I'm travelling back to Whisky a Go Go in LA 1966, taking part and just enjoy. It's all good, but if I had to choose a favorite track it'd be the furious "Satisfaction". Issued and reissued on all possible formats all over the world through the years. First UK on Atlantic (587/588148) in both mono and stereo came on plum label with different sleeve design. Premiere US had label as shown here in a fully laminated cover with ATCO ad inner.  (YZÄ*) (ÖRÖ*) (LYBÖ*)

                                                                                    

                                                                                     

                                                                               

                                                                                    

                                                                                

                                                                                    

                                                                                      

 

FACES/A NOD IS AS GOOD AS A WINK...TO A BLIND HORSE K 56006 (-71) UK

 Since I'm already very happy with my US copy of this lovely piece of dirty rock'n roll  https://monolover.blogspot.com/2019/10/facesa-nod-is-as-good-as-winkto-blind.html  I shouldn't need this at all. But as they were a British band and it was recorded in Lodon that's reason enough for the meticulous collector. And in this day and age, when you can download about anything, label and sleeve designs of originals are getting more important. The audio between the two is very similar, though I do get a different label design and title on the sleeve here is fatter and colored. But above all this has the giant 3 by 4 foot glossy picture poster with 349 photos, missing with my US copy. That said - US or UK it's still a great rock album. Tracks like "Stay With Me", "That's All You Need", "Miss Judy's Farm" and "Too Bad" caught me already early seventies and is still enjoyed to the fullest. No need to skip tracks here - it's all good! (SXÅH*)

                                                                      

                                  

                                                                                

                                                                                 

                             
                                                                                 

                                                                               

                                                                                

                                                                                  

 

CONCERTS FOR THE PEOPLE OF KAMPUCHEA SD 2-7005 (-81) US

 2-LP set with picks from a 1979 concert at Hammersmith Odeon, also released as a movie same year. An event to raise money for Cambodian war victims, arranged by Paul McCartney and Kurt Waldheim. It's an issue that seems almost forgotten by the large public today and one you with a little luck can find for a good price in the used bins. I don't understand why. It contains top perfomances by some of the greatest live bands back then - Who, Clash, Queen, Wings, Rockpile, Pretenders, Ian Dury and Specials. You get one odd collaboration where Robert Plant sings with Rockpile and three songs by Rockestra, including an incredible set of artists - among others John Bonham, John Paul Jones and Robert Plant from Led Zeppelin, Pete Townshend, Gary Brooker, Dave Edmunds, Ronnie Lane, Billy Bremner, Kenney Jones and Wings. All conveyed by smashing audio. When it comes to listening pleasures it's certainly top of the line. Impossible to pick favorites, but it's hard to beat around twenty minutes by The Who and the Rockestra version of "Lucille" is a killer. If You don't have it already and is a fan of tophole live rock'n'roll, it's highly recommended. Issued on vinyl all over the world early eighties, also cassette and 8-track, but to my knowledge never on CD or any digitalized media. First US had label as shown here in a glossy fold/out cover with brown "Atlantic Group" inner. (LYBÖ*)