ROLLING STONES/NO STONE UNTURNED SKL 5173 (-73) UK

After the group left Decca 1970, the label continued to push out albums with recordings they still had the rights to. Some of the original material was previously unreleased for obvious reasons - it wasn't good enough. They also issued promos, bad alternate takes and lukewarm live cuts. Most of it leaves an unpleasant scent, but if I have have to choose one not quite as bad - it's this one. Consisting of eight B-sides and four EP-tracks, most UK non-LP, it could have been a true gem. Garage pearls, rare oddities and a few classics, all in one place with good audio. The only problem is they didn't keep the prime mono mixes. Three of the tracks are true stereo (as far as I can tell of US origin), but the remaining nine re-channeled. If all had been original it would be a five star compilation, now it's just average. Reason I'm keeping it is the stereo cuts - especially "Child Of The Moon" sounds good - most of the others can be found on German "Around And Around" in true mono (see previous post). (RÅ*)

SOUNDS LIKE THE FLIRTATIONS SML 1046 (-69) UK

First formed as "Gypsies" 1962 in South Carolina. Releasing singles on four different US labels they never got a real break-through, standing in the shadow of Supremes or Martha & The Vandellas. Today some of these recordings are recognized as "Northern Soul" and much sought after, but back then there wasn't much interest. After supporting Tom Jones on his -68 European tour, their only single on Parrot label "Someone Out There" became a minor hit in Holland and England and they got a new contract with UK Deram. First release '45 for the label "Nothing But A Heartache" was a killer. No chart-topper, but stayed high on many Europan lists. In US it peaked at #34 on Billboard and higher on local charts. Today it's regarded as a pop and soul classic and has become the groups signature. This album is more of the same with dance friendly raunchy tunes. I clearly remember dancing to a few of them in the early seventies and they were true floor-fillers - when "Nothing But A Heartache" came on everyone was up. Also issued as mono in UK (DML 1046). I haven't heard that, but since the stereo is a perfect compatible I guess that was used for a fold-down as customary at this time. US release on Deram (DES-18028)(FÄV*)(DÄRR*)

BEACH BOYS/WILD HONEY T 2859 (-68) UK MONO

The last Beach Boys LP to have a double issue in US. And that was business as usual with true mono and fake "Duophonic" stereo. From now on most of the recordings would be made for stereo only and the mono issues for England and other countries fold-downs ("20/20" was partly an exception - check my post on that for details). The album is not a project with close-knit tracks, or part of bigger plans, just a collection of very good songs - some leftover from the "Smile" sessions or re-makes of earlier drafts, a few covers, and some newly written. I think it's a great LP. Allthough parts of the group was in a dark place after the collapsed "Smile" assignment, this is still a positive journey with great melodies. There are some minor differences in sound quality between the tracks, but in all the mono comes through next to perfect. The production is credited to "Beach Boys", yet appearently Brian Wilson did most of the work as before. The singles from it sold well and the album itself peaked at #7 in UK, #10 in Australia, and #24 in US. American release December 1967, first UK issue March -68 with rainbow rim label and a laminated flip-back cover. (BÅB*)

BRIAN KNIGHT/A DARK HORSE BRY 1 (-81) UK

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record this debute. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. The setting is top notch - just look at the list of musicians involved - and audio perfect. Don't know of any other vinyl issues, but it has been released on CD by Citadel Records (CIT6CD). (RÅ*)(FXÄC*)

FAIRPORT CONVENTION/ UNHALFBRICKING ILPS 9102 (-69) UK

The album was recorded during difficult times for the group. Drummer 18 y.o. Martin Lamble and guitarist Richard Thomsons girlfriend had just been killed in a car crash and they were all in shock. The back cover picture of them sitting around the table (second pic below) was taken soon after and according to bassist Ashley Hutchings he was still wearing the same bloodstained clothes as in the accident.(At least that is one of the legends surrounding this album and a story I have cherished for some time, but according to comments below it may not be true - just a legend). At about the same time they got an invite from Dylans English publisher and offered numbers from then unissued "Basement Tapes" sessions. The group listened to the complete work and loved it, but settled with three numbers - "Percys Song", "MIllion Dollar Bash" and "If You Gotta Go, Go Now" (here with French lyrics and re-titled "Si Tu Dois Partir"). To my taste this is the best they ever did. Apart from the Dylan covers - of wich "Percys Song " is downright hypnotic - it also has Sandy Dennys all time classic "Who Knows Where the Time Goes" and four more top numbers. The sound quality is perfect - big, strong, direct and authentic, you can almost imagine the studio design just by listening. Production is mainly credited to Joe Boyd, American producer who among other things opened first London psychedelic hangout "The UFO Club", produced Pink Floyds early recordings and worked with English folk-rock artists in the sixties. UK first release with label as shown here and a thin, matt cover. US -69 issue on A&M (SP 4206) with same tracking, but different "elephant" cover. Also on CD in Japan 1987 (Polystar P32D-25025) and UK -90 (Island IMCD 61). (BRYF*)(FÄV*)(ÖSÄP*) (FÄHZ*)

FRIJID PINK/DEFROSTED SML 1077 (-70) UK

Detroit based band with sound similar to other known bands from that area - MC5, Stooges and Amboy Dukes. Most known for their "Hose Of The Rising Sun" cover from the first LP - reaching top ten in US and #4 in UK. They lived hard and some of the members died or just disappeared, wich led to frequent changes in settings. This second album is more elaborated than their first eponymous. It's solid blues-based hard rock with lots of fuzzed guitars. I'm not sure how it was done, but it is self-produced and you get the impression most of it was recorded without second thoughts. The sound is very raw and dense and has a lot of nerve. I never got the opportunity to see them live, but this is probably close. When it comes to hard rock I choose this over fashionable poodle-cuts anytime. Originally issued in US on Parrot (PAS 71041). (DÄRR*)

TOM JONES/13 SMASH HITS LK 4909 (-67) UK MONO

Tom Jones has been in the business now for almost 50 years and still going strong. All the time he had this powerful voice, making everything he does his own - and that is a fact here on his fifth UK LP. Apart from the ballad "I'll Never fall In Love Again" the material is songs made hits by other artists, mostly American. The album is divided into one up-beat and one calm side, of wich I like the calmer ballad section most since it allows more sensible vocals. The mono mix, arrangements and sound are all perfect. Producer Peter Sullivan was a real pro in the genre, doing contemporary work for Engelbert Humperdinck and Lulu, also later Burt Bacharach, Jim Capaldi and The Seekers. Not issued in US, but Parrot -68 release "Fever Zone" (PAS 71019) has tracks in common. Very first press came with ridged label. The one shown here is later. (MÖRS*)(TÖJX*)

MOTT THE HOOPLE ILPS 9108 (-69) UK

At the time for the debute LP on Island the group already had a live cult following after touring England and Europe for some time. The setting behind this recording was very much a creation of producer Guy Stevens. As "The Doc Thomas Group" they had earlier recorded an album for Italian Dischi label and also performed as "The Shakedown Sound" and "Silence". Stevens brought in Ian Hunter and renamed them. He also wanted a sound like Bob Dylan singing with the Rolling Stones and that's what they tried to create here. No fans were lost because of this album, but it wasn't a big success - #65 in UK and #185 in US. To my taste it's not even close to "Mad Shadows" or "Braincapers". It has some good rock'n'roll, but Hunter sounds too much like Dylan, almost like an impersonator and the material is less strong than on the follow-ups. Hunter and others has pointed out that Rolling Stones -71 hit "Bitch" bares a lot of resemblance to "Rock And Roll Queen" on this album. It sure has about the same riff and probably Stones was inspired, but not enough for a lawsuit. First issued copies of the album erroneously had '45 B-side "Road To Birmingham" instead of A-side "Rock And Roll Queen", but that was corrected for later issues. Early UK pressings came with label as shown here and matt f/o cover. Initially released in Germany on Island (849 304) and 1970 in US by Atlantic (SD 8258). Also remastered on CD with two bonus tracks (Angel Air SJPCD157). (ÖSÄP*)(MÖHÖ*) (GÖJ*)

NICO/THE END ILPS 9311 (-74) UK

For a few years Nico was part of what can be described as a London art rock movement - a group of loosely connected American and English artists and producers emerging around the Island label in the mid-seventies. They made live performances together and helped eachother along with albums by guest appearances or producing. A few leading names were John Cale, Brian Eno, Kevin Ayers and members from the group Roxy Music. The music from artists involved can almost be described as a new genre - essential melodies and intellectual lyrics, spiced with elements from psychedelia and classical music, but still posting as rock. Athough the album has influences from this movement - Phil Manzanera on electric guitar, Eno on synthesizer and Cale producing and playing twelve different instruments - it's still essential Nico, with the harmonium and somewhat depressing melodies. If you like Nico it's a must, the production and guest appearances are very good and a few of the tracks lifts off - "It Has Not Taken Long" has beautiful background vocals and the piano ballad "You Forget To Answer" (about Jim Morrison not getting back to her just before his death) is mighty stuff. Sadly the album didn't sell at all. She was fired from the label, incresed her drug abuse and didn't get a new contract till Aura records signed her seven years later. Also issued -74 in US on Island with same number, in France 1982 by Island/Phonogram (6313342) and UK CD (IMCD 174). First UK release with thick, fully laminated cover and blue custom inner. (NÖC*)(ÄNÖ*)(FÄV*)

TEN YEARS AFTER DML 1015 (-67) UK MONO

The article shown above is what an English critic thought about their first LP 1967. Listening to it today I agree with all that. It is a stunning debute with nerve and energy and lots of skill, especially Lee's guitar play. They were already a great live group and on this that feeling is fully captured. If You follow this blog You know exactly what my favorite studio recordings are - four channels, partly improvised and only few overdubs - and this is exactly what we get here. It's straight on production, clear and close with lots of presence, and the full picture mono being very allowing. I had the UK stereo a while ago and that was actually pretty good, but this is better. The studio personnel was top notch - Mike Vernon and Gus Dudgeon co-worked the production and the latter also engineered. First UK issue came with ridged label. US release on Deram 1967 (DE 16009/DES 18009)(XYÄ*)(DÄRR*)

FLYBACK 2 - THE BEST OF T.REX (-71) UK

Don't be fooled by the title. This is not the best of the glam rock combo T.Rex, but some magic folk psych numbers from the groups earlirer incarnation Tyrannosaurus Rex. It includes three '45 only tracks and two previously unreleased ones "Once Upon the Seas Of Abyssinia" and "Blessed Wild Apple Girl", the rest are LP cuts. "Deborah" has the original single mono mix, the others are true stereo. All produced by Tony Visconti with top audio. The two previously unreleased songs are from sessions in spring -69 and has the same dreamy pot quality as the ones on "Unicorn" (see previous post). My fav from this compilation is the '45 track "King Of the Rumbling Spires" with a catchy repeated melody, melodica and lots of fuzzed guitar (the first recording where Bolan used an electric one). For some of those original mixes as analog on UK LP this is pretty much the only place. Also issued in Germany 1972 as "Best Of Tyrannosaurus Rex" with same tracking and "Deborah" in rechanneled stereo (Karusell 2345021). Detail from alternative German cover last pic below. CD issue on A&M (5410052) 1998. (RÄX*) (FXÖ*)

KEVIN AYERS/THE CONFESSIONS OF DR. DREAM ILPS 9263 (-74) UK

After leaving hard-core psych group Soft Machine 1969 Ayers has recorded seventeen solo albums so far. To my taste this is the best of them all. With a mix of art rock, psych and pop songs it's a journey through a dreamy mind where every minute counts. Although the lyrics follows a sleepy logic, the musical themes and strong melodies keeps it together. As I understand the project was a collaboration with producer/musician Rupert Hine who also plays on most of the tracks. The backing is top notch with the cream of English session musicians and a two special guests - Mike Oldfield and the lovely Nico. Side one has six good songs, loosely connected with the album theme, while the title number - divided in four movements - covers the entire second side. Nico contributes vocals for the first movement "Irreversable Neural Damage", setting the mood for the rest. For me this is one of the records where I can listen and relax and let the music take me places, and even if some of them are dark it's so well done the feeling is good all the way. Originally released on Island in US and Canada (ILPS 9263). First UK issue on pink rim label had fully laminated cover with relief faces on front and a lyric/credit inner. Also re-issued on vinyl and CD by BGO 1990 (BGOLP/BGOCD 86) and as remastered on CD 2009 (Harvest 268 2952). (NÖC*)  (ÖYÄL*)

THE ANIMALS/ANIMALIZATION E-4384 (-66) US MONO

The US LP most similar to UK "Animalisms", having seven tracks in common. While no singles were released from the English issue, this had "See See Rider" (different edit here, around one minute longer than the single version) and "Don't Bring Me Down", omitting a few appearing on the UK one. The common tracks seems to be exactly the same versions on both LP:s, with only minor differences in reverb. I prefer this over the UK version - Decca made that extremely loud and clear, almost to the breaking point, while this comes through a lot softer and provides a better listening experience. The US "Animalism" album only had the name similar to the UK issue, but musically it was a different story. To get that - check previous post. (ÄNÄ*) (YZÄ*) (ÖXCÅ*)