THE FLOCK S 63733 (-69) UK

One of the rock/jazz fusion groups contracted by US Columbia in the late sixties. The labels biggest commercial names in the genre were Chicago and Blood Sweat & Tears and it seems the market wasn't large enough for yet another band with the same agenda. Their two first albums didn´t sell a lot and while recording the third, Columbia simply broke up the group by stealing violinist and front-man Jerry Goodman for Mahavishnu Orchestra (first choice Jean-Luc Ponty had been refused work-permit in US). In retrospective this is a good debute. It doesn't have the sudden impact that makes you jump up and down, but given time it grows. Goodmans violin makes it special and some of his excessive playing has an almost psychedelic taint. Best track is cover of The Kinks "Tired Of Waiting", and the inclusion of that on the big selling sampler "Fill Your Head With Rock" opened some European ears and gave them a brief following - FYHWR also used the back cover pic from this as front and on ad posters. First issued on US Columbia (CS 9911). Earliest UK release with stiff laminated Upton Print cover, rec no. above logo on back and front, and thick unflexible vinyl with SBPG matrix.

THE WHO/MEATY, BEATY, BIG & BOUNCY 2406 006 (-71) UK

                                                                            

An essential The Who collection with some good UK non-LP tracks - compiled by Pete Townshend. Only two cuts had not been released on '45 in England : "Boris The Spider" - from "A Quick One" album, and the longer alternative version of "Magic Bus" - this vinyl was the only way to get that cut up to 2007, when it was included in a Japanese CD release of the album. Allthough it's well compiled I have mixed feelings about it. Four tracks are original mono (song list on early covers miss the mono mark on "Boris The Spider") and three true stereo, but the remaining seven are "enhanced stereo" (enhanced being a euphemism for fake). They already had the good enough mono versions, but also access to original tapes to make real stereo, and any of those would have been fine, yet they went with the the option producing worst audio. Maybe "stereo" print on cover was a selling argument back then, but they didn't want the extra work perparing proper mixes. However it's still a nice collection, but it could have been great. (I prefer the -68 UK "Direct Hits" mono - that sure sounds more on the spot even if some of the cuts are fold-downs.) US issue on Decca (DL 79184). Early UK releases with thick, matt E.J. Day f/o cover and matt label. Later issues had glossy label. (WÖH*)(TRÄC*)

CLARK HUTCHINSON/GESTALT SML 1090 (-71) UK

The group issued four albums, all in different styles. First 1969 (initially unissued on Decca with only a handful pressed, 1:st stock release by Little Wing 1994) was traditional white blues. Second "A=MH2" had instrumental guitar-driven ragas, and third "Retribution" was wild, turned-on acid blues/rock. This is the forth and last and shows them in a more cool and controlled mood. Most tracks builds on acoustic guitar with spanish or classical figures, very well played by Hutchinson - I'm amazed how one guy can produce both dirty rock'n'roll and carefully tuned Segovian licks at the same place. "Poison" is heavy rock with killer electric guitar and "Mans Best Friend" has a long spanish guitar intro carrying in to a slow, melodic rocker. It's more introvert than commercial, but not in any way uneasy. Co-produced by Mick Hutchinson and a Colin Cauldwell, the latter also studio engineer. Audio is just fine, but a few tracks are strangely mixed and comes through very dense. I don't know of any original issues outside UK, but there has been later re-issues on CD and vinyl, with or without bonus tracks. Early UK with label as shown here, thick unflexible vinyl and thin matt cover. I have also seen laminated covers, but not sure if they're early or later. (DÄRR*)

JACKPOTS/JACK IN THE BOX SLP-68 (-68) SWEDEN

 Can't find much about this band. Five guys from Gothenburg who did some touring in Europe and England and issued an LP before this one on Sonet - "Tic Tac Toe" - offering good regular peroid pop without being extraordinary. Since non of the albums sold sufficiently they later gave up the pop carreer and became a dance band. To my taste this their second is a pop/psych gem, comparable only to the best contemporary recordings of the genre and then up there with or better than most of them. Their mix of perfect high pitch vocals and psych is rather unique. They all sing like graduates from boys quires, with very tender yet strong voices, sometimes harmonies up to five layers. Song list consisting of covers and self-penned, all blending pure pop with psych. It's not violent in any way, more like multi-colored spun sugar flowing from the speakers. Most of its strength comes from the partly adventurous production. The group, Roger Wallis and Perry Ford are credited, but I'm certain studio engineer Michael B. Tretow was behind some of it. He was known for his experimenting back then and later famous as ABBA producer and creator of the "ABBA-sound". If You're in to rare pop psych and/or young men singing like angels, I can recommend it. To my ears all good, but if to choose favorites it'll be the ones picked below. Don't know if the album was released in any other country, but there was a US '45 issue with the whimsical title track having the original single mono mix, while the LP was issued in stereo only. Sadly the album didn't sell at all on release and is getting pretty hard to find. Not sure if or how it was re-issued I'm confident this is the very first with label as shown here, fully laminated cover and thick, unflexible vinyl. I know of one CD issue on Universal, but that is a mix of songs from both LP:s and omitting one of the best tracks from this - "Henbanes Sacrifice". (SCÄ*) (CCÖ*) 

                                                                                    

                                                                                

                                                                                   

                                                                                

                                                                                     

 

ELECTRIC LIGHT ORCHESTRA SHVL 797 (-71) UK

As an obstinate fan of Roy Wood and The Move I always get most pleasure from first two ELO albums. The ELO project was launched with Jeff Lynne joining Move 1970 and in the studio the two groups co-existed from that point. Some of the recordings made were put on Move albums and some saved for ELO. The established group was still a seller in Europe and generated cash for financing the new venture. So this hit the shops at about the same time as the last Move album "Message From The Country" and final Move single "California Man/DoYa" was released even a few months later. Allthough MFTC isn't as elaborated or orchestrated and a few tracks may be regarded as fillers it's still in the same vein and clearly made by the same gang at the same time. During the recordings of ELO:s second album Wood left and from "On The Third Day" Lynne was in sole charge, eventually making the group one of the most rewarded and biggest selling acts of the decade. On this album Roy Wood still stands strong as composer, vocalist and handeling ten different instruments (see list below). The typical ELO to me sounds synth infected and smoother than the harshness and authenticity I get from this. It is kind of a transition album and to me more last Move effort than ELO debute. Favorite tracks - "Whisper In The Night" and "Queen Of The Hours". US release 1972 as "No Answer" (United Artists UAS-5573) with same cover design, insert and tracking. First UK issue with structured f/o cover, thick vinyl, lyric insert and label as shown here - "The Grammophone Co.Ltd." top left and "MADE IN GT.BRITAIN" bottom above rim. (RÖWS*)(HÄVL*)

NICO+FRACTION/CAMERA OBSCURA BEGA 63 (-85) UK

Nico could be down right magic in the right surroundings, as with V.U. or the "Drama Of Exile" LP. Sadly on this, her last studio album, she didn't get that. Musically it's experimental avant-garde, but the instrumentation is mainly synths with fake drum-sound, moog bass and swoshing effects. There's not much vocals either, so most of it comes through like from a synthesizer test plant - menaningless sounds. Two tracks are above the rest - the beautiful "My Funny Valentine" cover, with real piano, and a re-recording of an older track - "König" - with harmonium. John Cale is credited for production, but I wonder what he did or if he even was present. This doesn't fit her and most of it don't move me at all. To get some connection I will immediately go and give "Drama Of Exile" a close listen. That is a five star album and the one I wanna remember her by. (NÖC*)(FÄV*)

BILLY COBHAM/SPECTRUM K40506 (-74) UK

I've never been a big fan of the jazz/fusion fluorishing in the seventies. Too much of it was about showing off, playing fast and being deep. It never caught me and half-way through a fifteen minute guitar solo my mind would drift and I started to think about dinner or what to do later in the evening. When listening to music I want to feel involved, but that was more like watching creatures doing strange thing and be amazed. So I never touch that genre - this album being the one exception. With all numbers credited to drummer Cobham, but many being result of studio-jams, and every one from the personnel top names of their instruments at the time it could have been awkward and introvert, but it's not. I mean - they play like ekvibrilists and some of the licks sounds impossible, but there are also fine melodies, touching harmonies and lots of good humor. It's a happy album and one I never get tired of. Favorite cut "Quadrant 4". I guess former Beatles engineer Ken Scott had a lot to do with getting such a fine result, as recording engineer and handeling the re-mix. Balance and audio is perfect and the whole thing just sounds lovely. Recorded in Electric Lady N.Y.C and re-mixed at Trident studios London. (More on Ken Scott here http://en.wikipedia.org/wiki/Ken_Scott ) First issued in US (Atlantic SD 7268). I believe this is the first UK issue, with label as shown here and a thin, matt f/o cover. Click list below for all credits.

ALAN PRICE SET/A PRICE ON HIS HEAD LK4907 (-67) UK MONO

His second solo LP and very much in the same vein as the debute (see previous post), with the same cozy atmosphere and and feel-good attraction. According to the liner notes he produced it himself and did the arrangements together with Ivor Raymonde and Mike Leander and all that is tops, but the audio of the mono version could have been better. While "The Price To Play" definately was a separate mix with big and clear sound, some of the tracks on this sounds like fold-downs, lacking space and clarity - still OK but not the real thing. I don't have a stereo to make a track by track comparison, but as far as I can hear the cuts planned for '45 release are true mono while the rest are reductions - a method often used by Decca from -67 and on. Price was a fan of Randy Newman and seven of the tracks on here covers his songs. Newman was almost unknown by the European public at this time, but Price did a lot to change that. Not issued in US, but some of the tracks can be found on Parrot -68 release "This Price Is Right" (PAS-71018). First UK issue with laminated cover and ridged label. (ÄNÄ*)(MÖRS*)

GILBERT O'SULLIVAN/HIMSELF MAM-SS.501 (-71) UK

This may not be the rarest album out there. It was pressed in many countries, immensly popular in Europe and top ten in US. It wasn't groundbreaking or heavy, but a record that would get your old dads approval and not well seen by the in-crowd rockers. I bought it back then, but it was nothing I flaunted - with friends it was all Purple, Zeppelin and Beatles solo stuff. Through the years I'd forgot all about it till I found this copy at a flea market a while ago. I gave it a spin and was amazed. The album has not aged at all. Twelve catching songs, all hit material, with attractive vocals and arrangements bearing a kind of time-less quality - could have been made anywhere between the thirties and today. Produced by Gordon Mills, a gigant on the scene back then - among other things he launched the carreers of Tom Jones and Engelbert Humperdinck, giving them both their stage names, and co-wrote Jones first hit "It's Not Unusual". Audio on this is excellent - mix and balance perfect, giving a warm and cozy atmosphere. Many albums of that period sounds dated today, but this still feels fresh and inviting. It goes to show - work well done never get old. Issued and re-issued on all possible formats all over the world through the years. Premiere UK had label as shown here, laminated f/o cover and a lyric inner. (MÖRS*)(SYSÖ*)

JIMI HENDRIX/LOOSE ENDS 2310-301 (-73) UK

One of few post-humous Hendrix releases I find worth having. It was the fourth and last LP issued after his death by manager Michael Jeffery and it seems many of the involved parts didn't like it. Reprise thought it was below standard and didn't release it in US or Canada and the man behind compiling, main mixing and arranging - John Jansen - didn't want his name on the cover and got credits as "Alex Trevor". I don't understand the negative feelings. There are no inferior live cuts here, no back-ground roles or bootleg quality sound. It's all studio outtakes from 1967-70, Hendrix has the lead and the sound quality is great. Some of the tracks are studio jams, but with personnel like Buddy Miles, Billy Cox and Mitch Mitchell and Hendrix himself in a playful mood - what could go wrong? It also includes "The Stars That Play With Lauging Sam's Dice" as true stereo, a new mix by Eddie Kramer made especially for this issue, sounding a lot better than the original messy mono. The cover of Dylans "Drifters Escape", recorded 1970, saw its first release here. It's the only track that doesn't have top audio, probably a demo kept in its original shape. OK it's not "Electric Ladyland" or "Axis", but still a must for us Hendrix fans. Original release also in Japan, Germany and France. Re-issued as "The Jimi Hendrix Album" 1983 on Contour Records. First UK release with label as shown here and thin, matt cover. (JHÄ*)

ROXY MUSIC /GREATEST HITS 2302 073 (-77) UK

This post is about one particular track and an exemple of my everlasting hunt for best audio. I seriously fell for Roxy Music when I first heard their debute. Some earlier numbers from Bowie or Bolan may be described as glam psych, but this was the only full fledged album of the genre. I also loved "Pyjamarama", their second non-LP single. I had a problem with the sound quality of the '45 though, somewhat muddy and lo-fi. When the group took a break 1976 and moved their stuff to Polydor, the new label re-issued all recordings with much better audio, including this compilation. It was issued all over the world with about the same wrapping and tracking and is very common, but being an average mad collector I wanted UK first, complete and in unplayed condition - and that proved almost impossible. It took me years to find, but when I did it was worth the wait and the $8 I paid. All tracks have better audio than the Island pressings and especially "Pyjamarama", which had been remixed for this. Finally I can hear all layers and nuances of that cut and it's a beauty. Have tried other later digitalized edits of the song, but they don't even come close. I may also mention the 4:20 version of "The Thrill Of It All" is unique to this compilation. US issue on ATCO (SD 38-103). First UK release with thick, fully laminated cover and hard, glossy pic/ad inner. Sometimes I question myself spending so much time on this. It is rewarding now and again, but is it really worth the effort? (ÄNÖ*) 

 

                                                                               

THE YARDBIRDS SX 6063 (-66) UK MONO

I've been meaning to write about this since I started the blog, but wasn't sure how to approach it. It's a one-off UK studio album by one of the most enticing rock groups of the sixties, with a big influence on white blues, psych and the coming hard rock genre. By many considered the classic it ought to be and a while ago I gave it my first intense listening for decades. In the sixties I was a big fan and everything Yardbirds was good, but now to my surprise it didn't do me much. I mean - there's a lot of talent involved and I don't believe they could do bad even if they tried, still as an album it's far from classic. You get the impression they showed up in the studio with a few good songs, unrehersed, and the rest was made up as they went along. Partly it's playful and even funny and Jeff Beck is really showing off here and there, but it's incoherent and lacks some kind of general idea. Co-produced by manager Simon Napier Bell and band member Paul Samwell-Smith. With a lot of egos in the group maybe a more despotic or experienced producer - like Guy Stevens or Mickie Most - not already a part of the gang, would have got a better result. On the positive side - the audio is perfect. It's one of those records where the music escape the speakers and bounce around - big, strong and absolutely clear. The stereo version (SCX 6063) differs from the mono mix, but to my ears the mono sounds a lot better. If You're interested in the Yardbirds and want their best music, look for the US Epic issues instead (check earlier posts). This was issued in US as "Over Under Sideways Down" on Epic (LN 24210/BN 26210) omitting "Rack My Mind" and "The Nazz Are Blue". I read US versions have different mixes from UK, but I never had a US copy so I can't compare. (YÄB*)(JÄBÄ*)