MODERN JAZZ QUARTET/SPACE SAPCOR 10 (-69) UK

While their first LP for Apple "Under The Jasmin Tree" (see previous post) was recorded in New York, this was made at Trident studios in London. John Lewis produced as before, but this time as a co-work with Peter Asher (sixties "Peter & Gordon" and later manager and producer for Apple records). The album shows a beginning to break up the old formula and an opening to other genres and influences. Partly more gaming with rythms and harmonies and even sound effects makes it more up to date. Most of side two has a cool version of Rodrigo's "Concerto De Aranjuez", side one opens with the two tracks "Visitor From Venus" and "Visitor from Mars", very modern and - spaced. It is possible to hear differences in studios between this and "Jasmin Tree". While that was recorded in New York with the latest equipment, resulting in perfect sound - absolutely distinct and balanced - this is more English old school, with prominent base and less use of limiting wich makes the audio not as clear but more natural. First US on Apple (STAO 3360). Premiere UK with label as shown here and laminated f/o cover with flips inside fold out. (BÄ*) (CLÄZ*) (ÄPLÄ*)

ELEPHANT'S MEMORY SAPCOR 22 (-72) UK

New York rock band existing 1967 -76 with different settings. They had a few minor hits on their own but are most known as a backing band for John Lennon and Yoko Ono, live and on studio records, in the early seventies. Not counting guest appearances or contributions to the Midnight Cowboy movie soundtrack, this was their debute album. I have a hard time finding where it was recorded, but since Roy Cicala is credited for engineering I guess Record Plant studios in New York. Produced by Lennon and Ono, much inspired by contemporary Phil Spector in use of reverb, giving it a dry and rather pleasant sound. Lennon is also contributing keyboards, guitar and vocals and Ono does background quire in a few places. I would like to label this as "hard rock" , but not the classic one. While the common hard rock genre emerged from white blues, this is an elaboration of fifties rock'n'roll with mostly heavy brass and uptempo drums - fifties rock in seventies style with a lot more power and harshness. If you know and like "Sometimes In New York City" and "Approximately Infinite Universe" you will feel at home here. It's one of those albums not very sought after today since it falls between appropriate genres, but extremely well played and produced it should attract more than label collectors and die-hard Lennon fans. First US on Apple (SMAS 3389). Early UK with label as shown here, matt fold/out cover and lyric/picture/credit inner. (BÄ*)(JYZÖ*) (ÄPLÄ)

WILSON PICKETT/IT'S TOO LATE DL 2300 (-63) US MONO PROMO

One of the founders of the "American Soul" genre. As a member of "The Falcons", he helped bring gospel into the more lucrative secular market in the fifties, making way for other artists. This was his only album on L-Double label with title track '45 becoming a hit, high on the US R&B charts and the UK list. His composition "If You Need Me", first a hit with Solomon Burke and later considered a soul classic, wasn't a block buster in his own version but still good on this. Later he would write more classics for Stax records as "Land Of The 1000 Dancers" and "In The Midnight Hour", but this is still the beginning. I'm very fond of this debute since it's one of the first with an agenda that helped black music to a household breakthrough in the sixties. His style in singing and songwriting 1963 is the same that would bring many other arists - as Otis Redding, Percy Sledge and Arthur Conley - fame a few years later. Some of the backing may be -63, but the power and the songs sounds years later. In my opinion one of the first modern soul albums. I can not pick a favorite track from it. All are good songs with a very natural and direct sound and top audio. This is a white label "Audition Record" copy. I don't know exactly what that means, but guess it's a promo or maybe a test press. Also issued in stereo (SDL 8300). (YZÄ*) (ÖXCÅ*)(ÖRJ*)(PÖC*)

OFF II HALLUCINATIONS/ PSYCHEDELIC UNDERGROUND ST-KMLP 310 (-69) GERMANY

To my taste one of the best psych compilations out there with great track choice and top of the line paraphernalia. It's a German Twen/Metronome release using original US Electra stereo masters from Doors, MC5, Love and Incredible String Band plus a few oddities. Twelve tracks with some of the best of the American psych scene of the late sixties with very fine audio. Issued both as picture disc and on ordinary black vinyl. The cover is laminated fold-out with a six page booklet inside, containing pics and info, made in way so it can also be folded out with the back sides of the pages forming a gigant psychedelic poster. All together it's a beautiful issue - for both eyes and ears. (SÄM*) (GÖXÄ*) (DÖÖW*)

MORE HITS BY THE SUPREMES TML 11020 (-65) UK MONO

Once you were hit by the Holland-Dozier-Holland hit machine and the special voices - there was no way back. It seems like with every visit to the record shop something new by the group had showed up - LP:s, EP:s or singles, so there was constant reinforcement. Of all the albums they released in the sixties it's impossible to have one particular favorite, but if I have to choose this comes close. Not counting the sojourns in other styles or genres, it was their third regular studio album. Earlier most stuff had been in the Mary Wells inspired traditional Motown with loose backing and vocals in focus, later on allthough the songs were great the production almost turned mechanical - regular hits like from a conveyor belt. This is somewhere inbetween. All written and produced by H-D-H with lots of hit feeling, but the vocal sensibilty from the earlier recordings are still there. I hear real persons doing stuff, not just a glossy package. Favorites "Ask Any Girl" and "Whisper You Love Me Boy", as much for the background vocals as the lead. Frirst US on Motown (MS/MT 627). Early UK in mono only with label as shown here and laminated flip/back cover. (TÖMÖ*)(FÄV*)(ZYZÖ*)

BILLY PRESTON/THAT'S THE WAY GOD PLANNED IT SAPCOR 9 (-69) UK

Although seldom a big seller on his own, Texas born Billy Preston (1946 - 2006) was an important force behind the music scene of the sixties and seventies. His magic keyboard and nice voice made him popular among other artists and in the sixties he worked with names as Sam Cooke, Ray Charles and The Beatles - both the group and on later solo efforts. He was very liked by fellow musicians and a special friend to The Beatles. That shows on his first of two albums on Apple. Most of it was recorded at Abbey Road studios with George Harrison as producer. The list of musicians is top notch...Guitars - Eric Clapton and George Harrison, Bass - Keith Richards, Drums - Ginger Baker, background vocals - Madeline Bell and Doris Troy. All but two tracks are self penned and the music funk, soul and gospel. Apart from the '45 title track non of the songs have a clear hit feeling, but it's all so nicely done - good music, perfectly performed, with a touching quality. I first bought it because of the great crew involved and the label, but slowly it grew on me and I found other qualities. First US on Apple (ST 3359). Earliest UK with dark label and fully laminated cover with thin spine. (BÄ*) (ÄPLÄ*)

MANFRED MANN/MANN MADE HITS CLP 3559 (-66) UK MONO

Another highly recommended compilation. After they changed label to Fontana 1966 and singer Paul Jones left the group for a solo career, replaced by Mike D'Abo, HMV hurried to release a collection of '45 tracks from the three previous years. As Jones stayed with HMV the group here is named "Manfred Mann with Paul Jones" both on back and front cover to promote his further work with the label. Manfred Mann was early a part of the "British invasion", but while most of the groups and hits part of that relied on the blues, Mann came from a jazz background wich made their songs slightly different from ordinary pop. Even though some of the songs here on the surface sounds like blues or pop, the backing shows a skill and a groove that's way beyond most contemporary English hit groups. Up to -66 they had two #1 in UK and four more top 10, in US "Do Wah Diddy Diddy" at #1 became their only high charter. This UK issue came in mono only, with all prime single mixes and perfect audio. Released in US as "Manfred Mann's Greatest Hits" (United Artists UAL 3549/UAS 6549) with different cover and partly other tracking. 1:st UK with label as shown here and laminated flip/back cover. (MÄNÄ*)

THE BEST OF THE BONZO DOG BAND 5C054-92.218 (-71) HOLLAND

I often go for music that puts me in a good mood or even bring a smile. This band has provided lots of that for me through the years. Their music is not an aquired taste - either you love it or you hate it. Some of the songs are just them and not like anything else, but most are parodies, patisches and mockery, all performed through a number of different styles with very British humor. When it's bad it's messy, incoherent and unintelligible, when it's good it's pure genius. They had one world hit - "Urban Spaceman" (produced by friend Paul McCartney) - but most things they did was too weird for the international market. I don't know if this is "the best of", I miss "Equestrian Statue", "My Pink Half Of The Drainpipe" and a few more. Yet it is a good mapping of their insanity, for better or worse. First released in UK as "The Best Of the Bonzos" (Liberty LBS 83332). US -71 release "The Beast Of The Bonzos" (United Artists UAS 5517) came with other cover and partly different tracking. This Dutch issue has same tracking as UK, thick vinyl and top sound, with exclusive cover pic.(BÖGÄ*) (HÖLX*)

DAVID McWILLIAMS - VOL. 3 MMLP 11 (-67) UK MONO

 "Days Of Pearly Spencer" from the "Vol. 2" LP was a world wide hit, but due to mismanagement McWilliams never got to profit from it. Also BBC refused to play it because of his managers contacts with pirate radio and it didn't chart in UK, but a Marc Almond cover of the song reached #4 1992. This follow up and singles released from it didn't hit in England but charted in some other European countries. It sounds a lot like the previous "Vol. 2" - well written songs often with social themes, soft melodies and stunning orchestral arrangements by producer Mike Leander. This mono also has top audio, clear with perfect balance. Although he never made it big in England he clearly had an influence on the domestic singer/songwriter scene and David Bowie once called him his favorite songwriter. McWilliams passed away after a heart attack 2002, aged 56. The only US album I know of resembling this is "Days Of Pearly Spencer" (Kapp KS 3547). First UK with ridged label as shown here and laminated cover. Also check post on the Vol. 2 album  https://monolover.blogspot.com/2022/11/david-mcwilliams-vol-2-mmlp-10-67-uk.html  (SYSÖ*)

 

MODERN JAZZ QUARTET/UNDER THE JASMIN TREE SAPCOR 4 (-68) UK

This was MJQ's 29:th LP and their first of two on Apple. For the other - "Space" - check this  https://monolover.blogspot.com/2012/11/modern-jazz-quartetspace-sapcor-10-69.html  . I've had a few of the early ones and to my ears there's not much difference through the years. It's good solid soft jazz, perfectly performed within same formula and rules. Reliable but not very exciting. Of the first six UK issues with Apple APCOR/SAPCOR prefix this is the only one that didn't have a double release. I can only guess why. While the other five were recorded in England, where at the time most recordings automatically got two separate mixes, this was made in USA where mono was phased out by then. So it's not a UK Apple recording, the production and mixing was already done, they just recieved and issued it. The matrixes of the first press have two settings of stamped numbers - STAP 2 A1/STAP 2 B1 and below them SAPCOR 4 A1/SAPCOR 4 B1. I'm curious if the "STAP" matrixes are from the US stock release - anyone here knows? I had an Argentine mono of this a while ago, a fold down, but since the stereo is a perfect compatible that also sounded great. First US on Apple (ST 3353). 1:st UK with label as shown here, thick unflexible vinyl and laminated cover. (BÄ*) (ÄPLÄ*)

TAGES PALP 3001 (-65) MONO SWEDEN

After winning a Swedish pop band competition 1964 called "The Beatles Of The West Coast" this Gothenburg group got to record a single and started touring. The single - "Sleep Little Girl" - got thumbs down by critics but topped the lists and they got an early following - mostly by young girls who fancied the good looking singer Tommy Blom. More singles followed to big domestic sales, mostly melodic light pop. But the debute album is far from lightweight. When most expected an LP in the vein of Beatles or Hermans Hermits, this is more like Animals or even Pretty Things. Apart from two self-penned tracks all are standard R&B covers with a wild and raw atmosphere. The production is tight and a lot made live in the studio. You get big base, rattling guitars and lots of energy. Maybe the teen voices don't keep up all through, but to me that is part of its charm. Issued in mono only with top audio. First on thick vinyl with thin fully laminated cover. (SCÄ*)(ÖGÄ*)(DÄXÖ*)(CCÖ*)

WHITE CHRISTMAS/SOUNDTRACK BKL 8044 (-54)

Christmas is getting closer and this classic film once again topical. The record doesn't have the exact original soundtrack though. Rosemary Clooney had a contract with Columbia at the time and wasn't allowed in on Bing Crosby's Decca. Instead Peggy Lee, not in the movie, was brought in to do her parts. Still it has a lot to put you in the right spirit. Classic songs, top artists and perfect backing. Audio reminds a lot of 78 rpm:s, warm and cozy, with vinyl quality beyond compare - very thick and heavy. Cover is thin matt with "crescent" flips and colored b/w pics. Labels are of the first UK Decca twelve inch type in dark red with gold fonts, wich was dropped around the mid-fifties together with the BKL prefix system. To me this is a feast for all senses. Not only the music, but the feel of the heavy record, the old style cover and the beautiful label. First release on US Decca (DL 8083). Also reissued on UK Brunswick (LAT 8044) and MCA (MCL 1777). (FÄV*)(NYFÖ*)(CXÅ*) (ZÖNT*) (BCJ*)