THE YARDBIRDS SSX 1018 (-65)/SGLP 531 (-67), (-69) MONO SWEDEN

In my opinion the best compilation of early Yardbirds cuts. It has the first four UK singles - A:s and B:s - plus the three track "Five Yardbirds" EP. All are from the UK tapes and the pressing and audio is top notch. The numbers also showed up on various US Epic albums, but sometimes with different edits and audio. This has the original recordings, exactly as first made. Together with the US Epic mono's "Greatest Hits" and "Little Games" it's about what I need by the group. Released in Sweden only with three different issues during the sixties. First 1965 on Columbia came in a studio pic cover - image from one of the first sessions with Jeff Beck as a member. Second 1967 on HMV red/black label had a front cover photo taken in Stockholm at a time both Jeff Beck and Jimmy Page was in the band. Third 1969, also on HMV, in same cover as the second and black/silver label. All made from the same matrixes (XCSX 144/145) with similar sound quality. The covers are fully laminated and the first two came on thick unflexible vinyl. (YÄB*)(PÖP*)(JÄBÄ*)(SWÄU*)(CCÖ*)

KEBNEKAISE/RESA MOT OKÄNT MÅL SRS 4605 (-71) SWEDEN

Group evolving out of Swedish sixties psych/progg combo "Mecki Mark Men"   https://monolover.blogspot.com/2013/11/mecki-mark-menrunning-in-summernight-ls.html  . They're mostly known for developing the Swedish folk rock genre from 1973 and on - resulting in big domestic sales and sold out concerts. The music on this debute album has nothing to do with later fame, but more reminding of the MMM stuff. While following LP:s had settings with up to ten members, this is basic - bass/drum and two guitars. Most of all it's Kenny Håkanssons album. He wrote all songs and provides vocals and lead guitar. The style is kind of loosely knit psych hard rock with prog elements. It's an odd soup and you can hear inspiration from Frank Zappa as well as early Jimi Hendrix. A few of the songs have lyrics, but the main impression is a guitar album. Håkanssons licks are everywhere - supporting, pushing and sometimes caressing. Recording is simple, almost with a garage feeling, and the audio very good. Favorite cuts - the instrumental "Frestelser I Staden"   https://www.youtube.com/watch?v=aTAF1EGivi0   and "Kommunisera!"  https://www.youtube.com/watch?v=CTQkB9tYHSw . First press on the independent Silence Records had label as shown here and thin glossy cover. On CD 2001 (SRSCD 3606). (SCÄ*)(ÖGÄ*)(ÄZC*)(CCÖ*) (NÅY*)

PROCOL HARUM/BROKEN BARRICADES ILPS 9158 (-71) UK

Continuing my pushing for one of the greatest bands ever. At the time for recording a lot was happening in and around the gang. Matthew Fisher had left after the "Salty Dog" album and they just broke up from EMI and signed a new contract with Island/Chrysalis. Guitarist Robin Trower was also about to quit and this became his last as a group member. With all that going on you should expect it to show on the album - one or two bad ideas or at least one inferior cut, but there's nothing of the kind here. This is a tophole LP and all eight tracks are ready for love. Riff rockers, psych and ballads - well written songs with catchy melodies and poetic lyrics. Fisher's organ had been one of their main characteristics in the sixties, but you don't miss that at all here. It's simply a new sound with more varied arrangements and prominent guitars. Favorite tracks at the moment - "Broken Barricades", "Power Failure" and "Playmate Of The Mouth. IMO it should have been a list topper, but only managed #41 in UK and #32 on Billboard. First US on A&M (SP-4294). Premiere UK had label as shown here with "i" logo on top and fold/out cover with die-cut front. (PRÖX*)

THE EASYBEATS/HOLDING ON 2495 004 (-69) GERMANY

This is not an Easybeats album. "Show Me The Way To St. Louis" is the group '45, but the rest is from a bulk of songwriters Harry Vanda and George Young demos for other artists, made in a home studio late sixties. Apparently the two handeled all instruments and vocals, with some additional drums from Tony Cahill. Not originally planned for release, most tracks comes through thin and unbalanced and some in fake stereo. On the plus side there's a couple of very good songs and with right arrangements and production it could have been great. First Australian and UK issues - as "Friends" - had eleven tracks. This German variation came as a ten track, omitting "Watching The World Go By" and "Holding On", but adding "Gonna Make It" which also showed up as B-side on the Australian "I Love Marie" single. Most of the cuts have writers credit "Leon Russell", but he had nothing to do with it. Wanda/Young used "Russell" as a pseudonym and adding "Leon" was just an ignorant mistake by the record company. In all the album's not a mind blowing experience, but for those deep into sixties music history and recordings or die hard fans of Easybeats it's not that bad. First press had label as shown here and fully laminated cover. (Btw this version of "St. Louis" is fake stereo. If you want the original mono mix on LP with top audio, try the UK 1969 Polydor "Mencap" sampler instead http://monolover.blogspot.se/2012/06/hit-69-582079-69.html ) (GÖXÄ*)

RENAISSANCE ILPS 9114 (-69) UK

One of the most persistent UK groups up to date. From the debute 1969 they have released sixteen albums and a number of '45:s through different styles, labels and settings and still going strong. Never a household name or list topper, but always with a loyal following. Through the years there's been associates as John Wetton, Danny McCulloch, Roy Wood and Mickey Simmonds among about thirty others. Originally formed by two Yardbirds members - Keith Relf and Jim McCarty - together with John Hawken from The Nashville Teens, Louis Cennamo (The Herd) and Keith's sister Jane Relf. This setting only lasted first two albums, whereafter they split 1970 and were replaced by a whole new crew. Keith Relf went on to futher collaborations with acts as Armageddon and Medicine Head, Hawken became a session musician and played with Spooky Tooth and Strawbs, and Cennamo joined Colosseum. So in a way the first setting was a supergroup. The music on this debute flows between related genres in a way typical for the period - folk, jazz and psych with a classical influence - sometimes reminding of Nice or ELP, but mostly with a unique expression. Songwriting credits according to cover - "All basic melodies and lyrics: Keith Relf, Jim McCarty" - shows the numbers may have originated from some kind of staple ideas, but changed and developed as they went along. What makes it work for me is John Hawken's piano. While some parts of the music has a tendency to drift, his playing is distinct and upright alltrough, thus tying it together as a whole. Favorite track - "Bullet". US first on Elektra (EKS 74068). Also originally issued in Italy, France and Germany. Premiere UK had label as shown here and glossy fold/out cover. (YÄB*)(ÖSÄP*)

BACKTRACK 5 - WHO/HENDRIX 2407 005 (-70) UK

As the two previous issues in the serie entirely dedicated to The Who and Jimi Hendrix. All tracks are the common versions and there's no especially rare cuts or odd mixes. "Boris The Spider" is mono. "Magic Bus", "Manic Depression" and "Love Or Confusion" sounds like carefully made fake stereos, but OK if you don't listen too closely. The rest are true stereo. So it's more of an average compilation, but not without benefits. Back then when LP:s were relatively expensive in most European countries it was a blast getting an album with original numbers from the best groups for under £1. And in a way it still can be rewarding. For exemple for you who don't like buying UK originals of "Electric Ladyland" or "Tommy" to collectors prices, there's a couple of good tracks from them here, released just about a year later on the same label with top audio. If you want early press on vinyl this is an affordable alternative. First UK with label as shown here and thin glossy cover. (XXÖ*) (SÄM*)(WÖH*)(JHÄ*)(TRÄC*)

TYRANNOSAURUS REX/A BEARD OF STARS SLRZ 1013 (-70) UK

A transition album, somewhere between the fairy-tale psych of the earlier days and later T.Rex pop/rock fame. It was the last as "Tyrannosaurus Rex" and the first with Bolans new companion Micky Finn. Steve Peregrin Took had left in the middle of recordings after finishing some of the tracks - those were now re-made and overdubbed with Finn. Just before Bolan had changed from acoustic to electric guitar. Clearly he didn't master that transition yet which shows on a few of the tracks, sadly also including one of his best writings and vocal efforts ever - "Elemental Child" - pure magic...if it hadn't ended with one of the most disturbing guitar parts ever recorded http://www.youtube.com/watch?v=0qU70uQRomk . But that's just a few out of fourteen. The other songs have the familiar approach - wierd vocals and incomprehensible lyrics to sparse arrangements with a potted atmosphere. Some are a little more pop orientated, but the feeling is a lot like the previous "Unicorn" LP. Favorite tracks - "Fist Heart Mighty Dawn Dart", "Wind Cheetah" and "Dove". First US on Blue Thumb (BTS 18) came with fold/out cover. Premiere UK had label as shown here, fully laminated cover and lyric/picture insert. (RÄX*)(RÄZ*)

B.B. BLUNDER/WORKERS PLAYTIME UAG 29156 (-71) UK

Group founded from the remains of UK psych combo Blossom Toes. Guitarist Brian Godding and basssist Brian Belshaw teamed up with former BT drummer Kevin Westlake and recorded this LP. With addition of Julie Driscoll doing some of the vocals and work by studio wizz George Chkiantz the set-up was very promising. But it didn't fly and after some bad reveiws and low sales the group broke up later same year. Nothing wrong with the numbers, some of them are really good, like "Sticky Living" and "Seed", and there's lots of fine guitars and a few interesting psych passages. But obviously there were problems with production and mixing. Two or three of the tracks comes through very fine, but most of it sounds unbalanced with added reverb and vocals mixed too low. I hear constructed and artificial and miss the spunk and the connection. I'm surprised Chkiantz was part of that end result, but maybe he had a bad day. It's a pity - with better handeling it could have been a classic. 1971 releases also in Germany, with same label and number, and US on Polydor (24-4060). Re-issue on Decal "New Day" (LIK 48) as "Blossom Toes '70 (Formerly B.B. Blunder)". First UK had label as shown here and thick matt fold/out cover.

ROLLING STONES/METAMORPHOSIS SKL 5212 (-75) UK

The attempts by Decca/London to cash in on the group after they left the label continued for a long time on both sides of the Atlantic. In England a string of single LP:s with rare cuts were released during the first half of the seventies, while the Americans started off with two double albums - "Hot Rocks" and "More Hot Rocks" - having a more hit-oriented tracking. This was the third US foray, compiled by Alan Klein and Al Steckler for Klein's ABKCO label. Seems they really cleaned out the vaults since all on it are previously unissued stuff - demos, discarded compositions and alternate versions (good link for track details http://en.wikipedia.org/wiki/Metamorphosis_%28The_Rolling_Stones_album%29 ). All is presented as true stereo and some of the cuts sounds legit while others may be some kind of re-channeling. I should hate it - afterwards meddling with unauthorized recordings - still to my ears it's actually pretty good, at least parts of it. Tracks were often deselected because they didn't hold the overall standard, but seriousy the Rolling Stones sixties standard wasn't very high all the time and they had a lot worse than this interposing on a couple of regular albums. "If You Let Me", "I'd Much Rather Be With The Boys" and "I'm Going Down" could easily have been on official releases. I also like getting the "Memo From Turner" original. Not the groups best recording, but more charming than the "Performance" version. Premiere US came as a fourteen track (ABKCO ANA-1). UK first had sixteen cuts, adding "Something's Just Stick In Your Mind" and "We're Wastin' Time". 1:st press with label as shown here and thin matt cover. (RÅ*)

ILLES/ADD A KEZED SLPX 17437 (-72) HUNGARY

Considered one of the best bands to come out of the eastern block, also called "Hungary's Beatles". Started as a family act in the fifties, continued to play clubs in the sixties and did their first recordings 1967 for a soundtrack album. Although regarded as controversial they were approved by the communist regime and became part of a drive to liberalize the music and art scenes in the country. However after criticizing the regime in a British interveiw, political pressure forced the group to split 1973. Through the carreer they kept in touch with the genre changes in the surrounding world and moved from pop, r&b and garage to psych and prog. This album has a blend of styles. The emphasis is on hard rock and prog with some psych interludes. Can't say anything about the lyrics but it's very well played with nice vocals. All songs are self-penned and many of the tracks stick. My favorite is "Nehez Varni", because of its relaxed atmosphere and creamy guitar riff http://www.youtube.com/watch?v=dee45uFIPGQ . First issue had label as shown here, thick unflexible vinyl and fully laminated cover. Also released in mono (LPX 17437). Some copies came with cyrillic lettering on labels and cover, probably made for export. (BÅC*)

JUNE TABOR/ABYSSINIANS 12TS432 (-83) UK

For background check post on her previous album http://monolover.blogspot.se/search?q=june+tabor . This follow up was made three years later with about the same crew. Martin Simpson - guitar, Ric Sanders - violin and Dave Bristow - piano. The arrangements are even sparser here. Five of the tracks performed more or less a-capella and some of the others only have one or two supporting instruments. It's somber and sometimes sad. With most other singers it would have been a depressing experience, but Tabors warm and confident vocals edures all and turns it into something beautiful. The overall impression is something pretty unique in today's importunate world - stillness and repose. First US 1984 on Shanachie (79038). UK CD on Topic 1989 (TSCD 432). Premiere UK issue had label as shown here and glossy cover. (BRYF*)(FÄV*) (QÖP*) (JÖB*)

OTIS SPANN WITH FLEETWOOD MAC/THE BIGGEST THING SINCE COLOSSUS S 7-63217 (-69) UK

Otis Spann (1930-70) was one of the forces behind the Chicago blues scene, through his career working with artists as Bo Diddley, Howlin' Wolf and Big Mama Thornton and for sixteen years a full time member of Muddy Waters band. His piano play, song writing and style also provided a big inspiration for the white blues genre. After death he was forgotten by the community and his body laid in an unmarked grave for thirty years till blues enthusiasts from all over the world got together and donated for a head stone. This LP became his last studio effort. He met with Fleetwood Mac through the "Blues Jam At Chess" recording, they hit it off and it was decided the group backing him up for an album, although he wanted his friend S.P. Leary on drums so Mick Fleetwood did not attend. The recordings took place in Tempo Sound studios New York, produced by Mike Vernon. Eight of the songs are written by Spann who also provides vocals and piano. Against all that background it may seem unfair the main reason it's sought after today is the Fleetwood Mac participation. I have to admit - till I got the full story I always saw this as a kind of follow up to "Mr. Wonderful". Leary's drumming is a little more relaxed than Mick Fleetwood's and Spann's vocals gives it a darker taint, but the atmosphere and teamplay is there. It is one of the group's best ventures - they give it all they got and Peter Green's guitar works wonders - no doubt inspired by playing with an idol. Early US on Blue Horizon had different front cover carrying a "With Fleetwood Mac" sticker (BH 4802). On CD Columbia Rewind (475972 2). First UK had label as shown here and laminated cover. (FXÄC*) (BLÖH*)