A YOUNG PERSON'S GUIDE TO KING CRIMSON ISLD 7 (-76) UK

Released about a year after the "USA" live album and the last original issue as King Crimson before the 1981 "Dicipline". It is a compilation, but made by Robert Fripp and so thorough and detailed it's more like a final closure for the original band. I will always see it as part of their regular issues rather than just another collection. With so much good stuff to choose from for a 2-LP set it would have been hard to please everyone, but on the other hand impossible to get a bad result. And since Fripp himself made the picks you can't really argue with the tracking. Most cuts are the album versions. New for this was a different version of "I Talk To The Wind", recorded 1968 during a Giles, Giles & Fripp session with Judy Dyble on vocals. "Cat Food" is the shorter '45 version and also "Moonchild" and "Lark's Tounges In Aspic (part 1)" have shorter edits. "Groon", originally B-side of the "Cat Food" single, here for the first time on LP. Frosting on the cake is a twenty page booklet providing a comprehensive guide to the bands history. Eightysix pictures, a full list of concerts from April 9 1969 to July 1 1974, including dates, cities and locations, and a day by day diary starting with the press release for Giles, Giles & Fripp June 1968 and going on to the presentation of this album in New Musical Express November 1975. Who could ask for more? Released in Canada and Europe, but not in US before the 1987 EG edition reissue (EGKC 10). Japan CD 1990 on Victor (VJCP 3001/2). First UK had label as shown here, thick matt fold/out cover, booklet and black inner sleeves. (KYK*)

BOBBY COMSTOCK/TENNESSEE WALTZ S-S-R-001 (-6?) US MONO

US teen pop/rock singer who had some success on the lists from 1959-63, as a solo artist or with his band The Counts. Biggest hits were a rock cover of "Tennessee Waltz" 1959 at Billboard #52 and "Let's Stomp" reaching #57 1963. Today forgotten by all except fans and collectors of American fifties rock'n'roll. A nice voice, well produced and arranged recordings and good looks gave him a period of fame before the "british invasion" bands took over. From 1964 touring as supporting act to UK bands as Rolling Stones, Dave Clark Five and Gerry & The Pacemakers. Around 1970 they became a regular part of the Rock'n'Roll Revival movement in Madison Square Garden, playing a large number of gigs there on to the eighties. Comstock and the band issued at least fifteen singles from 1958-64 on nine different labels. This compilation has five A-sides and three B-sides first released 1959-61. It's a 7 inch 33 rpm eight track issued with yet another label variation. First time I see this format and not sure if it's called mini-LP, maxi-EP or something else. Don't know anything about "Star-Shine" label or this particular issue, but guess it's early sixties. All cuts original mono and the audio is surprisingly good considering they squeezed in four cuts on each side. If anyone reading this have more information - please comment and tell. (MÖRS*)(FÖGÄ*) (YZÄ*) (ÖXCÅ*)

SCAFFOLD/L THE P PCS 7077 (-69) UK

UK artist combo formed 1962 in Liverpool, consisting of John Gorman, Roger McGough and Peter Michael McCartney (soon after changing his name to Mike McGear to avoid confusion with his more famous brother Paul). Not a rock or pop band per se, but with a multi task performance including sketches, poetry, impersonations and comic songs. From 1967-75 they had three top ten singles on the UK list and released five LP:s - first as "McGough And McGear". This was the third, issued as a follow-up to the UK #1 hit "Lily The Pink". Side two of the album is a happening, performed as a serie of monologues, poems and sketches, with some musical support from acousitc guitar or piano. Recorded live in the studio before a bunch of students it sounds like they had a lot of fun, but you probably had to be there to fully appreciate it. Side one has seven regular songs with top production by Norrie Paramor. Same kind of vaudeville psych as contemporary Bonzo Dog - adventurous and witty, still within the boundaries of almost regular arrangements. Favorite tracks - "1 2 3", "Oh! To Be A Child" and "Today". Non of them were musicians so backing on the albums was made by various guests. Originally uncredited due to contractual problems, but some subsequently disclosed names are Jimi Hendrix, Dave Mason, Paul McCartney, Tim Rice, Graham Nash, Elton John, Mitch Mitchell, Zoot Money and Jack Bruce. Don't know which ones, or if any of those participated on this particular album, but that may be revealed later. Early release in UK only. Most of the tracks can be found on the CD compilation "The Scaffold At Abbey Road 1966-71" (EMI 7243 496435 2 9). Premiere press had label as shown here and flip/back cover with matt front and laminated back. Also issued as mono (PMC 7077). I haven't heard that, but judging from this stereo being a very careful mix and perfectly compatible it may be a fold. (PÖX*) (MÖK*)

BEST FROM BELL SBLL 111 (-68) UK

With the habit of transfering analog recordings to digital that's been going on since the mid-eighties, vinyl compilations are steadily losing value. People say - why buy a fourteen cut on a heavy, spacious piece of vinyl when I can get twice as many or more and it hardly takes any place at all. Obviously I don't agree, but from a selfish point of veiw it's not all bad. In the shops I go to there's hardly any demand for vinyl compilations anymore, which allows me to get tons of good music for a bargain. This is an exemple what you can buy for just a few bucks nowadays. Sixteen top numbers including a pop/psych marvel by Reparata & The Delrons - "Captain Of Your Ship" - and The Toys original version of "A Lovers Concerto" - one of the catchiest pop songs ever. There's also rarely seen stuff with Ronny & The Daytonas, Merrilee Rush, James & Bobby Purify, Syndicate Of Sound and a lot more. I dig every second of it. As far as I can hear all cuts are true stereo. Also issued in mono (MBLL 111). May be the CD:s and downloads gives more with sometimes better sound quality, but this is what I want. Analog sound close to first makes, thick vinyl, beautiful label design and laminated flip/back cover. (SÄM*)

T.REX/DANDY IN THE UNDERWORLD BLN 5005 (-77) UK

Suffering almost three years of mediocre sales without one high charter this was the big comeback for Marc Bolan and the band. After various excursions into US type soul and heavily orchestrated pop they were back to basic - catchy and simple with tons of charm. Some of the arrangements are a little more elaborated and the lyrics darker than their early seventies work, but it's the same formula - repetitive melodies to appealing lyrics that either hit you at once or grind their way into your brain eventually. "Crimson Moon", "I Love To Boogie", "Visions Of Domino" and "Jason B. Sad" reminds a lot of what they did on "Electric Warrior", "The Slider" or "Tanx". Title track and a few others shows a more mature style, but still captivating. The audio is very good all through and especially on "I Love To Boogie". A crude mix of the song was done for Bolan to take home and listen to on his reel-to-reel, made at half speed using an Ampex 16 track insted of the ordinary 24 track. It was meant to be remade the next day, but Bolan liked it so much he decided to use it as it was. Good choice. Listening on an OK equipment today it's so close and natural you can almost feel and taste it. One of the best sounding of the analog era and way above anything digital. A fitting exemple of - less is more. The album itself did well among critics and sales were good. It seems Bolan was on the right track again with a lot more to come. Sadly he was killed in a car accident six months after release and that was it. Originally issued in Europe and Australia. Not released in US until the remastered 1997 PolyGram CD (314 534 360-2). Premiere UK had label as shown here and die-cut sleeve with glossy picture/credit/lyric inner. (RÄX*)

SANDIE SHAW/MESSAGE UNDERSTOOD NEP 24236 (-65) UK MONO EP

I'm not much for 7 inch records, but sometimes you need them to complete a discography with first hand makes and mixes. This EP compiled four previous UK A & B sides. "Don't You Count On It" showed up two years later on the "Puppet On A String" album, but the other three were non-LP. All four songs written for her by Chris Andrews. "If You Ever Need Me" and "Don't Count On it" rather averge ballads for the time and "How Can You Tell" common perky English pop, but the title track is a small gem. A slow bouncy rythm to a rather odd melody allowing her to use a wider range of her voice. The oddity makes it stick and fifty years on it's still worth a spin ot two. The single reached #6 on the UK list and is a lot easier to find, but with the EP you get a picture sleeve and two more non-LP cuts so that's a lot more fun. First had label as shown here and laminated flip/back cover. (FÄV*) (PÖY*)

THE FEDERALS/SOLIST : TONY BOLTON EDE 0202 (-65) MONO ROMANIA

Don't know much about this band. Formed early sixties in Watford, UK and got signed by Parlophone 1963. They released a couple of '45:s up to 1965, with a style much reminding of contemporary The Tornados and at least a few cuts produced by George Martin. But non of them sold and the group dissolved soon after. One of many aspiring bands at the time that didn't make it and either reshaped in some way or just disappeared. I don't have a clue why they 1965 made an LP in Romania, who set it up, circumstances for recording or exactly who Tony Bolton was. All cuts are exclusive to this issue. One - "Love, Love, Love" - written by the band, the rest covers. Bolton has a nice voice, uneducated but with personal charm and the harmonies together with the other singer Frank Milne works well. Backing is tight, but sometimes sounding unrehersed with quite a few flubs and flaws showing there were no retakes or cover-ups. I like the three Lennon/McCartney songs best, especially "World Without Love" - direct, almost naked with nice vocals and basic organ. A fine exemple of early sixties UK beat, with one notable difference. If made in UK it would have been treated with some kind of compression/limiter device, equalizing the parts in volume and level, making it somewhat softer and easier to handle. Apparently no such things were used on this and the outcome sounds 100% authentic - very dynamic with all rough edges still there. The pressing and audio is just fine and all together a very good listen. Only issued in Romania. Label variations exist, but as far as I understand this yellow type was first. It came on heavy unflexible vinyl with thin glossy cover. (BÅC*)(ÖGÄ*)(BRBÄ*)

VACATION

Taking a short vacation from the blog. Got r/l stuff to attend to so when I get back I probably wont be able to post every day. There's a lot more to share - just doing it at a slower pace for a while. See You Later/Erik

THE SHARONS/SOMEONE TO TURN TO JDR 325 (-70) UK MONO

Not to be confused with the Dutch sixties rock group bearing the same name. The LP shown here was from a Scottish band, playing a kind of primitive beat music with lyrics having Christian motives, on back sleeve labeled as "Gospel Beat". This was their only issue. All songs written by band leader Colin MacKenzie. Recorded at "Emblem Sound" with a John McLarty credited for production and Walter Paterson as engineer. Seen it documented as "private press", but I doubt that. Emblem Records was a small independent label with its own studio and issues mostly concentrating on Christian music and I don't think any private release would have a laminated E.J. Day sleeve as in this case. The music on it has been described as "psychedelic" and that may be - but only in a very broad sense of the word. Setting and song structures resembles ordinary UK sixties pop band music - sounding a lot more 1964-65 than 1970. The oddest cut - "Judy" - has fuzz guitars to a good organ and there's some rattling guitars and distortion on a few other places, but the main bulk is soft beat. What makes it special to my ears is the meeting between two absolute opposites. The vocals are as clean and angelic as you would expect from a Christian band with confessional lyrics while the backing is unrefined garage - messy and amateuristic with a genuine live feeling. The production is minimal and some of the mixing unbalanced. Audio shifts from OK to rather bad. This is nothing for the fainthearted collector, but if you're into odd garage or just have a taste for the bizarre it's quite agreeable. Original release in UK only and never re-issued on LP or CD. (UKÖ*)(ÖGÄ*)

THE TEMPTATIONS/TEMPTIN' TEMPTATIONS TML 11023 (-66) UK MONO

The group's third US album and the second with Smokey Robinson as main producer. It also works as a Greatest Hits since seven of the twelve cuts appeared on charting '45:s 1964-65. I'm a big fan of sixties Motown in general - the gifted artists, special backing, production and mixing creating a unique connection with the listener. To my taste Temptations was one of the best acts in that stable. Always attractive vocals and good song choices, regardless of what style they were into at the moment - pure soul, psych or funk. This is no exception. High level all through with a number of catchy tunes. I especially like the included single tracks "Since I Lost My Baby", "Don't Look Back" and "Girl (Why You Wanna Make Me Blue)". This UK mono is cut a little too loud to my ears, almost cracking at parts. Not all bad, but some of the nuances get lost. Premiere US 1965 on Gordy "yellow script label" (G/GS 914). Re-mastered stereo CD 1998 (Motown 314530931-2). First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (ÄIÖ*)

BLUE MINK/A TIME OF CHANGE SRZA 8507 (-72) UK

UK pop combo active between 1969-74. They got an instant hit 1969 with "Melting Pot" at #3 in England and after that five further top 20 and one top 30. During their existence incorporating members as prominent songwriter Roger Cook, US soul singer Madeline Bell and accomplished session musicians Alan Parker, Herbie Flowers, Barry Morgan, Roger Coulam, and Ray Cooper. This was their third album, produced by the band. As expected with all that expertise involved the result is 100% professional. Well written songs, pleasant vocals, suitable arrangements and prize winning audio. Soft and soothing, but not very exciting. Mid section of the longest track "Warm Days Warm Nights" has an appealing vocal psych part with moaning and groaning and the second half of "We Will Get By" oddly attractive string arrangements. Apart from that it's good mainstream and radio friendly without too much sticking out. I'm surprised Madeline Bell didn't get more space than a few leads and some background. With her powerful voice given more room it would have got some well needed edge. To my knowledge first issue in UK only. Japan CD 2006 on Strange Days Records (POCE 1050). Premiere UK had label as shown here and matt fold/out cover with embossed leave structures on front and back. (RÄZ*)(FÄV*)

THE SUE STORY/VOLUME II ILP-933 (-65) UK MONO

For more background please check http://monolover.blogspot.se/search?q=SUE+STORY . Second in the serie and as the first compiled by a 22 y.o. Guy Stevens (1943-81), later to become a legendary UK producer. It's a good guess handeling these early US recordings had a big part in forming his own style of producing and helping to create classics with groups like Mott The Hoople and Clash. To me issues like this is a lot of fun. Sixteen original cuts from a golden age of American music, most of them first released on small long time gone labels impossible to find today. Here's the earliest versions of songs that later became hits when covered by other artists. Shirley & Lee "Let The Good Times Roll" (Alladin Records 1956), Bobby Freeman "Do You Want To Dance" (Josie Records 1958), Chris Kenner "I Like It Like That" (Instant Records 1961) and Richie Valens first recording of "La Bamba", issued as B-side of his "Donna" single (Delfi Records 1958). Most of these recordings were unknown to me until I heard this compilation. For exemple the B-side to Hollywood Argyles "Alley Oop" '45 (Lute Records 1960) - "Sho' Know A Lot About Love", or Ron Holden's "My Babe" - B-side to his 1960 "Love You So" single (Night Owl Records). Both very good. When Stevens made these compilation in the mid-sixties, during the British pop boom, it was just a few years on and the public interest was limited. Today with both periods in hindsight it's a lot more valuable, showing the way it all started. On here are the original monos. The audio shifts from very good to adequate, depending on quality of the primary recordings. Also re-issued 1983 together with the first in the serie as a two-LP set on Outline Records (OLDLP 8022 DX). First UK had label as shown here, thick unflexible vinyl and laminated flip/back cover with an image of Guy Stevens on front. (SÄM*) (GÖJ*) (ÖSÄP*)

DAVID GARRICK PYLP 016 (-67) MONO HOLLAND

Born Philip Darryl Core (1945-2013). UK pop singer with background in church quires and classical music, from age seventeen spending two years in Milan getting education as an opera singer. Back in London he started to perform at Cavern Club where he was spotted by Kinks' manager Robert Wace who offered him a contract with Pye Label. First two singles were unsuccessful, third - a cover of "Lady Jane" - reached #28 in UK and #5 in Holland. The breakthrough came with a cover of "Dear Mrs. Applebee" - originally recorded by US artist Flip Cartridge. It was a huge hit on the European continent with #1 in Germany and #3 in Holland and also got to #22 in UK. He never really made it on his own home turf, but bloomed in the rest of Europe including the Eastern Bloc. Listening to his records today most of it is regular British mid sixties pop, vaguely reminding of Hermans Hermits - perky and well performed, produced and arranged. Maybe somewhat dated 2014, but a friendly message from an analog past. Fun fact - when touring Europe in 1967 he was backed by an early setting of "The Iveys", before the band signed to Apple and later transformed to "Badfinger". I've heard rumours they also did backing on a number of studio recordings, but haven't been able to confirm it. To my knowledge he only released one original UK studio album - "A Boy Called David" (Picadilly NPL 38024). Other countries issued their own variations with alternate tracks lists and other cover designs, of which many still remains to be found and documented. Shown here is a Dutch variant with exclusive sleeve design, having seven of the thirteen cuts in common with the English issue. The audio is very good - crisp and clear. It came on thick unflexible vinyl in a laminated cover. (MÖRS*) (HÖLX*) (PÖY*)