EAST OF EDEN SHVL 792 (-71) UK

I remember getting their two Deram LP:s - "Mercator Projected" and "Snafu" - at first release and keeping them as part of my earliest period into prog, together with stuff from Zappa, Colosseum and Traffic. But for some reason they didn't hit me as hard as the others and I lost them after a while. For almost forty years the band was outside my area of interest till I found this their third LP a while ago. As it seems not much was left from the Deram years. Only violinist Dave Arbus remained fron the original setting and most of the creative work made by newcomer bassist David Jack who composed all songs and did lead vocals on the album. It's very good prog with top instrumentalists and fantastic guitars. Songs are rock/jazz blend having just enough unexpected twists and turns to keep up my interest, but lacking specific character. Some of it reminds of contemporary Traffic - impression enhanced by David Jack there sounding exactly like Steve Winwood - and others resembles stuff from Cream or Family - with vocals not far from Jack Bruce or Roger Chapman. There are a few moments though where they just sound like themselves and those are the ones that makes the LP. Favorite tracks - folk/psych "Take What You Need" and odd hard-rocker "To Mrs V". First US on Harvest (SW-806). German CD 2005 on Repertoire (REP 4877). Early UK had label as shown here and structured fold/out cover. (HÄVL*)

ZINGOTOPPEN RM 2511 (-67) SWEDEN

Compilation containing the finalists in one of many popband competitions held in Sweden through the second half of the sixties. While usually organized for some kind of charity, this was sponsored by a soda brand - Zingo - which explains why no established groups participated. All acts are pure amateurs first time in the studio. Ten bands performing twelve songs - two instrumentals, one with Swedish lyrics and nine sung in English - all self-penned. Apart from "Shiver" and "Bread" later releasing a couple of '45:s, non of the combos survived and this became their only legacy. But even if the bands vanished many of the members continued as musicians, taking part in more notable assemblies. Anders Melander from "Bread" went to Nationalteatern and later to Cue. Kaj Söderström and Henrik Hillden from "Why" eventually became parts of seventies experimental prog group Splash. Gunnar Winald from "The He-Goats" joined Spotnicks. Jan Bandel from "Quints" went on to psych/prog band Handgjort and later work as session musician with artists as Björn J:son Lindh, Baltic, Harpo and ABBA. The music here is far from what any of those did later. It's laymanish and very charming with rudimentary songwriting and quite a few false notes. Probably not attractive to a larger public, but quite irresistable to this old garage lover. Both Les Fleurs cuts are Shadows type guitar pop, the A-Men song is in Swedish folk/ballad tradition and Bread's "Rough Lover" sounds Motown. The rest average soft beat. Favorite track - Why's "Ballad Of A Pining Man" because of the cute piano riff. Issued in compatible stereo and sounds good whichever you choose. It came in a fully laminated pop art cover with red print inner and voting card. (SÄM*)(SCÄ*) (CCÖ*)

MUSIC FROM FREE CREEK ADS 1/2 (-73) UK

In a way the most super of all super sessions, including fiftyone musicians in different constellations of which at least 10-15 were top names at time for recordings, made at Record Plant 1969. Among the participants were Keith Emerson, Mitch Mitchell, Jeff Beck (as A.N. Other), Linda Ronstadt, Todd Rundgren, Eric Clapton (as King Cool), Valerie Simpson, Chris Wood and Delaney Bramlett. According to sleeve notes a lot was going on in and around the sessions causing sickness and bad blood and some of the players didn't get paid. Obviously most of the musical input was pure jamming without any preset arrangements. To quote project leader Earle Doud - "...we made up most of the tunes on the spot on the top of our heads". With that in mind you could expect the outcome to be somewhat distracted and parts of it is, but there's also quite a few gems making it worthwhile. "Freedom Jazz Dance" played by Keith Emerson, Mitch Mitchell and Buzz Feiten is catchy and quirky not far from contemporary ELP. Blues number "Road Song" has a sufficient Clapton solo and sincere vocals from Tommy Cosgrove. Jeff Beck does some very good guitar in "Cherrypicker". My favorites are "No One Knows" - with Eric Mercury singing to a Clapton/Dr. John/Motown Singers backing - and "Big City Woman" beacuse of the excellent Jeff Beck guitars. Those picks according to my personal taste, but there's also high quality stuff with Linda Ronstadt and others. I could have been without the instrumentals with insipid covers of "Lay Lady Lay", "Sympathy For The Devil", "Hey Jude" and a few more. With those gone, slimmed down to a single album it would have been a real treat. Produced by Earle Doud and engineered by Tony Bongiovi with some additional mixing by Keith Emerson and Neil Slaven. The audio is great all through. Release was withheld for over three years due to legal problems and issued first 1973 on Buddha/Charisma in US (CADS 101). European vinyl also in France and Germany. CD on Lake Erie Records (LER 43014). Premiere UK had label as shown here and matt fold/out cover. (SÄM*)(ÄPY*)(JÄBÄ*)

MARC BOLAN & T.REX/ACROSS THE AIRWAVES ICS 1004 (-82) UK MONO

One of the better Marc Bolan posthumous issues. Twentyone cuts from the BBC vaults, originally recorded for radio broadcasts 1968-71. Twelve from the combo's first incarnation Tyrannosaurus Rex and nine as T.Rex, including two songs - "Misty Mist" and "Riders On The Highway" - that didn't make it to original vinyl in the first place (although a mid-sixties recording of "Misty Mist" appears on the 1974 "Beginning Of Doves" compilation). Some of the cuts sounds very much like the album versions with only slightly different arrangements while others are alternate versions. "Girl" is totally stripped with Bolan and acoustic guitar, "Jewel" a lot more offensive than the LP version, "Hot Love" sounds like arranged for the "Beard Of Stars" album and "Summertime Blues" rawer than the original '45 B-side. Some of the cuts are early trials that later would be remade for album or '45 versions, others were hits already but forced to a simpler treatment by studio location. Sound quality varies from excellent to OK. Maybe not the best Bolan album for beginners, but if you're already a fan and know the songs it's a welcome addition with lots of nerve. Also issued as picture disc (ICSX 1004). German (Cube 6.26268) came with title on front sleeve. 1998 CD issue on A&M (541 004-2). First UK had label as shown here and glossy fold/out cover with no text on front. (RÄX*) (FXÖ*)

GEORGIE FAME & THE HARRY SOUTH BIG BAND/SOUND VENTURE SX 6076 (-66) UK MONO

It was a long time project, recorded over three sessions 1965-66. To my ears a prefect match - r&b singer Georgie Fame and the newly formed Harry South Big Band with the cream of British jazz musicians at the time. The backing - as cool jazz, swing, soul or blues played by an all star big band - fits his voice like a glove. The vocals are very intimate and although his range is somewhat limited, it's so cozy and composed you don't wanna get out. Two of the songs - "I Am Missing You" and "Yawn Dawn" - penned by Fame, the remaining ten covers. No less than twentyseven musicians participated, with some personnel changes between the sessions. Among them Tubby Hayes (1935-73) - undoubtely one of the best British tenor sax players - and saxophonist Harry Klein (1928-2010), who also worked as session musician for UK bands as Beatles ("Lady Madonna", "Honey Pie", "Savoy Truffle") and Caravan. Produced by all-rounder director/producer Tony Palmer and Denny Cordell. Recorded, mixed and issued in mono only with perfect audio. Don't know of any other releases on vinyl or CD. First had label as shown here and laminated flip/back cover. (MÖRS*) (FGÖ*)

GLORIOUS 20/HISTORY OF POLYDOR MP 8007/8 (-73) JAPAN

Japanese only 2-LP issue. Polydor released a large number of samplers in the seventies all around the globe, many of them almost identical. This is a little different as it's not tied to any specific genre, only thing the cuts have in common is they were popular in Japan sometimes between the late fifties and early seventies. So it's a diverse blend of latino rythms, Euroschlager, Britpop, r&b, soul and psychedelia. Udo Jurgens, Jimi Hedrix, Richardo Santos, Cream, Shocking Blue, James Brown, Bee Gees, Bert Kaempfert and more put together. What really turns me on here is the audio. Absolutely clear with top separation and every nuance coming through. All cuts seems to have been treated with the same love and skill, resulting in consistent audiophile quality. So even if "Purple Haze" is about the same semi-fake stereo I've heard hundreds of times this one sounds so good I forget all about that. Further true stereo cuts as "Massachusetts" and "White Room" comes more revealed and average hits like Danyel Gerard's "Butterfly" and Shocking Blue's "Venus" get a whole new meaning. As a bonus it's also nice to hear the first made version of "Mamy Blue" - sung in Italian by Ivana Spagna. While later recordings with Pop-Tops, Joel Dayde', Nicoletta and others all became hits, hers is still rather unknown. Don't know anything about issues for the album, but guess this is early with label as shown here, matt cover and lyric/credit insert. (SÄM*) (ÄZÄ*)

HARVEY ANDREWS/WRITER OF SONGS HIFLY 10 (-72) UK

For more background check post on his premiere LP http://monolover.blogspot.se/search?q=harvey+andrews . Shown here was the follow-up two years later, but since the actual debute hardly sold at all and often forgotten this is sometimes seen as his first. Maybe the initial public fail was the reason he decided to do a remake of the song "Boothferry Bridge" for this. I like the first version best, but they're both very nice. Although larger part of the cuts are soft with finely tuned melodies they also carry resolute veiwpoints and strong feelings. The backing is often sparse, only supporting the melodies and letting the vocals take charge. List of guest musicians includes names as Ralph McTell, Danny Thompson, Rick Wakeman and Cozy Powell. Overall it's a very good album, but one track makes it outstanding. "Hey Sandy" is the true story of Sandra Lee Scheuer, who was killed by a stray bullet during demonstrations at Kent State University in Ohio 1970. She didn't even participate, but was hit in the neck walking over a nearby schoolyard when the soldiers shot at the demonstrators. There's been a couple of songs about the Kent State shootings since. What makes this special is he's concentrating on the individual rather than political circumstances. He describes the death of an innocent teenage girl almost from her veiwpoint and instead of just another victim you get a real person, presented with so much empathy it hurts. Musically carried by Richard Thompson's perceptive double bass counterpointing the melody and a sharp electric guitar by Paul Keogh towards the end. I don't often get goosebumps from songs nowadays and almost never tears in my eyes, but this gives me both http://www.youtube.com/watch?v=xe-22-BajRA . To my knowledge never released in US. German on Cube (2326011) and Intercord (126.304). UK reissue on LP and CD (Beeswing LBEE 002/LBEECD 002). First UK had label as shown here, glossy cover and lyric insert.(SYSÖ*) (FXÖ*)

THEY CALL US AU GO-GO SINGERS R 25280 (-64) US MONO

Au Go-Go Singers were a nine piece acoustic/vocal combo, performing at and taking their name from the legendary Cafe Au Go-Go night club in Greenwich Village, where they worked more or less as a house band the first year after the club opening 1964. The music was a kind of perky folk/country/pop, a style popular at the time with big selling bands as The New Christy Ministrels and The Serendipity Singers. This was the combo's only LP. Musically not my cup of tea, but interesting as a beginning for members Steven Stills and Richie Furay a few years before they met Neil Young and formed Buffalo Springfield. Best tracks on the album are from those two - Steven Stills' handeling "High Flyin' Bird" and Richie Furay's version of "Where I'm Bound" shows some not yet fully developed talent and a small foretaste of what to come. I don't know anything about other issues or if it was re-pressed. Guess this is rather early with label as shown here, thick vinyl and glossy cover. (FÖGÄ*) (YZÄ*) (ÖXCÅ*) (ZHÄ*)

THE PRETTY THINGS/GET THE PICTURE? TL 5280 (-65) UK MONO

Their first album was the cheekiest debute of the sixties and probably one of the rawest r&b LP:s ever made   https://monolover.blogspot.com/2012/04/pretty-things-tl5239.html   . Unpolished and ill-mannerd with an almost criminal rage. By the time this follow-up was recorded two months later things had already started to change. Drummer Viv Prince was being phased out of the group due to his unstable psyche and aberrant behaviour and only participated on a few of the cuts - the rest handeled by John "Twink" Adler (later with Tomorrow and Pink Fairies) and legendary studio musician Bobby Graham (1940-2009), who also co-produced the album together with studio engineer Glyn Johns. Apparently Jimmy Page did guitar on some of the cuts and is also credited as co-writer to one - "You Don't Believe Me". While the debute was like a force of nature let loose in the studio this sounds a bit more tamed, still rude in comparison to other contemporary acts. It has been called a step towards the soul and psych oriented style they went through later in the sixties. Maybe in a way, but I can hardly hear it. The following 1967 LP - "Emotions" - would be completely different, with other type of songwriting, brass and orchestrations more fitting the summer of love. Here it's still 1965 and very dirty. Favorite tracks - "Buzz The Jerk" and "We'll Play House". Recorded and mixed in mono only. For the UK fake stereo issue check separate post http://monolover.blogspot.se/search?q=swl+1164 . Eariest Dutch came with different sleeve design. In France it was called "Midnight To Six Man" with yet another cover variation. Australian on Philips (PD-207). Not issued in US before the 1998 Snapper CD(155492). Premiere UK had structured label with "RECORDING FIRST PUBLISHED 1965" as shown here and laminated cover.

SOUL TOGETHER 218 005 (-70) UK

UK compilation of US funk/soul '45 cuts released 1968-69, including two posthumous from Otis Redding. One of many UK collections of American sixties music back then. Around this time the British pop band invasion to US had petered and new genres like English glam rock and Europrog didn't make it on the other side of the Atlantic. Instead there was an effort by American companies to turn the flow and increase their sales in England and on the continent. Part of that drive from a number of different labels was compilations like this. The aim wasn't to make a profit on the issues themselves, but serve teasers and evoke curiosity. I didn't ponder much about corporate strategies back then, just saw it as a blessing. As a poor student I couldn't afford all LP:s or singles, so twelve top tracks at budget price was welcome. And it's still a boon having so much good music in one place on vinyl. Apart from legends as Otis Redding, Aretha Franklin and Wilson Pickett I get oddities from Billy Vera & Judy Clay, Clarence Carter and Sweet Inspirations that probably never would have hit me otherwise. All cuts in true stereo with very good audio. To my knowledge issued in UK only. First had label as shown here, thick vinyl and laminated cover. (SÄM*)(ÄTHP*)

DIANA ROSS AND THE SUPREMES/ PRESENT SFTM 340642 (-68) FRANCE

French only Motown compilation. Cover and title fronted by Diana Ross & The Supremes, but it's actually a compilation with fourteen different Motown acts. Apart from Martha & The Vandellas "In My Lonely Room", initially a 1964 single cut, and Junior Walker's "Tune Up" from the 1965 "Shotgun" album, all were recorded and/or first issued around 1967. The track list is a little different from what you'd expect with a US or UK big hits collection, more focusing on what did best in France at the time. Some of the albums or '45:s these cuts came from can be hard to find today in original shape. Here's one way to get early press for least a few of them. All true stereo as "gravure universelle", meaning "compatible". Don't know if they all were mixed that way in the first place or some got adjusted for the format, but it works just fine. A couple of the two-channel mixes aren't very good so pushing the mono button makes it a much better listening. First had label as shown here and laminated flip/back cover. (TÖMÖ*)(FÄV*)(MFÄX*) (ZYZÖ*)