HANK MARVIN & JOHN FARRAR/MARVIN & FARRAR EMA 755 (-73) UK

Following two unsuccessful LP:s as a trio Bruce Welch quit after just participating on one track for this third, leaving Marvin and Farrar to finish the rest. It didn't sell a lot either and later same year the combo dissolved for good and re-appeared as part of the reformed Shadows. I've had and loved the first two MW&F albums for quite some time so when this showed up a while ago I bought it. Since the reveiws had been luke warm and Marvin himself seemed displeased with the result I didn't have great expectations, but was caught from first spin. Initially by the audio and ambiance - so warm and embracing, yet clear and touching. Then by the vocal harmonies - to me reminding of sixties Hollies at their best, but in the same beautiful atmosphere as Colin Blunstone's "Ennismore" album (as this engineered by Peter Vince). There's also a bunch of top notch arrangements, not bleeding obvious but almost hidden as part of the big picture. For exemple the acoustic guitar riff in "Skin Deep", the high pitch background vocals in "Nobody Cares" and the brass/string ending of "Galadriel (Spirit Of Starlight)". It's all so well done and the fact it wasn't relished or a big seller at release makes me seriously doubt both taste and intelligence of the seventies public in general. US issue on EMI (ST-11403) came with same tracking and sleeve design. 1991 CD on See For Miles (SEECD 322). Premiere UK had label as shown here and structured fold/out cover. (CXÄ*)

SUME/SUMUT DEMOS 13 (-73) GREENLAND - DENMARK

Greenlandic band being one of the first Inuit acts creating and performing a modern rock/prog repertoire rather than passing on the tradition. This was their debute album, made as a protest against the Danish colonization of the island and part of a movement to rediscover the Inuit culture and identity. Recorded and issued in Denmark through the independent left-wing Demos label. Lyrics and sleeve notes are in Eskimo-Aleut language. The fact that all are translated to Danish on cover and label helps understanding a little, but not much. The old woodcut reproduced on front cover, picturing an Eskimo hunter dismembering an intruder, shows on a grave cause. Songs and performance are slightly related to contemporary American or Danish rock, but the expression unique due to language and native idioms. Although the subjects are serious the songs comes out surprisingly pleasant and catchy. The instrumental setting is basic rock with some reinforcement on violin, saxophone and flute from supporting musicians. What really gets me going are the guitars. There's riffs and hooks everywhere as leads or fill outs, electric and acoustic, lifting it from just a good protest LP to an excellent rock album. The recording is simple with an almost garage quality and the audio clear and natural. In all very good listening. Full album here  https://www.youtube.com/watch?v=XWZVSdIy20Q . The copy shown here is from the only original issue. Most of the cuts can be found on the 1988 CD compilation "Sume 1973-76" (ULO-CD 46). First vinyl had label as shown here and matt fold/out cover with stapled sheets inside, containing band pic, lyrics, credits and additional info. (SCÄ*) (ÖGÄ*) (CCÖ*)

FRANK ZAPPA & THE MOTHERS OF INVENTION/DOLF HARTMAN PRÄSENTIERT DIE FRANK ZAPPA STORY 2304 161 (-73) GERMANY

German only collection of tracks from the first three LP:s. As far as I can hear all on it are the common album versions, except "Call Any Vegetable" having the Mothermania edit. Obviously it was a big deal back then the presentation and story written inside fold/out was made by Dolf Hartmann, who also has his pic on the front cover. Never heard of him before and can't find anything on the net. He does write a few lines about himself at the end of the text and as I get from that he worked as a music journalist and critic at the time. The fact that label has "The Frank Zappa Story" in English while all sleeve text is in German could mean it was open for export. This copy has a typical cut-out mark showing on US handeling. Even if all songs had surfaced earlier on regular albums and/or various compilations it's still valuable because of the rare pictures, exclusive track sequence and top audio. This was probably the only issue. It came with label as shown here and laminated fold/out cover. (ZÄP*) (GÖXÄ*)

WORDS AND MUSIC E-505 (-50) US

In reality a soundtrack of Rogers and Hart compositions, recorded directly from the 1948 movie tapes. Though to me it serves as an early sampler with some of the period's greatest aritsts performing classic numbers. Mickey Rooney doing "Manhattan" and a duet with Judy Garland in "I Wish I Were In Love Again". Two Lena Horne songs, including "The Lady Is A Tramp" and June Allyson with "Thou Swell". High class all the way, but to me this is not so much about the artists or songs. I dig it for the audio and soothing atmosphere - perfect for relaxing moments and a can also work as a launcer for backward time travel. This is my music close to dawn after a sleepless night - a warm friendly blanket that may enable me to finally doze off. (NYFÖ*) (SÄM*) (YZÄ*)

JOHNNY BODE & LILLEMOR DAHLQUIST/STYRMAN JANSSONS FRESTELSER S 301 (-69) SWEDEN

My original plan was to only post first and last of the four erotic albums Bode issued 1968-73 and at the same time tell the story about this talanted and deeply disturbed man. But since both those are getting a lot more veiws than I expected I'm also adding the remaining two. For background check the previous entries on the first - "Bordellmammas Visor" - and the fourth - "Bordellmammas Dotter". The unexpected domestic success of the debute threw Bode into a state of manic production. Within a year he released four non-LP EP:s - one each with lesbian and gay motives, one picturing an imaginary sex match between Sweden and Finland and another about having sex on trains and boats. Since this second album (Eng. "Boatsman Jansson's Temptations) showed up during the same hectic period you'd expect it to be a scribble made to cash in while the heat was on, but it seems more elaborated than the first. You get the same mix of odd and regular sexual practices and the same frequent use of four letter words, this time tied together by a sailors theme allowing the hero to visit women in different milieus all over the world. Even if some of the lyrics appear to have been written hastily, the backing - including strings and brass - and arrangements are executed with such skill the main impression remains positive. Melodies and styles are tied to the separate cultures pictured by each lyric, or a least Bode's perception of them. IMO not as good as the first, still the blend of well written classic schlager and puerile sexual poetry makes it very funny and unique even today. As before the male and female parts are shared by Bode and Lillemor Dahlquist. Reissued on CD 2003 with same tracking (Rondex CD 301). First vinyl had label as shown here, fully laminated cover and lyric/ad insert including cover pics of and order form for the non-LP '45:s. (SCÄ*) (FÄV*) (ÄXÅH*) (CCÖ*) (NÖH*)

SAM THE SHAM & THE PHARAOHS/LI'L RED RIDING HOOD E 4407 (-66) US MONO

For full background check post on their debute "Wolly Bully". Copies like this were a big part of the US cut-out dumping over Sweden in the seventies. And as it don't seem to appeal at all to the newer generations of record buyers you can still get a decent copy for around $1 if you're lucky. Price worthy indeed. Just picked up this their third album and though it sounds exactly as the first I'm still there. Simple melodies, raw and natural vocals, elementary backing with prominent organ. I'm getting an honest impression - this is them right on with very little production added. In all a happy and positive album from a bunch of guys who know exactly what they're doing and that can never be a bad thing. First UK on MGM (C-8032). Premiere US had label as shown here and thick glossy cover. (YZÄ*) (ÖXCÅ*)

DRUMBEAT - BBC's TELEVISION SHOW PMC 1101 (-59) UK MONO

"Drumbeat" was a popular UK serie of music shows, twentytwo episodes broadcasted by BBC between spring and fall 1959. Guestlist included then known artists and upcomers using the media as a springboard to later fame. This is not a soundtrack from the actual shows, but nine of the acts recorded at Abbey Road in front of a live studio audience as an attempt to mimic the atmosphere of the shows. So it's actually a compilation with exclusive recordings of late fifties rock and pop, performed by some of the most promising British acts at the time. Among the participants were Adam Faith, who got many high charters in UK during the sixties, and Roy Young - later playing with Cliff Bennett and recording with Chuck Berry and David Bowie - together with a couple that hardly made it into the next decade - like The Kingpins, Sylvia Sands and Bob Miller & The Miller Men. Twentysix cuts - uptempo instrumentals blended with vocal ballads and fast rockers - tied together by audience noise and common atmosphere. It works for me, both as party record and a tasty sample from the UK youth scene in the late fifties. Audio is surprisingly good given they squeezed so many cuts into a single LP and playing it loud could cause rythmic movements among listeners. As far as I know only issued in UK. 2010 CD reissue (Silva Screen Records SILCD 1307) had 40 tracks, including authentic Fontana recordings from the TV soundtrack. First had label as shown here with embossed "ET" tax code and laminated flip/back cover. (SÄM*) (FÖGÄ*) (LYBÖ*) (PÖX*) (GCÖ*)

TEAR GAS/PIGGY GO GETTER PAS 5029 (-70) US

For more background check post on their second LP https://monolover.blogspot.com/2013/03/tear-gas-slrz-1021-71-uk.html  . That was elaborately raw, clearly inspired by Jeff Beck Group's Beck-Ola/Cosa Nostra album. In comparison this debute sounds like from another band. A mix of ballads, boogie rock, hard rock and pop, but without any general idea or feature tying it together. They're all skilled players and the harmony singing is OK. Only thing that don't work for me are some of the lead vocals, sounding common and anonymous. I like the rock tracks best - e.g. "Night Girl" has a very good drive and fine guitars and "Look What Else Is Happening" is multi theme hard rock/prog with tempo changes and top notch drums and guitars. It didn't sell back then and still not considered special. I don't believe that has to do with the musical quality or songwriting, but the overwhelming competition from a number of UK and US acts doing about the same thing at the same time with a more commercial touch. In any case it's not bad at all and interesting as a specimen from the b-squad of early hard rock, one of many struggling bands without a real breakthrough. Their next album didn't sell either and by 1972 they reformed as backing in Alex Harvey's band. Premiere UK on Famous label (SFMA 5751). 1993 CD on Limited Records (LMTRCD 06) came with same tracking, limited to 1000 copies. First US had label as shown here and thick fold/out cover. (YZÄ*)

THE SHADOWS/SHADES OF ROCK SCX 6420 (-70) UK

After the band's 1968 breakup it seems they were more popular than ever. A 10th anniversary Cliff Richard & The Shadows album sold well, they were frequent guests at Cliff's TV show and did a very remunerative tour in Japan. By the time this was made Bruce Welch had already quit and the "Marvin, Welch & Farrar" project was about to take off. It was their only original studio recording as "The Shadows" between 1967-73, issued all over Europe and downunder, reaching #30 in UK and high on a number of other lists. With the sixties efforts and sadly underrated MW&F albums in mind I expected someting good when I first bought it in the mid-seventies - outstanding guitars and beautiful vocal harmonies. It was nothing of the kind. Could as well have been one of those hit parade issues where some anonymous combo plays contemporary populars. All instrumental and although there are a few guitar moments, most of it comes out blunt and impersonal. There must have been so much talent and quest for renewal in the band at this point, but non of that shows. This is another day at work giving the public what they want, no feelings involved. On the positive side - the audio is very good and I bet it's still high on many lists with soothing background music for offices, casinos and supermarkets. Originally issued in Europe and downunder. 2010 CD on RPM Retrodisc (Retro 866) came with one bonus track. Premiere UK had label as shown here, thin structured cover and EMI ad inner. (CXÄ*)

JETHRO TULL/WAR CHILD CHR 1067 (-74) UK

I rediscovered this recently and am amazed how well it has stood the test of time. Not that it's modern or even remotely trendy. The strength lies in ageless attributes as intelligent lyrics and well written melodies, qualities that never get dated. Previous album - the dark, adventurous "Passion Play" - did sell a lot (#1 in US and #13 in UK) but was a critical disaster, initiating rumors that the band was breaking up. This follow-up, over a year later, shows they were as forward as ever. Impression is the result of coherent studio recordings, but it's actually a patchwork containing ideas and cuts from earlier wrecked projects mixed with a couple of new ones. Anyway the final outcome is a top notch LP, containing two of their strongest tracks ever (at least IMO for now) - title track and "Skating Away On The Thin Ice Of A New Day". They both have all the ingrediences that makes songs iconic in my world - catchy tunes, poetic expression, odd arrangements and tons of feeling. Same goes for the entire album, so if you're fed up with the thefts and reproductions that rules the music business today and feel the need for an original piece of art this is highly recommended. First US had a slightly different inner design, otherwise same as UK. 1999 US remastered CD issued by Mobile Fidelity Sound Lab (UDCD 745). Japan 2003 CD on Chrysalis (TOCP-67182) came with seven bonus tracks. Premiere UK had label as shown here and glossy cover with black lyric inner. (YÖHT*)

THE ANIMALS STORY - VOL. 1 CTX 40.197 (-65) MONO FRANCE

First of three in the French "Animals Story" serie. While the second to the most part coincided with US "Animal Tracks" and the third was a domestic compilation, this seems to be directly from the UK tapes of their debute with same tracking order. It's cut at slightly lower volume and comes through softer than the clear and bouncy UK original. Sounds good anyway, even if not better. What makes it indispensable to me is the exclusive front cover pic and vintage type Columbia label. Very nice! First press had label as shown here and laminated flip/back cover. (ÄNÄ*) (MFÄX*)