ROD STEWART/NEVER A DULL MOMENT 6499 153 (-72) UK

My first acquaintance with Rod Stewart was him doing vocals with Jeff Beck Group and Faces. JBG:s early hard rock and Faces sloppy pub rock were on most of my late teen parties and thus part of many fond memories. Still that's the Rod I like most - as part of jolly band's, not the posh solo artist. I didn't buy his Vertigo solo LP:s back then. My first became "Every Picture Tells A Story" (see earlier post) which in many aspects reminded of the Faces collaborations - band enhanced, but at least partly same backing and atmosphere. On this follow up a year later it's even more so. About the same personel though now a little less elegant and more rock'n'roll. Three of the cuts co-written by Stewart and Ron Wood, one by Stewart and Mark Quittenton (Steamhammer) and four covers. Up to now this has been my favorite of all his solo albums - because I don't get it as a solo effort. Even if Kenney Jones just plays on one track (Micky Waller doing the others) the rest of the band is there most of the time and the attack and whole ambience makes it almost entirely like a Faces album. And that does it for me. First US on Mercury (SRM-1-646). Premiere UK black label issues in matt triple fold/out cover - either imported US, or UK made by Howards Printers (Slough). (SXÅH*)

THE SHADOWS SCX 3414 (-61) UK STEREO

After over two years as backing band for Cliff Richard and a couple of hit singles on their own they got to record their first album. As later stated by producer Norrie Paramor there were bad feelings within the band from the beginning which brought disturbance to the sessions and eventually led to both initial members Tony Meeham and Jet Harris leaving the band, making this the only solo album by the original Shadows. There's certainly no traces of animosity in the final result - the band sounds tight and the vocal harmonies works beautifully. Six of the tracks written by group members, eight covers. Greater part instrumental building on Marvin's guitar and three vocal cuts showing they also did very well without Cliff even this early. As it seems the UK public thought so too and the album stayed on top of the list for over a month. So it's a good exemple of early British pop, but what makes this especially collectible to me is the first press stereo. Though with sparse instrumentation and few overdubs they managed to keep it together with crystal clear audio. Balance not all natural, still with enough spread to make it enjoyable - e.g. vocal harmonies in "Baby My Heart" and "All My Sorrows" shared between the channels. And of all label designs over the world through the years this Columbia stereo has to be among the most attractive. Used between 1958-62, before the common mono/stereo was introduced, and then mostly for classic music. The modern fifties layout with pistachio/silver colors is a true piece of art. First UK on thick vinyl and laminated flip/back cover with large "stereo" on front. (CXÄ*) (FÖGÄ*)

URIAH HEEP/SALISBURY 6360 028 (-71) UK

Of all they've done this remains my absolute favorite and one of the best British hard rock albums ever. After a very promising but somewhat tentative debute, here on this second LP everything falls into place. The rude organ, the creative guitars, the heavy backing, the riffs and Byron's trained voice ranging from baryton to high falsetto - clean and seemingly effortless. All that helps to make a masterpiece, but it would be nothing without the tophole material. Six tracks - three rockers, two ballads and one long orchestrated suite - each blending catchy melodies with innovative elements. For exemple the operatic vocals to heavy backing in "Bird Of Prey" and "High Priestess" or the slowly growing intensity conveying "Lady In Black". And I never get tired of the "Time To Live" intro - initially held back, almost captured, then suddenly set free into a beautiful guitar part leading on to the verse (in perfect sync with the lyrics where he's released after twenty years in jail). The audio on this press is very enticing - big, bouncy and natural - and even if not the best I've heard from Vertigo swirl, still trumping most others. Love everything on it and after fortyfour years I still spin it a lot. First US (Mercury SR-61319) came with another cover design and omitted "Bird Of Prey", since an earlier version had surfaced on the US debute, replacing it with "Simon The Bullet Freak" - originally a non-LP B-side to "Lady In Black". Very first UK on Vertigo, early reissues on Bronze. There are at least thirty later reissues on CD or LP - most of them with bonus cuts. Premiere UK had labels as shown here, matt fold/out cover and "0171" dated swirl inner. (ÖRHÄ*) (WLÖ*)

WILSON PICKETT/IN THE MIDNIGHT HOUR 8114 (-65) US MONO

For more background check post on the debute "It's Too Late". This was his second, the first of ten albums for Atlantic, and as carrier of the big selling "In The Midnight Hour" (#1 on the R&B list and #21 on Billboard) also part of his breakthrough. Perceived as an original album back then, but from today's perspective a very good compilation. Nine of the twelve tracks released on single 1963-65 - five A:s and four B:s - the ealiest from the Falcons period. As expected lots of good sixties US soul with powerful vocals, but what surprised me when I heard it for the first time was the ambience. Far from the potent expression of later power soul this is actually rather cool. As with the title track. The still primitive studio facilities, sparse instrumentation, balanced mix and natural untainted audio of the mono provides a contrasting background to the intense performance and makes it real, something else and a lot more honest than many later remakes or cover versions. Exactly how I want it - more soul to me. First UK on Atlantic (ATL 5037). Premiere US had label as shown here and thick glossy cover. (YZÄ*) (ÖXCÅ*)(ÄTHP*)(PÖC*)

ROD STEWART/EVERY PICTURE TELLS A STORY 6338 063 (-71) UK

His big breakthrough with album as well as a '45 pick from it - "Maggie May" - reaching #1 in both US, UK and in many other countries. It would also help to pave the way for further international success. Most of all it was a US breakthrough and after Faces dissolvement 1975 he moved to Los Angeles, changed label and musical direction - but that's another story. Here he's still surronded by his old drinking buddies from Faces with addition of earlier band mate drummer Micky Waller (together in Steampacket and Jeff Beck Group) and a star cast including Danny Thompson, Long John Baldry, Ray Jackson and quire girls Maggie Bell and Madeline Bell. Though with partly additional setting, more emphasis on ballads and slightly posher production I've always seen this as a Faces album. Not only due to personel but the whole atmosphere is there and title track as well as the "That's All Right" and "I'm Losing You" covers could easily have shown up on the "Long Player" or "A Nod..." albums. Also front cover design, including fonts, is in the exactly same thirties style as the UK "Long Player" sleeve. In a way the start of a transition period that would go on for two more albums till he made the Atlantic Crossing. Here still more the dirty local pub than a fancy L.A. bar. First US on Mercury (SRM-1-609). Frequently issued and reissued all over the world through the years on vinyl or CD. Premiere UK had label as shown here and thin matt cover, some with poster. (SXÅH*)

EL PEA IDLP 1/2 (-71) UK

The last of four Island compilations with samples from some of the label's most successful acts coupled with at the time odder stuff. You get Traffic, Cat Stevens, Mountain, Free, Jethro Tull, Emerson Lake & Palmer and other big selling bands, but also cuts by Mike Heron, Nick Drake, McDonald & Giles, Tir Na Nog and Quintessense. Twentyone tracks, most of them very good and non bad, conveyed by excellent audio all though. All that would be enough to make it part of any decent sampler collection, but there's more. As with "Bumpers" they apparently wanted to get tasters out as early as possible so some of the cuts are earlier versions than on the final albums. It is known Sandy Denny "Late November" here is a different mix than on "North Star..." and as far as I can hear also Fairport Convention "Lord Marlborough" has a bit other outcome than on Angel Delight. Alan Bown "Through The Night" (last recording with Robert Palmer) didn't make the Stretching Out LP as intended and remained otherwise unissued up till the 2010 Esoteric CD release. Further Bronco's "Sudden Street" sounds like a slightly different version than the Ace Of Sunlight one. There may be other deviations, but these are the only ones I can distinguish at the moment. Contemporary releases in Germany, Holland and Spain. Unfortunately this initial UK issue suffered from the same "foamed" PVC inners as for exemple Colosseum Live, destroying many first press records. It had label as shown here and cover as thin matt fold/out sheet environing the PVC inners. (SÄM*) (FÄHZ*)

TWINK/THINK PINK 2310 057 (-70) GERMANY

When doing research for this post I found a very interesting article covering about everything on background for and making of the album, building on an interview with the man himself http://ugly-things.com/the-making-of-think-pink/ . I got nothing to add on those subjects so following is personal only. Long time ago I saw a critic calling this album "the last gasp of the UK sixties psych scene". True in a way - the songwriting, performance and total ambience are a lot more 1967-68 than 1970 - but it's certainly not a gasp, more of a roar or a very loud moan. The setting alone is christmas for this old psych enthusiast, collecting members from Deviants, Pretty Things, Junior's Eyes, Tomorrow, Edgar Broughton Band, Tyrranosaurus Rex and adding Twink's then g/f "Silver Darling". Though Twink denys any acid dropping was made during recordings the whole outcome ooze of LSD. "The Coming Of The Other One" and "Fluid" sounds like vinyl trips and the lack of consinstency, the whims and unexpected turns, the long raunchy guitar solos and the groovy lyrics makes it an excellent acid psych album, performed by some of the best in the game. With the people involved it's not surprising you can hear echoes from all bands mentioned, but also quite a lot inspiration from Barrett's Floyd. Favorite tracks - "Ten Thousand Words In A Cardboard Box", "Tiptoe On The Highest Hill" and "The Sparrow Is A Sign" - all because of the raw, offensive guitars. Premiere UK on Polydor (2343 032). First US on Sire/London came in a fold/out cover (SES 97022). Sunbeam reissues on LP with original tracking (SBRLP 5095) and CD with eight bonus tracks (SBRCD 5095). First German had label as shown here, fully laminated cover and lyric insert. (GÖXÄ*) (ÄZC*)

INEZ & CHARLIE FOXX LP 1037 (-65) US MONO

The duo's Greatest Hits from 1968 I found and posted a while ago made me recognize they were more than just "Mockingbird" and a one hit wonder. Stumbled over this soon after and bought it as an original studio album, but it turned out to be another semi-compilation combining six '45 cuts from 1963-65 with newer recordings. So you don't get the result of coherent studio sessions, but a rather uneven collection of various efforts. Best tracks are the up-tempo r&b/soul blends. "My Momma Told Me", "Hurt By Love" and "Ask Me" all have an unembellished garage atmosphere with rampant female vocals giving me an instant connection. The calmer numbers are duller, but decent. I'm getting exactly the same vibes from this as from early Ike & Tina Turner, but more a variation than copying. First UK on London (HAC 8241). Premiere US had label as shown here and glossy cover. (FÄV*) (YZÄ*) (ÖXCÅ*)

TEN YEARS AFTER/RECORDED LIVE CTY 1049 (-73) UK PROMO

Double LP containing picks from a European tour made early 1973 and issued summer same year between the studio albums Rock'n'roll Music To The World and Positive Vibrations. A fan at the time, but after getting five new TYA LP issues in just a little over two years I thought live versions of tracks I already had that soon would be too much surplus and didn't buy at first. Then I saw the back cover notes saying it was "an official bootleg" and that the recordings had been made "with no overdubs or additives". Of course that made me curious and I got it anyway. And it was good. Some aftermixing and leveling has been done, but the overall impression is very natural with high sound quality capturing an excellent live band at the top of their carreer. The performance is as safe as you get from the corresponing studio recordings, but there's lots of alternate ideas and presence to make it fresh. Favorite track - the cover of Al Kooper's "I Can't Keep From Crying Sometimes" with its long mid part including a guitar solo homage to Clapton/Cream. As with most live albums from the period you probably have to be a fan to appreciate it fully, but this may also appeal to guitar aficionados and those who, like me, go for natural audio and want it as real as possible. First US on Columbia (C2X 32288). Issued and reissued all over the world on CD and vinyl through the years. The one shown here is obvioulsy some kind of promo, but the only thing different is the sticker - matrixes are 2-U:s as ordinary first press, all with earliest "1" mothers and "G" or "R" stampers as you would expect from a promotion copy. The label design and matt fold/out cover are the same as stock. (XYÄ*) (LYBÖ*) (ÖRJ*)

THE SUPREMES/WHERE DID OUR LOVE GO MT-621 (-64) US MONO

Most music lovers may see this as just another good Supremes LP and sometimes recognize it as their big breakthrough. But to us die-hard fans of Motown it's also an imortant part of American music history. First album including songs with that haunting signature beat both carrying and enhancing the simple catchy melodies. A sound that would rule top lists in US and other parts of the world for over a decade - as suitable for listening as for dancing. The album itself held Billboard #2 for four weeks and remained on the list for over eighteen months. It spawned three #1 singles in US and lots of high listing '45:s in other countries. May sound like old news today, but back then it was innovative, groundbreaking and IMO still worth a place among the classics. Premiere release in US and Canada only. UK 1964 "Meet The Supremes" on Stateside came with same front cover as this, but only three coinciding cuts - "Where Did Our Love Go", "When The Love Light Starts Shining Through His Eyes" and "Standing At The Crossroads Of Love". The US mono shown here has top audio - big, clear and well separated. Don't know exactly how early it is, but probably within a year of first release with ridged label, thick vinyl and glossy cover. (YZÄ*) (ZYZÖ*) (TÖMÖ*) (FÄV*) (ÖXCÅ*)

PATTO 6360 016 (-70) UK

I remember being a little disappointed first time I heard it. Bought my premiere copy in the early eighties after reading positive reveiws and hearing from friends - all telling me what a great prog album it was. At the time I was deep into Colosseum, Billy Cobham's "Spectrum" and even more adventurous acts so I had high expectations for this to be of the same kind. But what I experienced back then was totally different. With exception of one track - "Money Bag" - it was mostly heavy white blues with jazzy interludes and not at all the total mindblower I needed. Now thirty years later with new ears and improved taste allowing me to give more attention to details I get the full magnitude. Very skilled musicians combined with attractive vocals wasn't unheard (of) at the time, but as I understand most of this was recorded live in the studio, partly by jamming, with only few overdubs. And that's what makes it remarkable. It isn't hard to produce an album if you're permitted an unlimited number of re-takes and overdubs, but to get it this good from straight-on takes is exceptional. Also the audio on this UK press is stunning. Big and bouncy, yet clear and so natural it's like being invited to the studio. I know getting tophole analog audio isn't a big thing for many collectors, but to me it's crusial for full enjoyment. In this case the fact that you can get the total ambience and almost feel the instruments adds a lot (e.g. I can't think of any other LP I've heard with such perfect drum reproduction). My favorite track remains "Money Bag" - where guitarist Olly Halshall plays some impossible licks to an eclectic background - but nowadays I got no demurs whatsoever and it all sounds great to me. Contemporary releases on Vertigo in Germany, France (same rec. numbers) and US (VEL-1001). Reissued many times on CD, legit or not. 2002 Italian vinyl on Akarma (AK 185). Premiere UK had labels as shown here and heavily structured fold/out cover with dated spiral inner. (WLÖ*)