JOHN LENNON/WALLS AND BRIDGES PCTC 253 (-74) UK

Counting early Yoko collaborations and the 1969 live this was his ninth LP. It topped the US list, reached #6 in UK and sold millions world wide. Backing and production top notch, songwriting quite all right and he sings as good as always. From a marketing viewpoint it's like he finally got it together for success. But it didn't work 100% for me and still don't. As a fan I followed Lennon's solo efforts through good and bad from "Two Virgins" and on, loving or at least accepting the outbursts of anxiety, the quirks and experiments, the political trials and controlled madness. To me it was about the rebel and genius, but also the ordinary guy who never really managed to fit in. Some of his albums came to me directly while others craved special attention. Whatever the style or message there was always something significant, something to make me melt, get off or at least sit straight. I don't get any of that here. Even if the problems he's dealing with are real I miss tension, excitement, humor and his ability to communicate strong feelings. All that aside it's still a good album and if by any other artist I probably would embrace it harder, but from Lennon I expected so much more - or a least different. Favorite tracks - "What You Got" and "#9 Dream". Premiere US on Apple (SW 3416), First UK had label as shown here and gimmick cover with picture inner and picture/lyric/info booklet. (BÄ*) (JYZÖ*) (ÄPLÄ*)

T.REX/BOLAN'S ZIP GUN BLNA 7752 (-75) UK

UK version of the US 1974 "Light Of Love" album (see earlier post). Side one has same tracking, while the side two cuts "Teenage Dream", "Explosive Mouth" and "Venus Loon" - already issued in UK on "Zink Alloy" - was replaced by "I Really Love You Babe", "Golden Belt" and "Zip Gun Boogie" - originally recorded for an intended but cancelled US follow-up. The common tracks has some audiophile differences. The US pressing comes out more even and somewhat sharper, while the UK has bigger bass and is slightly more dynamic. Even if I'm not all in with Bolan's soul-glam merging trials of the period I actually like the three new songs here. Less soul and more quirky glam puts him on home turf and with the boogie it's like he never left. Not that I dislike soul music, but there were about 5000 Americans doing that ten times better then so he shouldn't have meddled. Cobbler, stick to thy last! Even if T.Rex still had a considerable fan base in Britain at time for release this didn't sell at all, mostly because the US original already had been imported in large quantities to reduced cost and few wanted to pay full album price just to get three new tracks. Originally also issued in Australia (EMI - same no.as UK) and Germany (Ariola 88679 XOT). Premiere UK had label as shown here and fully laminated die-cut sleeve with glossy picture inner. (RÄX*)

BRIAN ENO, NICO, JOHN CALE, KEVIN AYERS/JUNE 1, 1974 ILPS 9291 (-74) UK

Album containing cuts from a concert performed at Rainbow Theater in London. Front cover pic taken in the foyer just before lift-off. Apart from the poster names you get Kevin Ayers old Soft Machine mate Robert Wyatt, Patto guitarist Ollie Halsall and Mike Oldfield among others. Very promising, but to my ears not all in. Side one delivers as expected with Eno doing two numbers, Nico one and John Cale one. All four tracks very good live in that you get well done remakes with captured momentary presence. Cale's "Heartbreak Hotel" and Nico's "The End" even more emotional and thus darker than the studio takes. Eno is Eno and the alternate versions of "Driving Me Backwards" and "Baby's On Fire" works excellent with lots of connection. Interesting to hear the latter with Ollie Halsall on guitar instead of Robert Fripp - maybe not better, but different. Side two is entirely Kevin Ayers and doesn't hit me at all. More mellow than exciting and even if there are a couple of good guitars from Halsall I can't be bothered. Too late now, but I would have liked to hear more "Soft Machine" lunacy with Robert Wyatt, or maybe the entire "Dr. Dream" suite including Nico. That would have helped making it a true classic and a legacy. As it is now - a nice but slightly dated greeting from a time when rock was fine art and psych a natural ingredience. US first with same label, number and cover. Frequently issued and reissued on vinyl and CD through the years. Premiere UK had label as shown here and thick glossy cover. (ÄNÖ*) (NÖC*) ((LYBÖ*) (CÄLX*)(FÖF*)  (ÖYÄL*)

ELEANOR BODEL/ONE WAY TICKET LPO 09 (-69) MONO SWEDEN

Swedish former dance band vocalist who got a contract with Hep Stars label Olga for a solo carreer. Between 1968-70 she had five singles on the Swedish top list - "One Way Ticket" also issued in Spain and Canada and "To Love Somebody Is To Hurt Somebody" in Holland, non of them charting outside Sweden. This was released as an original album, but since it contains all her recordings for the label and the ten cuts on it were either 45 A:s or B:s it can also be regarded as a "Greatest Hits" or "The Complete Olga Recordings". At the time she was about the only young female pop singer in Sweden who besides newly written material also did covers of US r&b/rock hits. Even if most of the outcome was "schlagerfied" to fit the domestic market she was still considered a little dangerous - making teen boys hearts beat faster - still soft enough for a tidier public. Listening today I feel divided. If comparing with contemporary female US or UK soul/r&b/rock/pop singers (which we wouldn't do back then) it's not top class. Backing is pro and she nails the notes, but her voice sounds immature and unrehersed like she haven't been able to find her own expression and still trying while recording - probably the reason the album isn't considered a collectible yet, other than by hard-core fans of female vocal. At the same time it is the revealed uncertainty that makes it special to me now, fortysix years later. Not that bad makes it good, but honest and direct always beat adjusted and overproduced and I do prefer personal over perfect. Favorite tracks - "One Way Ticket" and "Sunday Will Never Be The Same". Recorded, mixed and released merely in mono with top audio. Issued in Sweden only with reissue on Efel budget label 1971(LPE 010). Never released on CD. First had label as shown here and fully laminated cover. (SCÄ*) (FÄV*) (CCÖ*)

GEORGE HARRISON/EXTRA TEXTURE (Read All About It) PAS 1009 (-75) UK

His final for Apple and also the last original LP released by the label. As the story goes he was in a depressed state at the time following the breakup with Patti Boyd, bad reveiws and sales for his previous "Dark Horse" album and a disasterous 1974 tour he'd made with Ravi Shankar. After a period of religious doubts and increasing drug abuse he managed to buck up and when one of his signed Dark Horse label projects didn't show up at A&M studios in Los Angeles decided to use the booked time, completing a couple of half-finished song ideas while writing new ones as they went along. He produced himself with a called in backing crew of about twenty renowned musicians, including Klaus Voorman, Leon Russell, Billy Preston, Nicky Hopkins and Jim Keltner. All albums have their background, more or less tainting the final result, and I guess it was the sudden decision and relative lack of preparation that made this so good. The arrangements are simpler than before, making the melodies and messages more obvious and it's like he didn't have time to put on any religious armour. The problems handeled here are of a more worldly kind and it's laid down uncovered for all to see. I wasn't impressed at the time. Bought it because it was from a former Beatle on Apple and didn't give it much attention after first listen. But through the years it has grown on me and kept growing till I now consider it one of his absolutely best, second only to "All Things Must Pass" (in fact many of the cuts here could have embellished that, or any late Beatles album for that matter). "Tired Of Midnight Blue", "His Name Is Legs", "You" and "This Guitar (Can't Keep From Crying)" all magic to my ears. It didn't top any lists at release and wasn't embraced by all critics, but today it seems times and tastes have caught up and and the reception is a lot more favorable. So if you're just keeping it as a filler, like I did for many years, pull it out and give it a serious chance - you may be surprised. Premiere US (Apple SW-3420) came with die-cut title on sleeve. First UK had label as shown here, "textured" sleeve with picture inner and matrix etchings - "A PORKY NON PRIME CUT" side A/"OOH GEORGE YOU'RE SUCH A DARK HORSE LUV GEORGE" side B. (BÄ*) (ÄPLÄ*)(GÄÖ*)

HERMAN'S HERMITS/MRS. BROWN YOU'VE GOT A LOVELY DAUGHTER SX 6303 (-68) UK MONO

Music to one of those forgettable pop movies with minimal plot made to cash in further on artist fame, now hopelessly dated for all but period kitch aficionados. To me this soundtrack is a lot more fun and even today worth attention. It seems all tracks but one - "There's A Kind Of Hush..." - was recorded or remade specially for the movie. "The World Is For The Young" partly sung by actress Marjorie Rhodes (1897-1979), "Lemon And Lime" performed by actor Stanley Holloway (1890-1982) and there are two instrumental cuts - "Daisy Chain" Part I and Part II. The remaining six tracks from the band. Produced by Mickie Most and arranged by John Paul Jones. What makes this UK mono so good for me is the striking audio. Separate mix, big and clear with prominent bass and natural balance. Never heard a corresponding stereo, but doubt it can beat this. At time for release the band was already on a downslope, the album didn't fly and it became their last original issue. Doesn't matter how you perceive it - last gasp, soundtrack, compilation, good late mono or just an oddity - I still get a couple of catchy songs, well produced, arranged and mixed, conveyed by top audio. A keeper for sure. Also as UK stereo (SCX 6303). To my knowledge only issued as stereo in US (MGM SE-4548 ST). 2000 CD on Repertoire Records (REP 4857) came with ten bonus tracks. Premiere UK had label as shown here and laminated flip/back cover. (HÄHX*) (ZÖNT*)

THE BEATLES/HELP! SHZE 162 (-7?) GERMANY

Always liked German album pressings, as it seems almost always made with state of the art equipment on high quality vinyl. The fact that they took stereo mixes, originally part of UK or US double issues, and transformed them into compatibles can be seen as a downgrade, but in most of those cases the audio was still tophole. Already have the Hörzu mono version of "Please Please Me" and the Apple/Hörzu MMT and both are very good listening, so when I saw this Hörzu "Help!" I just had to try it. A later press on the second variation label with "record player" logo on sleeve, but still a comparatively early one in fully laminated cover and "ST 33" in larger circles bottom label (later ones have smaller ovals), using early matrixes - SHZE 162-A1/B1X - and with remaning label misprint "You've Got To Hilde Your Love Away". Fun to have Beatles on a label other than the most common and an alternate sleeve design, but I'm not impressed with the audio on this. In comparison to the UK stereo it's muddier and flatter and you get a lump of sound rather than separate parts. Probably the result of an effort to make the original stereo tapes more compatible. Not very bad, but far from the excellence of the UK original. (BÄ*) (GÖXÄ*) (LGÅ*)

DAVE EDMUNDS & LOVE SCULPTURE/THE CLASSIC TRACKS 1968-72 OU 2047 (-74) UK

The compilations I usually go for are the ones with rarities - unreleased tracks, alternate edits or non-LP flip sides - as it often is a cheap and easy way to consummate a collection of a certain band or artist. This doesn't have any of that. All cuts are from his two Parlophone albums with Love Sculpture and first solo on Regal Zonophone. Three from "Blues Helping", five from "Forms And Feelings" and four from "Rockpile". Even so I think it adds something. The compiling fits perfectly. Apart from his rock trials with the classics "Sabre Dance" and Farandole" it's all happy positive blues and rock'n'roll - some slow movers but most up-tempo. The guitars are exquisite and vocals attractive showing just how good this guy is/was. So if you're not into him already it may serve as a delicious taste sampler and it's also recommended for vinyl fans who don't feel like cashing up for the original albums. Audio shifts a little depending on original recordings, but it's good listening all though. Issued in UK only. First had label as shown here and thin matt cover. (PÖP*) (DÄWÄ*)

BLACK WIDOW/SACRIFICE S 63948 (-70) UK

Band formed as "Pesky Gee" 1966 - a seven piece r&b/soul outfit with female vocalist. After playing clubs for a couple of years with style changing towards contemporary psych/prog they got to record an album for Pye - "Exclamation Mark" (NPL/NSPL 18293) - which didn't sell at all. At the end of 1969 lead singer Kay Garret left. The remaining members changed name to Black Widow and adapted a new musical agenda involving occult themes as devil worship and human sacrifice. The transition seemed to have worked for parts of the public and this debute became a minor breakthrough reaching #32 in UK and the '45 "Come To The Sabbath", though banned by BBC in England, became a minor hit in other countries, much due to its inclusion on the popular "Fill Your Head With Rock'" sampler. Today it's impossible not to compare with Black Sabbath. Two British bands with congruous names releasing debute albums with similar occult agendas at about the same time. You'd like to see some connection or inspiration between them, but the likeness could as well have been a coincidence brought on by a hardening social climate and change of drugs - an antithesis to the summer of love. Anyway - band names and lyric themes aside the musical outcome couldn't be more different. The Sabbath debute grinds on like a heavy machine, simple and self evident. This is melodic prog with prominent flute and organ, soft but never harmless, reminding of both Jethro Tull and The Crazy World Of Arthur Brown. I like it a lot - catchy prog, proficiently orchestrated with theme variations and attractive vocals. I've seen some critics calling it "aimless" but hear the opposite - elaborated ideas well implemented. Favorite tracks - "Come To The Sabbath", "Conjuration" and "Sacrifice". Not as hard hitting as the Sabbath debute, but spooky enough. First US on United Artists (UAS-6786) and in Australia on CBS (SBP 233935). Frequently reissued on vinyl and CD from 1990 and on, with or without bonus tracks. Prermiere UK had label as shown here and matt fold out cover with CBS ad inner.

HANSSON & KARLSSON/REX LPHM 46264/st (-68) SWEDEN

Swedish instrumental dou existing between 1967-69. The debute LP "Monument" (see earlier post) was the result of a commission work for Swedish Television - writing and performing a soundtrack to an experimental TV-show. The mix of jazz and rock, performed by Hammond organ and drums only, turned out totally unique for its time and one of the first exemples of what later would be called "prog". It caught on among the "hip" Stockholm public and some fellow musicians (Jimi Hendrix was an early fan who sometimes jammed with the guys and also recorded a cover of their number "Tax Free") so they decided to continue as a duo for the time being. It's hard to get info on the recordings for this second album, but as far as I can hear it's part studio sessions and part club live. There's only a few fragments left of public noise so best way to decide origin is by the cut's shifting sound quality. Though the music is divided into named sections on the vinyl you forget all about that when listening. It's a forty minute Hammond organ orgy, moving between jazz and rock, raw and beautiful, bombastic and graceful, melodic and disharmonic - most of it probably made up as they went along. Janne Carlsson's drumming is very adaptable as cool jazzy licks, sturdy rock or whatever support needed. It's unpredictable, challenging and very much alive. Label has mono number and an "M 33" triangle, but the record is compatible stereo and plays good either way. As far as I know this Swedish was the only original issue. 2012 CD on Universal Music (06025370647-1). First had label as shown here and thin fully laminated cover. (SCÄ*) (CCÖ*)