ROLLING STONES/NOW LL 3420 (-64) US MONO

Rolling Stones third American studio album. Back in the mid sixties there was hardly any US LP import to Sweden, so when the RS ones started to show up late sixties, early seventies we already knew most of the songs from English or German albums. Still exciting with the thick paper covers, different trackings and sometimes alternate versions or audio so most band fans bought them anyway. As I remember both "Surprise Surprise" and the alternate version of "Everybody Needs Somebody to Love" were new to me at the time I got my first copy and I also thought the cuts from the UK "No. 2" sounded better here. In fact still today I rather listen to this because of the audio and more interesting track list. I give up trying to place all the different London label designs in time order for this album. There must be at least five different for the mono only. It seems the dark maroon here was pre-1966 and the remaining back cover notes - Loogham's "blind man" text and the Ian Stewart credit for "Time Is On My Side" (not on the album) - later removed from most issues, shows on an early press. The Australian version I posted earlier had "I Can't Be Satisfied" instead of "Mona (I Need You Baby)" and also slightly different audio. Will be back with a more thorough comparison between the two later. (RÅ*) (YZÄ*) (ÖXCÅ*)

WILD TURKEY/BATTLE HYMN CHR 1002 (-71) UK

Glenn Cornick (1947-2014) was a cofounding member of Jethro Tull and as the only one with some kind of musical education contributed a lot to the band's early sound as bassist and arranger. 1970 after the "Benefit" recordings sacked by Ian Andersson because of his wild drug/party life style. Following a short stint as studio musician he formed the "Wild Turkey" outfit which lasted 1971-74, releasing two albums - this and the 1972 "Turkey". Vocalist Gary Pickford-Hopkins came from psych combo "Eyes Of Blue" and drummer Jeff Jones had been a member of "Man", playing on their debute - "Revelation". Guitarists Tweke Lewis and Jon Blackmore (no Purple relationship) didn't have background in any known bands and while Lewis went on to join "Man" later on Blackmore returned into oblivion. This debute fits the description "forgotten gem". Forgotten - because it seems to have disappeared soon after release with very low sales (though it did make a short visit at Billboard #193) and even today hardly acknowledged by others than the most die-hard prog fans. Gem - because it has all the ingredients of a great prog album. There's a couple of bass licks and a sometimes folky atmosphere reminding of "Benefit", but apart from that this has little to do with Jethro Tull. Diverse and adventurous with complicated melody lines and theme changes, borderline jazzy still including some raw rock/blues moments. Clearly a team effort, but to me the guitars stand out - electric as well as acoustic. On the negative side - though with good songwriting all through I miss catchy moments and some hit feeling. Also the audio on this first UK press is a little too blunt for my taste, not muddy but it would have benefited from better separation and dynamics. Favorite tracks - "Butterfly" and "Gentle Rain". 1971 European releases on Chrysalis. First US and Canadian 1972 on Reprise (MS 2070). 2004 remastered CD on Mason Records came with two (live) bonus tracks. Premiere UK had label as shown here with "i" logo on top, thick matt fold/out cover and lyric inner. (YÖHT*)

TOM JONES/DELILAH LK 4471 (-68) MONO SOUTH AFRICA

Tom Jones compilation only issued in South Africa. Named after his biggest domestic hit, so when the ordinary "Delilah" album came out there somewhat later - having same cover design, tracking and number as UK - that was renamed "One Day Soon" to avoid confusion. It's an unusual collection of picks from earlier issues as it doesn't have any of his biggest hits apart from the title track. Maybe because EMI already had the national rights to some of his early stuff or the pro-segregational cultural censorship common there at the time - or a little of both. I guess original UK tapes were used, but the pressing isn't as good as on the UK issues. The calmer cuts plays OK while the up-tempo ones sounds a little messy at parts. Nothing serious and if I want perfect audio for the songs I can easily get that elsewhere. What makes it worth having for me apart from the track list is the uncommon Decca label design, the thick unflexible vinyl and the laminated flip/back cover with the early b/w pic on front. Very nice package. (TÖJX*)

HERMAN'S HERMITS 33SX 1727 (-65) UK MONO

Continuing the summer theme. Always liked Herman's Hermits. In the sixties that was one of my guilty pleasures. With friends, as we constantly searched for new exciting music from US and UK like Zappa or Pink Floyd, they were a definite no-no. It's first later years I've come out of the closet and made it public. Back then I thought the music reflected their background and personalities as well bred happy-go-lucky guys, but obviously they were a project by producer Mickie Most who picked up a an ordinary Manchester r/b band, gave them clean-cut personas and very "English" repertoire - mixing innocent uptempo with romantic ballads and pop versions of old British vaudeville and comedy numbers. All aiming to take part in the flourishing UK music export to America at the time. And success it was. From this debute album two of the songs were released as singles in US - "Mrs. Brown You've Got A Lovely Daughter" (remake of a song from a 1963 British TV-play) and "I'm Henery The Eighth I Am" (pop version of a Harry Champion Music Hall number from 1910) - both topping Billboard, where they also had ten more top 10 and seven more top 50. Non of the tracks from this UK debute were released as singles in England due to the EMI "no singles on album" policy. The album itself reached #16 on the UK list and remained their best selling LP there up to the 1971 "The Most Of Herman's Hermits" at #14. To me this is perfect summer pop. Happy, positive, funny and so self-evident it's impossible to get tired of. A little bit of Beatles, some Gary & The Pacemakers, but also reminding of old British 78 rpm heroes like George Formby or Flanagan and Allen. Love it all, maybe with some reservation against "For Your Love" since I can't help comparing it to Yardbirds version. Mickie Most production and audio top notch - so clear it's almost like a visit. First US "Introducing Herman's Hermits" (MGM E/SE 4282) included the UK "Hermania" EP and only had three cuts in common - "Mrs. Brown...", "Walking With My Angel" and "I Wonder". Premiere UK, issued in mono only, had label as shown here and laminated flip/back cover. (HÄHX*)

CREEDENCE CLEARWATER REVIVAL/GREEN RIVER LBS 83273 (-69) UK

Another of my seasonal LP:s. CCR was probably the last band to reach world wide success and topping lists through a number of rock'n'roll singles and albums produced according to the sixties garage formula - direct takes without further studio embellishments, pressed with a minimal use of limiting or compression. As this - simple swamp rock with captivating vocals to sturdy backing carried by a true garage quality. It was their third album in about a year with pretty much the same kind of outcome. Not sure why this in particular has become my summer record, but it probably had to do with a certain girl I was making out with summer 1970 who had it and played it over and over, especially their cover of Nappy Brown's "The Night Time Is The Right Time" (which seemed promising at the time). Anyway there's a lot more to love here. Two of their biggest hits "Bad Moon Rising" and "Green River" plus the two tophole B-sides - "Lodi" and "Commotion" - so ripe they could have been A:s anytime. Remaining five tracks hold the same high standard - perfect blend of catchy melodic and unrefined, braided by John Foggerty's raw yet pleasant voice. No need to jump tracks here, just turn sides. Good enough to last the entire hot season and many after this. Premiere US on Fantasy (8393). Issued and reissued all over the world on LP, cassette, 8-track and CD through the years. First UK had label as shown here and thin structured cover. (XLÄ*) (CÖR*)

T. REX/THE SLIDER BLN 5001 (-72) UK

Wheather is finally getting warmer in this northly province so it's time to pull out my stack of summer albums. Common for those are an all positive aura - simple and catchy without any kind of low moments and always putting a smile on my face. Suitable for lazy mornings in the garden as well as midnight sun parties. This is perfect for any seasonal occation. After the big breakthrough with "Electric Warrior" the band went back to studio six months later to make a follow-up - basic tracks recorded in just five days in Copenhagen and Paris, while the Mark Volman/Howard Kaylan backgrund vocals were taped in Los Angeles. Then put together and arranged by producer Tony Visconti with help from Danish recording engineer Freddy Hansson. Made after the same success formula as Electric Warrior - unique mix of utterly simple melodies, partly unintelligible lyrics and quirky yet beautiful vocals. Even if you don't understand half of it you still get it 100%. Hard rock without being "Hard Rock" and concerned ballads about absolutely nothing. The details worthless taken separately, but put together it's magic. Empty and full at the same time and probably as close to Zen you'll get in the rock'n'roll world. Had copies of it since first release, but never got tired of it or stopped loving it. Pure feeling without hung-ups. First US on Reprise (MS 2095) came with fold/out sleeve. Issued and reissued all over the world on LP, cassette, 8-track and CD, some with bonus tracks. Premiere UK had label as shown here and thin matt cover with lyric/credit inner. (RÄX*)

LOS GRANDES CONJUNTOS MALLORQUINES MOCL 5.303 (-66) MONO SPAIN

Spanish sampler containing fourteen cuts from four of many bands active on Mallorca mid-sixties, most of them drawn there due to the island's booming tourist industry. Don't have much background info on any of the combos. Los Javaloyas, founded 1952 and still active 2014, toured Europe as a beat group in the sixties and has represented Spain in the Eurovision Song Contest. Mike And The Runaways was at the time fronted by singer "Mike Kennedy" (born Michael Volker Kögel in Germany). Shortly after this the band consolidated with Madrid combo Los Sonor, reshaped as Los Bravos and with Michael Kögel as lead singer released the million selling single "Black Is Black". The two remaining acts - Los Beta Quartet and Los 5 Del Este - are still unmapped territory for me. All tracks here previously issued on single or EP, ranging from rock/freakbeat over regular pop to languishing ballads. The Mike And The Runaways tracks - Curtis Mayfield cover "Um Um Um Um Um Um" and the uptempo rocker "!!! Ja Ja !!!" - sung in English, the rest in Spanish. Los 5 Del Este cover Beatles "Yesterday" (Ayer), Rolling Stones "Satisfaction (Satisfaccion) and The McCoys "Hang On Sloopy" (Sloopy). Los Javaloyas do two romantic Salvatore Adamo songs which together with the four slow Los Beta Quartet tracks probably were used for late night amorous dancing. Even if the groups and genres differ I get a common cozy feeling tying it all together, enhanced by superb audio - very close and natural. Most of the tracks also include or build on prominent organ, adding to the atmosphere. In all a very pleasant exemple of latin music in the sixties. Though odd as a rock/pop album I guess it could work for scholars in rock history, garage collectors, latino aficionados, people reminiscing their Mallorca holidays or just music lovers in general. Don't know of any other issues. This had label as shown here on very thick unflexible vinyl and fully laminated flip/back cover. (SÄM*) (ÖGÄ*) (SXÖX*)

ROLLING STONES/GOATS HEAD SOUP COC 59101 (-73) UK

Always regarded this as their last great album. Not that I think the following five or ten are bad, but it's the final providing the original Stones atmosphere - rock'n'roll in a carefree almost sloppy manner where message and attitude seems more important for the final result than production and audio. For them I see a kind of reversed connection between modernized studios providing means for sound alterfications and the ability to come true. In short - the better studios the less dirty rock'n'roll and thus farther away from the band I grew up with and loved. This is still old style. Most of it recorded in Jamaica (according to Keith Richards one of few countries that would let them all in at the time) and produced by a Jimmy Miller on hard drugs. Most of the songs grew out of jamming or ideas developed in the studio as they went along. As the story goes the sessions were both relaxed and chaotic, including lots of guest musicians. So even if from another place it was about the same circumstances as for the making of "Exile On Main St." and the result so alike this could have been the third in an "Exile" tripple album. I can do without "Angie" (always could), but the rest is magic to me. Fast messy rockers as "Silver Train", "Star Star" and "100 Years Ago" mixed with slow dirty ones like "Dancing With Mr. D.", "Can You Hear The Music" and "Hide Your Love" plus a couple of surprisingly melodic ballads. All with the exact right ambience - dynamic and connective rather than posh and perfect. Issued and reissued all over the world on LP, cassette and CD through the years. First UK had label as shown here and thick matt fold/out cover with small "goat head" poster and picture/credit insert. (RÅ*)

ALVIN LEE/PUMP IRON CHR 1094 (-75) UK

This was Alvin Lee's (1944-2013) third album after quitting Ten Years After 1973 due to miscontent with the band's new pop oriented style. Following a collaboration with Christian rocker Mylon LeFevre - "On The Road To Freedom" (see earlier post) - he formed a new band "Alvin Lee & Co." which more or less stayed with him for three albums - a Rainbow concert released 1974 as "In Flight", this and "Let It Rock" (both 1975). Listening here it's clear whatever studio or setting, band or instrumentation he went through over the years, it most of all sounds - Alvin Lee. His vocals, guitar style and songwriting are so dominating they totally set the agenda. Even if there's another crew here and some of the instrumentation is different from the old days this could as well be another TYA album and probably not disappointing to any remaining fans of the group. A mix of heavy blues rockers and somewhat poppier stuff, all cuts written and produced by Lee and almost entirely permeated by his familiar voice and guitar licks. Favorite tracks - the heavy blues "You Told Me" and the rocking "Julian Ride". US and Canadian first on Columbia (PC 33796), various European on Chrysalis and 1998 CD issue by Repertoire Records (REP 4703-DG). Premiere UK had label as shown here and thin matt cover. (XYÄ*)

THE WHO/WHO'S NEXT 2408102 (-71) UK

Album tracks initially written for a rock opera called "Lifehouse", intended as a follow up to "Tommy". But as the project grew more complex and their manager/producer Kit Lambert at the time was going down on hard drugs they decided to cancel the large undertaking and instead use some of the material for an ordinary LP. Apart from "Won't Get Fooled Again" - which was recorded on Rolling Stones mobile studio - all were made at Olympic Studios, London, and in Lambert's absence produced by the band with assistance of engineer Glyn Johns. From that background the result could have been half-baked or mediocre, but instead it became their most successful LP - topping the UK list, reaching #4 on Billboard and charting high in a large number of other countries. Today also widely considered one of the best rock records ever made and all real rock fans have or can access it in some format. It feels pointless trying to make some kind of review here. Had issues of it to and from since first release and nowadays one of those albums that's so part of my musical world I use it as a reference. Hard rock carrying catchy melodies with concerned lyrics. Production is elaborate but with kept natural atmosphere making it sound direct with a borderline live feeling. Combine all that with top audio and I couldn't ask for more. First US on Decca (DL 79182) came with same sleeve design. When checking "facts" about early UK:s on the net I get many different messages. Following is just common sense. All of the earliest issues have a side one stamped A#1matrix number besides an etched US type "MG 12888". Side two stamped matrixes can be either B#2 or B#3 (I even heard of a B#4 to the A#1, but can't confirm it). The labels are matt as shown here and the vinyl medium thick. Cover is thin matt with "pinched" spine having the record number printed at the low end, some with a common Polydor/Track "head hunters" inner. (WÖH*) (TRÄC*)