NQB NSLP 56 (-74) SWEDEN

For background check post on their debute http://monolover.blogspot.se/search?q=nqb . That had one live and one studio side with an all over garage quality - meager production but very charming. On this follow-up it's like a totally different band. Some of it may have to do with they added a fifth member - Py Bäckman - as vocalist and song writer, but also other studio treatment and audio. Professionally produced by Adrian Moar (of which I know very little other than he also handeled Tages, Blond and a couple of other Swedish bands). As the Black Sabbath inspired front cover hints this is rather heavy rock. In fact more glam than hard-rock, but with darker threads attached. Vocals goes from reminding of Lulu to Laura Nyro, but still having a girlish charm which works very well to the mostly powerful background. Musically it's very diverse - some resembling US seventies rock with an arena feeling, some like UK glam. First listen may get you hooked on that, but there are also a couple of psych interludes and some of the cuts includes changes in themes and rythms, layers that makes it last longer. Favorite tracks - "Lady La-Di-Da" for the power guitar riff, "Oh La La" heavy with partly warped vocals and "I'm Your Rock'n'Roll Star" because of the rather odd mix of up-tempo and slow doomsday hard-rock. The record didn't sell much domestically on release and without any international recognition the band broke up soon after. It's probably the heaviest and most diverse period album from an all girl group. If you're into seventies rock, female vocal or just want good rare album it's well worth a try. Don't know of any other vinyl issues. Released on CD 1996 coupled with their first album (Hendrix Music Production NSCD 50/56). This first had label as shown here and thin fully laminated cover. (FÄV*) (SCÄ*) (CCÖ*)

AGNETHA FÄLTSKOG/VOL. 2 CLP 80 (-69) MONO SWEDEN

Her second solo album. It sold OK at the time and spawned a couple of domestic hit singles, though today to my ears sounding hopelessly dated. She has a nice teen voice, but the music is entirely ordinary European schlager with harmless lyrics - all sung in Swedish. Yet it may be of interest for die-hard ABBA fans or those into in modern music history since released as the first seeds to the combo was sown. At the time she'd already met Björn Ulvaeus and through him been introduced to Benny Andersson and Anni-Frid Lyngstad. A few months later she and Anni-Frid would sing background on Björn and Benny's joint album "Lycka" (Happiness) and a little after that the four performed their first stage show together as "Festfolket" (Party People). The ball was rolling and she would never be the same again. Her next two solo albums pre-ABBA were produced by Björn with a more pop oriented direction. Swedish reissue on Cupol 1974 (CLPL 1003) and on Dutch CD 2000 (Royal Records 20000001) with bonus tracks. First in mono only had label as shown here and thin fully laminated cover. (FÄV*) (SCÄ*) (CCÖ*)(ÄBBÖ*)(ÄGFÅ)

COUNT BASIE AND HIS ORCHESTRA/BASIE'S BEST BL 58019 (-50) US

Another trip down memory lane and about the same story as before. Music I heard as a kid from my father's 78:s or the valve radio in the living room. It gave a nice atmosphere to grow up in and today fiftyfive or more years later taking me back to that secure place - all I have to do is sit down, close my eyes and listen. The reason I always prefer early transmissions from wax to vinyl over cleansed, adjusted and "embettered" later variations is the ambience - the warmth but also sometimes muddy outcome - exactly as I remember. This 10 inch is right on. A couple of 78:s from the thirties and forties very carefully transmitted and I guess very hard to distiguish from the originals as played on state of the art equipment at the time. Good listening all through, but the two cuts with Jimmy Rushing (1901-72) on vocals adds that little extra. A blues/jazz singer in the band 1935-48 with a unique combination of personality and power. Never mentioned among the big ones today, maybe it's time for a revival. Contemporary US issue as a 4x45 box (9-7012). UK first on Brunswick (LA 8589) with 1953 reissue on Decca (BML 8589). Premiere US had label as shown here and stiff matt cover. (YZÄ*) (NYFÖ*) (CLÄZ)

BILLY J. KRAMER WITH THE DAKOTAS/LITTLE CHILDREN LP-9267 (-64) US MONO

Merseybeat combo handeled by Brian Epstein and George Martin during the early Beatles boom. Today most known for recording Lennon/McCartney songs, covers and ones written especially for them. As part of the "british invasion" they enjoyed a two year success in US 1964-65 with six songs on Billboard 100, where of two top ten. The UK market embraced them harder resulting in two #1 - "Bad To Me" and "Little Children" - besides four more top twelve. Their last list entry being the Burt Bacharach composition "Trains and Boats and Planes" 1965 (UK #12/US#47). They only released one original UK studio album - the fourteen track "Listen" 1963 (Parlophone PMC 1209) - which according to UK EMI regulations didn't include any single cuts. This US twelve track version does. With seven tracks in common it also has "Little Children", "They Remind Me Of You" and three Lennon/McCartney compositions - "Do You Wanna Know A Secret", "Bad To Me" and "I'll Keep You Satisfied". I didn't bought them at the time. Most fun then was to hear "Beatles" stuff you couldn't get anywhere else. Listening today I like the garage feeling and early sixties atmosphere. "Great Balls Of Fire" cover is good and the Lennon-McCartney songs welcome in any shape, but to me most important for reminiscing and the historical value. First US with label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*)

THE BEATLES/REVOLVER SMO 74161 (-66) GERMAN EXPORT

Collecting German Beatles issues can be confusing. Many of them were issued on both Hörzu and Odeon labels with a large number of variations through the years, sometimes even cross contaminated having main Odeon label and cover with various Hörzu logos attached - as with early pressings of this. Through the years I've got that very first release was on Odeon gold label with a black Hörzu logo on top and later with red on the sides, while the "clean" label design was somewhat later - and that's how I bought it a while ago. But when checking apparently reliable sources on the net it seems this is also a first press - an export mainly aimed for Switzerland and Austria - so that's what I go with here. Label has both UK (YEX 605/606) and German (ZTOX 5623) matrix numbers, but only the UK stamped on the run-off (here 605-1/606-1 with different fonts than UK showing it wasn't the same matrixes). Side 2 label also with the initial "I Want To Love You" mistitling. Cover has Odeon logos only with laminated front (later fully laminated). As I understand some of the later issues suffer from bad audio - seen it described as flat or too compact - but that's not the case here. I don't have a UK stereo press to compare with at the moment, but doubt it can beat this. Apart from the rather unbalanced "Taxman" mix it sounds almost natural and pure joy to my ears - loud, clear and very close. Good stuff. (BÄ*) (GÖXÄ*) (LGÅ*)

MARTHA REEVES AND THE VANDELLAS/DANCING IN THE STREET SPR 90005 (-73) UK

Gotta be the only time a known budget label spawned their own dearer sub label. After selling millions of cheap reissues and compilations UK EMI's "Music For Pleasure" decided to launch a special offspring 1973 - taking over some of main label's more known acts and concentraing on better audio. Whatever was said in press releases at the time - about giving the public better quality and thus in a way offering price worthy after all - I suspect the real aim was to enable a price raise and thus further cash in on the label's good name and former big sales. However that may be about a hundred different issues were released in a couple of years and sold quite all right. Since almost all were reissues the label has been seen as second class and forgotten for a long time, but in later years started to raise some interest from vinyl collectors. This is one early exemple and, apart from the rather cheapish cover, it actually is high quality. To my ears a very representative selection from the years 1963-67. All true stereo with superb sound. Die-hard Motown fans would prefer the originals regardless of outcome, but if you just want to have good music with top audio without paying a lot, this is truly recommended. Don't know of any other issues. If there were you can distinguish this first UK by label as shown here, thin semi-glossy cover and MFP ad inner. (FÄV*) (TÖMÖ*) (PÖP*) (SXS*)

MANFRED MANN SCLP 2001 (-66) MONO SWEDEN

First issue of the Swedish only Manfred Mann compilation. For some reason quickly withdrawn and replaced with one having same label and using the same matrixes. Apart from changed record number only differences are front cover pic on the second press was diminished and partly covered and another was used on back (for comparison check post on the reissue http://monolover.blogspot.se/2013/06/manfred-mann-sglp-533-67-mono-sweden.html ). Don't have a clue why they did it. To me this "full" front pic is a lot more appealing and there's nothing in need of cover-up on it, maybe they just wanted it more arty or up-to-date. However the issues have same tacking and sounds exactly the same - offering many early UK non-LP single and EP cuts. Original UK mono mixes with top audio and good listening all through. (SWÄU*) (CCÖ*) (MÄNÄ)

GARY LEWIS & THE PLAYBOYS/PAINT ME A PICTURE LRP 3487 (-67) US MONO

Gary Lewis (son of actor Jerry Lewis) and his band the Playboys where one of the American top acts during the years 1965-66, with one #1 single, two #2, four more top ten and three top twenty plus four gold albums - all within a little more than two years. Gary Lewis also won title "Male Vocalist Of The Year" 1965, in competition with among others Elvis Presley and Frank Sinatra, and they performed live in numerous TV-shows. Then at the end of 1966, as youth zeitgeist changed towards psych and flower power, popularity started to decline and after a couple of years with sinking sales the combo disintegrated. The music they played during their heydays can be seen as a domestic answer to the british invasion boom. Very clean-cut pop, often orchestrated, with a kind message - much reminding of Herman's Hermits or Gary & Pacemakers. Maybe that was the reason they never made it in England or Europe as a whole - public there wasn't ready for a US copy of the UK copying of US blues, rock and pop. Today in this part of the world you can find stone mint copies of their sixties albums in the $1and $2 bins and it seems nobody wants them or even heard of the band. I guess part of that has to do with the lack of success here at the time, but if you pick one up and give it a chance it's really good sixties pop - as on this. Maybe lacking some of the nerve from the British counterparts, but nicely performed, well produced and arranged, with tophole audio. Not the most exciting record in my collection, still with enough good moments to make it a keeper. My favorites - the music-hall type title track and the popish cover of "Wild Thing". Don't know of any other issues than this US. Also in stereo (LST 7487). First with label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*)

SKID ROW/SKID S 63965 (-70) UK

Band formed in Dublin 1967, original setting with among others Bernie Cheevers on guitar and Phil Lynott as vocalist. 1968 Cheevers left replaced by then 16 y.o. Gary Moore. As band leader bassist Brush Shields, partly inspired by Jimi Hendrix Experience, wanted a power trio Lynott was dropped from the line-up later same year and Shields took over the lead vocals. Lynott then continued to form Thin Lizzy soon after, but that's another story. The remaining trio went on to play live support for a couple of more prominent bands and got an early fan in Peter Green who helped them get a contract with Columbia/CBS. The group recorded two albums for the label - this debute and "34 Hours" - before starting to disintegrate at the end of 1971. Don't know how much producer Clifford Davies was involved here as regulator or advisor, but clearly not a lot. I get the impression of three young guys bursting with ambition set free in the studio to do whatever they want. The genres shifts between psych, prog, blues, hard rock and country and many of the cuts includes multiple themes and rythm changes. Moore's guitars are prominent all through showing he was a whiz at the instrument even this early - either as a fast player, doing cheeky rythms or providing a true blues feel. There's a lot of nerve involved craving connection. I find it rather demanding and hard to listen to in one sitting, but devoured separately almost all cuts are gems together forming an outstanding debute album. Favorite tracks - the raw "Unco-Up Showband Blues" and the psych/prog "Felicity" - both with amazing guitars. First US/Canadian on Epic (E 30404) came with band pic on rear sleeve. Japan 1992 CD on Epic (ESCA 5534), German 2007 remastered on Repertoire (RES 2339). Premiere UK had label as shown here and thin matt cover.

THE IVY LEAGUE/SOUNDS OF THE IVY LEAGUE MALS 741 (-67) UK

British three piece vocal pop combo, existing through different settings 1964-75. One of many sixties bands struggling for a big breakthrough, but never really made it. With two UK top ten singles and and "Tossing And Turning" reaching Billboard #83 they are among today's period collectors most known for providing background vocals to The Who's hit single "I Can't Explain" and forgotten for the rest. This earliest line up issued one 1965 album - UK "This Is Ivy League" Picadilly (NPL 38015)/US "Tossing And Turning" Cameo (2000). That didn't sell a lot so Picadilly's main company Pye gave it a second try two years later on their budget Marble Arch label - this time combining four '45 cuts with six from the original UK LP. Listening today it's a British trio following, if not copying, some of the many American male vocal pop groups from the late fifties and early sixties. The sound and arrangements are somewhat dated, but they have nice voices frequently using high pitched notes and even if I don't sit down and devour it is a nice background giving a genuine mid sixties feel. This "stereophonic" issue is actually all enhanced mono, but carefully done and OK listening. Also issued in mono (MAL 741). First had label as shown here and laminated flip/back cover. (PÖY*)

DUKE ELLINGTON AND HIS ORCHESTRA/PIANO IN THE BACKGROUND BPG/SBPG 62031 (-60) UK MONO/UK STEREO

A true love of mine for decades and one I've been aiming to post ever since I started the blog, but since I'm usually not a devoted jazz fan and not sufficiently familiar with the genre history and termology I didn't know how to put it. Then I read this Oliver Amnuayphol (Paul Mahoney?) reveiw on the "PF Music Reveiws" page, so good I decided to just copy it here (hope he don't mind). "...Recorded in 1960, Piano in the Background gives us elegant Ellington as we've always known him, moving between his roles as "the executive" and the piano player. Here Ellington is at his absolute finest, opening and closing every tune (except one) on piano with a full and ferocious band in between. And while every number on Background is large-scale jazz at its finest, there are definitely some standouts, like Kinda Dukish and Rockin' in Rhythm. Ellington uses the former as a tension-building, piano intro to the latter, where the band lets loose and completely brings down the house. Solos here are first rate, and the orchestral colors and sonorities are nothing short of amazing. Background closes with arguably one of the top three recorded versions of Take The A Train" with every band member swingin' like it's nobody's business..." (end of quote). My reasons to like it are simply emotional. A musical refuge - there whenever I need it and always providing warmth and security. A couple of 20th century top jazz numbers played by the best, but here with new more adventurous arrangements making them a lot cooler. A wind-up complicated core presented in a very relaxed way. One of those records where I can get in and stay for a while, forgetting all about the outside. Sitting in my listening chair with my eyes closed I'm in Dukes world and never wanna get out. The stereo here is interesting as an exemple of early two-channel mixes but doesn't add anything to the mono. The one-channel is so direct and natural it's like being in the studio, making the stereo mix, though very good, almost sound artificial in comparison. Premiere US on Columbia (CL 1546/CS 8346). First UK had rough structured label with large BPG/SBPG fonts as shown here and uncredited laminated flip/back cover. (CLÄZ*)(MÅW*)