QUEEN/A NIGHT AT THE OPERA EMTC 103 (-75) UK

An album so handled and mangled in different medias already and so much loved and played by fans through the years I'm having a hard time finding an angle worth posting, but here I go. For me a natural continuation and development of "Sheer Heart Attack" with about the same kind of ingredients, but a different presentation. A classic glam rock album for sure with only one downer - "Bohemian Rhapsody". Never liked that track. A bunch of very good melodic ideas which, if treated rightly, could have filled an entire LP side as a suite or separate songs, but here randomly squeezed together to a short piece with only lyrics keeping it together. I know many hold that as the album highlight, but it just doesn't work for me. My favorites are - "The Prophet's Song", "Death On Two Legs" and "39". Issued and reissued on vinyl, 8-track, cassette and CD all over the world througfh the years. First US on Elektra (7E-1053). Premiere UK had label as shown here, matt embossed Garrods & Lofthouse fold/out cover and picture inner with straight cut corners. (QÄN*)

SLAM CREEPERS/ SWEET RUTH BTLP 12 (-68) SWEDEN

Swedish pop/soul/psych combo existing 1962-69. Started off as a dance band, but eventually moved over to a more pop oriented outfit with inspiration from some of the cooler UK and US acts. While the sound on the 1967 debute "Bubbles" (Bill BTLP11) owed a lot to early Zombies, this second and last LP is more towards blue eyed soul with a psych taint - heavy with very prominent organ. A couple of covers - among them the Vanilla Fudge inspired version of "I Should Have Known Better", a heavy yet sleepy "Whenever You're Ready" and the jazzy Georgie Fame style "Lovey Dovey" - mixed with perkier self-penned (or written by associates) like "Ha Ha Ha", "Summer On Its Way" and the instrumental title track filled with flowing hammond and some nice guitars. All very well performed, especially by vocalist/keybordist Björn Skiffs - who would reach #1 on Billboard six years later with his new band Blue Swede and a cover of "Hooked On A Feeling". (Random fact - the group name is a joke, a deliberate mistranslation of the word "slamkrypare" - in Swedish meaning either a certain shoe model, a kind of amphibian or a misjudgement. The correct translation would be "mud crawler".) To my knowledge this was the only vinyl issue, but all cuts can be found on the 2-CD compilation "Vansbro Memories" (Gazell/Bill GAFDD-1005). First had label as shown here, thick unflexible vinyl and fully laminated cover. (SCÄ*) (CCÖ*)

CREEDENCE CLEARWATER REVIVAL LBS 83259 (-69) UK

One of the copies that's been with me the longest as it was - over fortyfive years, unchanged and unswapped. Reason I haven't posted it earlier is I can't decide what to think about it once and for all. Though only existing a few years CCR remains one of the most renowned and successful US rock bands, today with an almost iconic status. This debute wasn't the biggest seller, but the album that paved way for world wide recognition. As they didn't change the formula much during their short carrer it has a large part of what later would bring them to the top. It's one of those where the sum is a lot bigger than its parts. Track list a jumble - containing three covers, two previously released 1966-67 under the band's former name "The Golliwogs" and three newly written. Recordings simple with a borderline garage atmosphere, backing rudimentary. Vocals and guitars sort of great, but much the same all over the album. If you pick it to pieces it's no more than an OK garage album, but when they're put together you get lift-off and pure magic. So in this case maybe not a good idea to dig deep - just open up, enjoy and let the overall good feeling drown the will to analyze. Favorite tracks are the obvious - "I Put A Spell On You" and "Suzie Q". Premiere US 1968 on Fantasy blue label (8382). Early UK had label as shown here and cover either fully laminated or with laminated front only. (XLÄ*) (CÖR*)

MARY HOPKIN/POSTCARD SAPCOR 5 - APCOR 5 UK STEREO VS. MONO

When posting the mono earlier it was just a brief expression of love and an assumption that it was a separate mix, based on the beautiful audio and the fact that almost all UK made EMI releases up to late 1968 (when this was recorded) got separate mixes. Didn't even care to make a comparison then, but now the time has come. It's claimed everywhere I look the mono is a stone cold fold, but after doing some scrutinizing on my own I beg to differ. They may sound a lot alike if you connect the stereo channels, but there are distinctions. A few exemples - the fade-out at the end of "Lullaby Of The Leaves" is 2 seconds longer on the mono (with a couple extra mellotron notes after the last "aooooo") while the "Young Love" stereo fade-out continues around 4 more seconds (at final vocal part the mono ends after "deep...", on the stereo you can also hear "...emotion" and some guitar notes after that) - showing the formats were treated separately. Most of the tracks have differences in balance. The mono issue has moderately bigger bass, better separation and sounds more alive in comparison to what you get when the channels are connected. All the above put together can only mean this mono is true. First issues had labels as shown here, fully laminated covers and "important notice" inners, some with "postcard" inserts. (BÄ*) (FÄV*) (YMÖ*) (CPYC*) (ÄPLÄ*) (MÅW*) (GJÅ*)

JOE COCKER/LIVE IN LA HIFLY 23 (-76) UK

I guess most consider the 1970 album "Mad Dogs & Englishmen" his best live effort. It was certainly the most successful - reaching #2 on Billboard, #16 in UK and kept selling through different formats ever since. I've never been entirely impressed by that. Not sure why - vocals are superb, Leon Russell was a good companion and nothing wrong with the other backing either - but it just don't work for me. This hits a lot harder. Recorded at Hollywood Bowl and Long Beach Arena 1972 and to my taste a much better alternative if you like it less arranged but more naked and vulnerable. Crew is smaller but partly the same as on MD&E. At the time he'd gone deeper into alcohol and drug abuse - as the story goes sometimes so potted he threw up on stage. That may be but he still sings like a ragged god. The grunts are deeper, the loud notes even croakier and voice cracking sometimes. Still he nails every note and the sick just adds to the beauty. For some reason the album wasn't released until four years after the events, didn't sell much initially and is today one of those forgotten gems. But if you're into MD&E and want a more close connecrtion to the man it's highly recommended. Favorite track - the cover of Stephen Stills "Love The One You're With". Frequently issued and reissued on vinyl and CD through the years, some with bonus tracks. Premiere UK had label as shown here and thin laminated cover. (LYBÖ*) (FXÖ*) (MÖRS*) (JÖC*)

CHARLES TRENET/BOUM!! 33CS 19 (-56) UK

My third and last Charles Trenet post. Though the two earlier had lots of genuine atmosphere, enabling audiophile time travel and reminiscing they still didn't bring me the full monty. This does. A 10 inch with ten songs from his heydays whereof many classics as "La Mer", "Boum!!" and "En Avril A Paris". All original 78' recordings carefully transferred to the new format and probably as close I can get it on LP. Audio warm and inviting fitting both as background and in the listening chair. Apart from the already mentioned the best cut is "La Cigale Et La Fourmi" where he's backed by Django Reinhardt and QHCF. Four of the tracks were also released as a UK EP (Columbia SEG 7819), but I don't know of any other issues. First had label as shown here, fully laminated cover with crescent flips and "take care of your records" inner. (GZÅ*) (MÖRS*)

FAIRPORT CONVENTION/ "BABBACOMBE" LEE ILPS 9176 (-71) UK

A folk rock opera/concept album, in form no doubt inspired by previously successful projects like "Tommy" or "Jesus Christ Superstar", but with an exclusive libretto and expression. The plot builds on a true story about John Henry George Lee (1864-1945), also called "the man they couldn't hang". After being committed for murder and sentenced to hang on very weak evidence, the execution failed at three occations as the trap door refused to open. The verdict was changed to life in prison and he was released 1907. The story told here is based on old newspaper articles, partly from his own words. On the surface a continuing narrative consisting of five parts - following him from boyhood up to the failing executions - but it's also a collection of very good songs moving the story forwards. Since it all stick together in a very captivating way there's no chance to jump tracks, but if you have fortyone minutes to spare it's a journey well worth taking. First US on A&M (SP-4333). 2004 UK CD (Island 982150-1) presented the story as fifteen separate tracks, adding two bonus ones. Premiere UK vinyl had label as shown here, matt fold/out cover with a large eight page "pocketed" booklet containing texts and pictures from old newspaper articles plus a stiff glossy lyric inner. (FÄHZ*) (BRYF*) (RÖKÖ*)

LED ZEPPELIN/PRESENCE SSK 59402 (-76) UK

Probably the Zeppelin album having raised most diverging opinions. While many grade it as a low point in the band's catalogue, others see it is as one of their best. It's certainly different from earlier albums - less obvious, slightly more experimental and with a harder production and audio. I'm a fan and considering the circumstances it's amazing they could deliver at all. Short story - Plant in a wheelchair after a car accident, Bonham boozing and Page deep down on drugs. The recordings dragged on beyond time limit and since the next studio booking was by the only act with power enough to push them out - Rolling Stones about to record "Black And Blue" - it wasn't extended. So Page had to stay behind and make most of the guitar overdubs in an uninterrupted 48 hour session while tying other loose knots. Anyway the result is surprising with a mix of classic rock and prog/psych wrapped in a very hard-hitting package. As a rock album one of a kind and one that keeps on giving. "Achilles Last Stand" intrusively intriguing, "Nobody's Fault But Mine" heartbreaking, "Candy Store Rock" very sweet and "Royal Orleans" catchily twitchy and bouncy. First US on Swan Song (SS 8416) came with same label and sleeve design as UK. Frequently issued and reissued world wide on vinyl, 8-track, cassette and CD through the years. True UK first pressings can be tricky to find. As pre-orders were so big many "British" issues were imports pressed in other countries and soon after release WEA took over for international editions. First were pressed by CBS and have "Made In UK" on label, stickered sleeve with embossed logo, "Printed and made in England" on inner and stamped -A1/-B1 matrixes. (LÖZ*)

THE HOUNDS/THE LION SLEEPS TONIGHT GMG-1207 (-67) SWEDEN

Swedish pop/rock band formed in Stockholm 1965. During the following years they managed six domestic list entries before dissolving 1968, including covers of international hits as "Sealed With A Kiss" and "The Lion Sleeps Tonight". This was the first of two albums, both issued 1967. It's a semi-compilation containing A- and B-sides of three previous singles coupled with six new recordings. The A-sides are pretty cute in a commercial kind of way with partly high-pitched multi layer harmonies, slightly reminding of Tremeloes or Maramalade. Though these are well made with a heart melting quality I find some of the rest a lot more interesting. You should think a Swedish teen band doing a cover of Dylan's "The Times They Are A-Changing" must end in catastrophy, but the one here is actually enjoyable with the harmony singing to a garage pop background. "Lasse Feels Good" an instrumental with lots of flashy guitar and "A Car, A Boat, A House, A Girl Like You" a free spirited up-tempo rocker. Superficially maybe not reaching up to their US or UK counterparts, but with a very charming personal see-through quality. This was the only vinyl issue. Most of the cuts can be found on the CD compilation "The Lion Sleeps Tonight" (Universal Music 018 337-2). First had label as shown here and fully laminated cover with top opening. (SCÄ*) (CCÖ*)