JOHN LENNON/IMAGINE PASJ 10004 (-71) SOUTH AFRICA

A variation I didn't even know existed before I found it in a used bin a while ago. Always fun to get classic LP:s on odd labels and since I could never afford the UK exports of Apple albums on Parlophone or Odeon, finding originals from countries where Apple wasn't an item yet feels more than sufficient. In some cases these pressings don't hold up to the UK or US originals, but this sounds surprisingly good - in comparison to the partly rather muddy UK first even clearer and sturdier. Very good listening all through. Matrixes are hand etched - PASJ 1004 YEX 865/PASJ 1004 YEX 866 - and vinyl medium thick with bulkier edge. This copy with thin matt sleeve and UK style inner (imported?). Can't say if it's absolutely first or complete, but likely some kind of early press. (BÄ*) (JYZÖ*) (PÖX*)

BEGGARS OPERA/WATERS OF CHANGE 6360 054 (-71) UK

Scottish progressive combo formed 1969 by guitarist Ricky Gardiner and former members of local Glasgow bands The Kingbees and The System. They soon got a contract with newly started Vertigo label and released their debut LP "Act One" 1970 - today often referred to as symphonic proto-prog, as it includes traces and/or remakes of classical pieces much in the same vein as late Nice or early ELP. My first aquaintance with the group was through their third LP "Pathfinder", which wasn't much prog, yet exciting with its blend of well perfomed catchy songs, alluring production and top audio. This second album appears to be somewhere inbetween - I get memorable soft melodic turns, but also more adventurous escapades including long solos, rythm changes and classical episodes. Keybordist Alan Park so influenced by Keith Emerson he sometimes sounds like an alias, but doing it well...and one could have a lot worse role models. Favorite tracks - "Time Machine" and "Silver Peacock". First issued in a couple of European countries and Canada (same number), but as far as I know not in US. German 1989 CD on Line Records (LICD 9.00724) and UK 2006 on Repertoire (REP 5056). Premiere UK had labels as shown here and fold/out cover with "0671" dated swirl inner. (WLÖ*)

THE BLUES PROJECT/PROJECTIONS FT-3008 (-66) US MONO

US blues/folk/rock combo originally existing 1965-67, during that time releasing three LP:s. Two lives - "Live at The Cafe Au Go Go" (Verve Folkways FV/S 9024) and "Live At Town Hall" (Verve Forecast FT/S 3025) - plus this studio effort. Band by many mainly recognized as being one of the breeding grounds for artist Al Kooper and the album hailed as one that set direction for US rock as it developed late sixties and through the seventies - a melting pot of genres and musical ideas ready to mold. Listening today it's still very good. As inconsistant as many other albums released that creatively turbulent period before musical borders were set and genres decided - skipping between classic rock, blues, folk, jazz and psych - but with partly top performances and all over positive feeling. Favotite tracks - the psych rockers "I Can't Keep From Crying" and "Wake Me Shake Me" plus the blues numbers "Two Trains Running" and "Caress Me Baby". Only thing I have problem with is the audio on this mono. I get too much treble, sometimes making the sound so sharp and shrilling it hurts my ears on high volume. A pity, but I'm learning to live with it. First UK 1967 on Verve Forecast (S/VLP 6004). Reissued by Sundazed on vinyl 2009 (LP 5317) and CD 2011 (SC 6299). As I understand premiere US was released on the Verve Folkway label (same number) and this on Verve Forecast is the second issue. It came with label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*) (ÄLCÖ*)

THE NICE/AUTUMN '67 - SPRING '68 CS 1 (-72) UK

At first glance this may appear like just another collection of The Nice stuff from their earliest days. Would be good enough since the compiling has an all psych aim and it also includes the "America"/"Diamond Hard Blue Apples Of The Moon" non-LP 45, but it's a lot more than that. In fact all remaining cuts are alternative takes, here for the first time on record. And non of them are in any way inferior to the earlier released versions, just different - part rawer and whimsier, but never as erratic or unfinished "alternative takes" usually sound like when showing up on later collections. As compiled here this could have been The Nice debute, one with less classical influence but a lot more cheeky psych. "Daddy Where Did I Come From" did show up first on their second LP, but the one here is an earlier version made while David O'List was still in the band. So not as much a collection as an alternative debute album - and at least for me for now a better listen. First US 1973 as "Autumn To Spring" on Charisma scroll label (CAS 1). UK 1976 vinyl reissue on Pickwick (SHM 917). Charisma/Virgin 2009 CD came remastered with two bonus tracks. Premiere UK had red scroll label and "Charisma Perspective" ad inner. The one shown here is somewhat later. (ÄPY*) (PÖP*) (CÄX*)

A SPLASH OF COLOUR K 58415 (-81) UK

Sampler with twelve cuts from nine bands connected to the short lived "neo-psych" movement, a genre blending sixties style mod pop with classic psych and new wave. The issue meant the record debute for most of the bands and became a main force in establishing the concept. Of the groups only Mood Six, The Times and Barracudas seems to have had some kind of recording carreer later, for the rest this was about it. I do like getting one-offs from odd acts and there are a couple of good ones here. "Electric Blue" from The High Tide (not to be confused with the homonymous UK late sixties band) comes with tempo changing garage style backing and psych organ. The Silence "Love Letters" has annoyingly catchy vocals and Earwigs "Keep Your Voice Down" is good pop with Roger McGuinn inspired guitars and intense bass figures. I'm usually not much for eighties music, but this has so many connections and winks to ealier days, style-wise and through production and audio, I almost feel at home. Originally also issued in Spain (WEA S 90.578). All cuts can also be found within the 64 track 3-CD compilation "Another Splash Of Colour - New Psychedelia In Britain 1980-85" (Cherry Red 877 478). First UK had label as shown here and thin glossy cover. (SÄM*)

THE HOUNDS/FROM THE HOUNDS WITH LOVE GMG-1209 (-67) SWEDEN

For background check post on their debute "The Lion Sleeps Tonight". This second and last album has about the same build-up - a mix of soft schlager covers with multi layer vocals and up-tempo with a garage feeling. Though a lot less direct than the first, calmer and more string spangeld, there are some good moments on it. The "Hi-Ho Silver Lining" version is psych garage with a trombone pitched in and "The Gypsy Cried" cover perkily catchy. Together with the self-penned tracks "Old Man In New York" and the Beach Boys inspired "The Office Girl" making it worth while. Engineered by then future ABBA producer Michael B. Tretow with totally OK audio. Fun fact - guitarist Henrik Salander who wrote "Old Man In New York", a homage to the city, moved on to politics after the band dissolved and later became UN ambassador - in New York. This was the only vinyl issue, but most of the cuts can be found on CD - "The Lion Sleeps Tonight" (Universal Music 018 337-2). First had label as shown here and laminated fold/out cover. (SCÄ*) (CCÖ*)

KOOPER SESSION - AL KOOPER INTRODUCES SHUGGIE OTIS S 63797 (-69) UK

Issued as follow-up to the classic 1968 "Super Session" album (see earlier post), but without the renowned participants Stephen Stills, Carlos Santana and Mike Bloomfield. Instead you get Al Kooper presenting 15 y.o. guitar prodigy Shuggie Otis, son of US r&b legend Johnny Otis, and backed by relatively unknown studio musicians. Album sequels can be tricky as they often lack some of the quality or originality of the first, but to my ears this is as good and partly even better. Side two - subtitled "The Blues" - consist of two long blues jams with lots of flashy Kooper organ and amazing guitars, plus a short acoustic number mimicking a twenties style blues recording with electronically produced scratch noise. Side one - "The Songs" - takes off with a wild gospel, credited to Kooper but building on classic gospel melodic figures, and continues with an instrumental organ/guitar ballad. Next - "One Room Country Shack" - is my album favorite. A Mercy Dee Walton cover with a riff so insistent once you get it in your system it'll stay. Side ends with a soul cover - "Lookin' For A Home" - starting soft with flowing organs and ending with a powerful guitar solo. Audio tophole all the way with lots of presence. Premiere US on Columbia (CS 9951). Also reissued on vinyl and CD by Sony, Repertoire, Acadia, CBS and Columbia. First UK had label as shown here, SBPG matrixes, thick vinyl and matt sleeve with record number above logo on front and back. (ÄLCÖ*)

PROCOL HARUM/HOME SAML-933,871 (-70) AUSTRALIA

The band's fourth LP and one of my all time favorite albums. After Matthew Fisher and David Knights leaving and Chris Copping (re-)joining they were back to a "Paramounts" setting, so in a way the old band was back just under another name. Knowing that you could expect the music to be more towards r&b and pop beat and some of it is, but there's a lot more going on here. Seems like lyricist Keith Reed was in a dark place when writing texts for the project. Subjects are almost entirely about death, loss, failure and disappointment, while the music conveying them being a lot more free spirited with a buffet of different genres as pop, prog, psych, rock and r&b. All topped with Robin Trower's meanest guitars and Gary Brooker doing some of his best vocals ever. With this they prove once and for all that depressive statements can be both comforting and catchy. Like the dark yet embracing "About To Die", the stubborn riff carrying "Whiskey Train", the happy stalking anthem "Still There'll Be More" or all of side two - starting off with the beautiful "Barnyard Story", followed by the two long nightmareish cuts "Piggy Pig Pig" and "Whaling Stories" and ending with the pop gem "Your Own Choice". Loved the album from first release through different issues. For a long time I was after a first press UK (Regal Zonophone SLRZ 1014) or US (A&M SP-4261), but they never showed up here in my price range. Therefore it was a revelation to find this Australian release. Label as shown here, thick unflexible vinyl and laminated fold/out cover with picture side of UK insert inside, omitting the lyrics. As I understand made from the US tapes with fantastic audio - loud and clear. It's got everything I need and now I have my keeper. (PRÖX*) (DÖW*)

OFF SMLP 009 (-68) GERMANY

One more of those German period samplers I like so much. There were a lot of them and very often they included otherwise '45 only cuts or even one-offs from odd and today almost unknown acts. This has original LP tracks only, with classic American bands as Doors, Love, Incredible String Band and more from the magic psych years 1966-67. Yet the track choice is atypical and if you dont have the albums it's well worth while. Audio is beautiful, emphasis hard on psychedelia and compiling consistent, making it fine listening all through and no need to jump tracks. Favorites - Clear Light's fuzz drowned "Street Singer" and Love's crazy uptempo "My Flash On You". First had label as shown here, thick vinyl, "monster" inner and laminated fold/out cover with extra sheet having band pics, album ads and explanation of the "psych" concept in German. (SÄM*) (GÖXÄ*)

QUEEN/A DAY AT THE RACES EMTC 104 (-76) UK

With such an obvious sequel I might as well do a follow-up post. So tied to its predecessor by cover and label design, name mode and atmosphere it could pass as "A Night At The Opera pt. 2". It may have been just a wink to the fans with no further meaning, or an attempt to superficially make it an equal to ANATO, knowing it wasn't as good. And to my taste it isn't. While all previous Queen albums had their fair share of magic moments there's not so much of that here. I get more self conscious songwriting as they're trying to repeat or stay with the success following the breakthrough and less creative spontaneity. A fine album containing good rockers and heartfelt operatic ballads, but fewer real killers. My favorite moments on it are all Brian May stuff - "Long Away" beautiful with sweet crispy guitars, "Tie Your Mother Down" classic rocker, and his funny but complicated licks on "The Millionaire Waltz". Anyway it seems larger part of the world thought a lot better of it, as it went #1 in UK and many other countries, #5 in US and still situates on lists over best albums ever. Frequently issued and reissued on vinyl, cassette, 8-track and CD all over the world through the years. First US on Elektra (6E-101). Premiere UK had labels as shown here, glossy fold out cover and brown picture inner. (QÄN*)