THE HOLLIES PMC 1261 (-65) UK MONO

Their third UK album. In a larger perspective not much different from the surrounding "In The Hollies Style" or "Would You Believe?" (see earlier posts). A mix of covers and self-penned (credited to "L. Ransford"), most performed with signature multi-layer vocals, some coming through as simpler garage recordings while others seems more elaboratedly produced. Described that way it doesn't seem very special or worthy of particular attention, but for an already Hollies fan or someone just digging the period music, sound and atmosphere there's lots of beauty involved. It has all the warmth, energy and natural audio you can ask for in a mid-sixties recording. Though non of the tracks have remained as classics it's all together a very positive experience filled with presence and good will. I get the feeling they're all on their toes trying to perform the best they can. Guess a few false notes or a couple of untied knots can put the more sensitive listener off, but if you're like me and want it authentic such is just reinforcing. Got a lot of favorites here, but chosing three - the gospelish "Very Last Day" (at the time released as a single in Scandinavia where it became a huge hit), the self-penned "Too Many People" with quite uncommon lyrics for a 1965 pop song and "So Lonely" (the only UK 45 pick from the album as B-side to "Look Through Any Window"). Originally issued like this in Europe, downunder and a couple of African countries. Both US (Imperial LP 9299/12299) and Canadian (Capitol (D)T-6245) versions came with each having differing titles, track lists and sleeve designs. A stereo version was mixed, but not issued in UK until 1969 as "Reflection" (Starline SRS 5008). First had label as shown here, laminated flip/back cover and "Emitex" rice-paper inner. (HÖLY*) (PÖX*)

THE BEATLES/WITH THE BEATLES PMCO-1206 (-63) MONO AUSTRALIA

Australian mono version of Beatles second UK album. Very first press came on gold label, this black/yellow was somewhat later but wrapped in same alternate cover design and using UK 1:st matrixes (XEX 447 1-N/XEX 448 1-N), stamped by exact same font types but without the mother/stamper indications. Audio is identical to a UK 1-N press...or almost identical. Maybe my ears are decieving me, but I can't help hearing this Australian as a teeny-weeny bit brighter and clearer than the UK first. Anyway it sounds absolutely great - big, strong and well separated. Many Beatles fans just want this for the front sleeve display and keep it as a complement only, but it will also do for audiophile pleasures if that's your thing. The second press had label as shown here and laminated flip/back cover. (BÄ*) (DÖW*) (PÖX*) (LGÅ*)

IT'S A BEAUTIFUL DAY/MARRYING MAIDEN S 64065 (-70) UK

One of the bands emerging from the San Fransisco "summer of love" era and existed since through numerous breakups, reunions and set changes. Though with a relatively consistant high quality in performance and songwriting they never reached the same success or legendary status as contemporary peers like Grateful Dead or Jefferson Airplane. I don't remember them at all from the record shops or domestic Swedish lists at the time and it's first in my older days I've started to get closer. Not totally connected yet, but I'm getting there and will be back with more on it later. For me the most interesting with this album for now is the Deep Purple connection. It is known Purple stole the "Bombay Calling" theme from the IABD debute, slowed the tempo and used it as an intro to "Child In Time". Listening to the "Don And Dewey" track on this I guess it was payback time, or at least a wink, since it has almost identical theme as the Deep Purple instrumental "Wring That Neck" from the Book Of Taliesyn LP. Faster here and with some additional notes, but too similar to be a pure coincidence. It could also be both bands were inspired by the same source unwittingly of eachother, but that seems a lot more farfetched...or is that the reason it's part credited to US DJ/country singer Don Bowman on sleeve? I'm confused. Can't find anything further on this from the net, but need more. Any thoughts? (FÄV*)

FAIRPORT CONVENTION/FULL HOUSE ILPS 9130 (-70) UK

The band's fifth album, recorded during a transitional period. Sandy Denny had left for the Fotheringay setting, Ashley Hutchins gone to Steeleye Span and Richard Thompson on the brink of leaving for a solo carreer. All considered it's a surprisingly strong album - still folk rock, but with more emphasis on rock than before. It seems new bassist David Pegg immediately got comfortable with drummer Dave Mattacks, together creating a beat adaptable to the folkier twists and turns but also providing a steadfast bottom when needed. I'm a big Sandy Denny fan and always miss her when she's not around. Her very emotional vocals and songwriting was for me a huge part of the group's earlier days. This is somewhat different. Direct hitting, but also a bit more shallow. You wont drown in it, rather get positively carried. For me a happy album - keeps me going without forced to know about why or where. I can also detect seeds to what in my world was their best non-Denny effort - the folk rock opera "Babbacombe Lee" (see earlier post). So this might not be my absolute favorite Fairport album, but the overall good performances, energy and top audio makes it good enough and a sure keeper. Favorite tracks - "Walk Awhile" and "Sloth" (be aware the timings on label are all wrong - e.g. "Sloth" is over nine minutes long, not the 2:59 stated). US and Canada first on A&M (SP-4265). 1970 issues also in France, Japan and downunder. 2001 Island CD (IMCD 285) came with five bonus tracks. Early UK had label as shown here and structured fold/out cover. (FÄHZ*) (ÖSÄP*) (BRYF*)

HOW BLUE CAN WE GET ?/VOLUME I : WHITE - VOLUME II : BLACK PR 45/46 (-70) UK

Bought my first copy of this early seventies. Don't remember my feelings about it then still in the midst of it all, but from a concerned blues collector's perspective today it's gotta be one of the best samplers of the period. 2 LP:s with twentyfive cuts from seventeen black and/or white acts. All original mixes - five mono, the rest true stereo - with audio close to or identical with the originals. Sleeve has info on original albums, exactly who plays what on each track and producer credits for most of them. There's also a booklet with further Blue Horizon discographies, info and album pics. No odd 45 cuts, but those can be found on the separate "Oldies But Goodies" sampler (see earlier post) also mentioned in the booklet. You do get rarities anyway as Blue Horizon issued quite a few at the time non-selling albums and most of the originals can be both hard and dear to find. In hindsight maybe not a good idea to separate white and black in two volumes since some of the tracks overlaps such boundaries anyway. They could at least put the black as volume one since it's more than obvious which kind was first and who was insprired or just copying. Playing it through as I'm writing and for now it feels wrong chosing any special favorites. Interesting for me getting closer to artists like Furry Lewis, George Smith, Bukka White and Top Topham, picked from albums I've never encountered in r/l and I always appreciate Fleetwood Mac in any shape. But it all fits so good together I rather just listen and enjoy without pondering too much about names or shades. Also issued in Holland with same tracking and similar cover design. Premiere UK had labels as shown here and matt fold/out cover with an eight page booklet. (SÄM*) (BLÖH*)

DIANA ROSS AND THE SUPREMES/STOP! IN THE NAME OF LOVE MFP 50291 (-76) UK

Hesitated for a while before I bought this since I have most of the tracks many times already, but in the end couldn't resist the pretty front image so I just had to have it. Don't think I've ever seen such an honest and authentic Supremes sleeve pic. Though smiling to the camera they seem to be off-guard in a way and almost looking vulnerable. More than just an average ad photo - you can actually feel and get close to the real girls here. The record itself isn't bad either. Not so much a greatest hits as a collection of more uncommon cuts, including five original B-sides. And since they had a very high lowest level there's lots of magic involved even with these lesser known numbers, providing good listening all through - both as a good mood background and for close encounters. All cuts are true stereo and the audio top notch - surprising for a relatively late budget compilation, but here maybe expected as it was part of MFP:s "Sounds Superb" serie. Favorite tracks - "Love (Makes Me Do Foolish Things)", "I'll Set You Free" and "The Beginning Of The End". To my knowledge this UK was the only release. It came with label as shown here and laminated cover. (FÄV*) (TÖMÖ*) (ZYZÖ*) (SXS*)

SUNDAY FUNNIES SRE 3004 (-71) UK

Detroit band existing from late sixties to mid seventies, during which time they released a couple of singles and two LP:s on Motown's subsidiary Rare Earth label. At the time a popular live act with local following while the trials for larger success failed and non of their records reached high on the lists. Then almost forgotten for decades and it's only lately collectors of soul or early prog started to show serious interest. This was their debute album. I've seen copies come and go in the cheaper bins but always passed them by and just recently decided to pick one up and go for a spin. To my ears it's surprisingly good for a record that's been largely overlooked for so many years. May belong to the blue-eyed-soul genre, but vocally it sounds more towards black soul with the gospelish background quires and vocalist Richard Fidge sometimes arriving at that deep powerful stage few white singers could reach. Musically I get soft proto-prog, keyboard driven with occational rythmic and melodic quirks. Seven of the eight songs self-penned - most of them in minor with pleasant melodies, elaboratedly produced by former Rolling Stones manager/producer Andrew Oldham. I've seen them compared with Procol Harum and that may be - if you can imagine a Procol soul/gospel album without Gary Brooker. However the inbuilt stillness, strong melodies and prominent organ are all there providing very good listening. It could easily have been a hit, but maybe soft soul prog from an almost unknown band wasn't what the large public craved early seventies. Favorite tracks - "The Axe" has a melodic structure making me think of the best contemporary Webber/Rice works and "Walk Down The Path Of Freedom" very dirty up-tempo soul with great vocals. Audio on this UK press shifts - most of it clear, but partly a little messy as if they'd cut it too loud for the thicker parts to get through. Premiere US and Canadian on Rare Earth (RS 526) came with fold/out cover including lyrics and a band pic. CD issues on Flawed Gems 2013 (GEM 0000103) and Big Pink 2016 (0000419). First UK had label as shown here and laminated flip/back cover. There may have been an insert with the missing pic/lyric parts, but I've never seen one. (TÖMÖ*)

SVEN INGVARS/TE DANS MÄ KARLSTATÖSERA PL 08216 (-63) MONO SWEDEN

Swedish group founded 1956 and still going strong over sixtyfive years later, now with no original members after singer/guitarist/saxophonist Sven-Erik Magnusson passed away 2017 at the age of 74 and then replaced in the band by his son Oscar . Started as a rock'n'roll combo influenced by traditional music, moving over to a dance band repertoire in the late seventies and eighties and mostly back to rock/pop in the nineties and further on. After first breakthrough 1961 they have among other things had the young aspiring Beatles as supporting act, topped the bill at rock festivals and managed 54 singles on the Swedish list - including "Två Mörka Ögon" (Two Dark Eyes) charting high for 71 straight weeks. This was their debute album (eng. "At dance with the Karlstad girls"), a compilation of rock songs originally recorded 1961-63, all earlier issued on 45:s. Four of the tracks - "Guitar Boogie", Theme From Anniversary Song" (Donauwellen), "Prairie" and "Höstdrömmar" (Herbsttraum/Autumn Dreams) - instrumental guitar rockers, two - "Corinna, Corinna" and "Billy Boy" - sung in English and the remaining six with Swedish lyrics. Though the numbers have differing themes and structures there's a lot more uniting than separating. The positive atmosphere is almost overwhelming all through - filled with good humor and exuberant performances. To me reflecting happier and more innocent times and I can't help being smitten. Favorite track - "Ett Litet Rött Paket" (A Small Red Package) - actually a parody on love songs, but so well performed with heart-warming organ it moves me anyway. The audio is superb all over, clear and natural. As a whole probably most suitable for Scandinavians, but can also do it for serious international collectors of classic and/or odd rock'n'roll. Never reissued like this in any shape, but all songs have shown up later on various vinyl and CD compilations. First came with label as shown here and thin fully laminated cover. (SCÄ*) (CCÖ*)

PLUS/THE SEVEN DEADLY SINS CPLP-4513-S (-69) US

Checking the reveiws for this one-off album in various places on the net I see a wide range of opinions - from "one of the best psych albums ever" to "very bad...avoid!" I understand why regular pop fans diss it - at first listen it's complicated and unpredictable, combining an array of rock styles where of many still were in cradle 1969. Just scratching the surface it may be interpreted as a blend of hard rock, psych, prog, baroque and symphonic, topped with lyrics having a cross-cutting catholic theme. Rumour has it was first planned by producers Simon Napier-Bell and Ray Singer as a much larger rock opera set-up with the trio - Tony Newman, Mike Newman and Max Simms - here credited as "Plus", only a hand picked backing band. If so, why they changed direction and decided to release it as a group effort I don't know. Anyway if you skip the theme, forget about the "sin stations" and just get down to it as a prematurely spiced period psych album it may improve before your very ears. There's certainly nothing wrong with the songs. A mix of uptempo and slower pop going from harsh fuzz driven to catchy melodic. Musically reminding of Beacon Street Union or Electric Prunes while the atmosphere is more towards Black Widow or Sabbath. Favorite tracks - "Daddy's Thing", "Open Up Your Eyes", "Gemegemera" and "Maybe You're The Same". Not totally accepted by genre collectors yet and therefore much cheaper than you'd expect considering substance and rarity. Surprising, but good for all us music lovers without unlimited founds. Originally issued also in UK (Probe SBP 1009), France (Stateside 2C 062-91602) and Peru (same as US). 1999 CD on Free Records (FR 9903). Early US came with two different label designs - one glossy, one matt - not sure which was first. Showing the glossy here. It's on thick vinyl hosted in a slightly structured, die-cut fold/out cover. (YZÄ*) (RÖKÖ*) (CÖLÖ*)