THE EQUALS/SENSATIONAL EQUALS PTL 1020 (-68) UK MONO

London band, existing 1965-79 and behind two of the most annoyingly repetitive hits of the sixties - "Baby Come Back" and "Viva Bobby Joe". I hated those songs back then - though belonging to a category of radio hits I couldn't care less about, they started to nest in my brain impossible to get rid of...and when they finally moved out I refused to look back. Therefore it was really surprising hearing this LP from about the same time, almost fifty years later. It's in fact quite variegated, having a cut or two reminding of those hits, but also streaks of latin, raggae and white soul. Sounds like direct recordings, coming out more as garage than from a well oiled studio machinery. I'm getting about the same vibes as from much later Clash recordings - honest and right on with both feet on the ground and a message in there somewhere. They have been called an early inspiration to the Punk Rock and New Wave flourishing in the late seventies and eighties, then as a band who didn't adjust their sound to the posher studio milieu, but instead brought the street in there and managed to get that atmosphere on vinyl. Direct with an almost socialist twist. Between 1967-69 they released no less than six original albums and managed seven singles on the UK list, with "Baby Come Back" reching #1. This is the only original album by them I got so far, but if the used bins are good to me in the future there will be more. Originally issued also in Germany, Holland and South Africa. German 1992 CD on Polydor (517010-2). Premiere UK had structured label as shown here and laminated flip/back cover. (ÖGÄ*)

AMEN CORNER/FAREWELL TO THE REAL MAGNIFICENT SEVEN IMSP 028 (-69) UK

Band founded 1966 in Cardiff, Wales. Initially having a jazz blues orientation, but after getting their first record contract with Deram 1967 escorted towards a more commercial output largely consisting of cover versions. After four charting 45:s on the UK list, where of "Bend Me, Shape Me" at #3 and "High In The Sky" at #6, they moved to Immediate early 1969 and immediately got their first #1 with "(If Paradise Is) Half As Nice" (English version of an Italian song first rejected by The Tremeloes), followed by Move's "Hello Suzie" reaching #4 and a non-charting cover of Beatles "Get Back". By then the label was going bankrupt from bad management and this LP became the band's last before the 1976 "The Return Of The Magnificent Seven (Immediate IML 1004). What you get here is a mix between five self-penned and nine covers. But when listening it doesn't really matter who did what. This is good rock'n'roll - well performed and produced, warm melodic and very appealing. In a way an early taster of what would happen to British music in the seventies. I guess later prominent band's as Slade and Nazareth listened and learned how to make heavy rock catchy and highly commercial by well performed emotional vocals to a hard yet embracing background. Audio is very good, big and bouncy with a soft edge. For me a happy album fitting for background as well as close listening. Big smile. Favorite tracks - "Lady Riga", "Hello Susie" and "(If Paradise Is) Half As Nice". 1969 issues also in Australia and New Zeeland (same labels and numbers). Japan 2009 CD (Victor VICP 70114) came with six bonus tracks. Premiere UK had label as shown here and matt fold/out cover. (YDÄ*)

FOUR TOPS/GREATEST HITS STML 11061 (-68) UK STEREO

British sixteen track version of the US 1967 twelve track Greatest Hits (Motown MT/MS 662). Motown has been a faithful companion to me ever since the sixties and one of the first label acts I heard and fell in love with was Four Tops. Recordings like "Reach Out I'll Be There", "I Can't Help Myself", "It's The Same Old Song" and "Standing In The Shadows Of Love", so bursting with melody, energy and feeling, became an important part of the growing boy's life and in a way still is for the older man decades later. So even if I have all those songs before on various other issues I couldn't resist getting them again, this time in stereo, wrapped with a couple of rear sleeve band pics new to me. I did plan to do a song-by-song stereo overview, but after just four cuts my ears started to wilt and I had to stop. "Reach Out, I'll Be There" has about 99% of the music loud in one speaker and only occational, hardly audible sounds in the other. "Where Did You Go" is mono, maybe slightly enhanced. "I Can't Help Myself" also very unbalanced, but at least possible to endure. "7 Rooms Of Gloom" suffers from so much treble it hurts...and on it goes. However good the songs and performance it's almost impossible for me to enjoy. I guess mono is it for this. Will continue my search for one of those...and when I find it you'll be the first to know. Same matrixes also issued in Holland early seventies as "The Best Of The Four Tops" with alternate sleeve design. Premiere UK had label as shown here and laminated flip/back cover with EMI/Motown ad inner. (TÖMÖ*) (FÖRH*)

BOX TOPS/BEST OF THE BOX TOPS SPR 90051 (-74) UK

First half of the seventies saw a large number of "Best Of" or "Greatest Hits" collections by the band, released on various labels in different countries. This UK came on EMI's budget label MFP's subsidiary Sounds Superb label, which in its turn wasn't budget at all. All cuts but one - "Whiter Shade Of Pale" - released on '45 1967-69, counting nine A:s and two B:s. To my taste this really is the best by the band with all the fine stuff and no fillers. Not overly exciting, yet pleasant melodic pop good to the ears without any fawning. And as promised by the label name the audio is tophole - very clear and natural. Some of the stereo mixes may seem a little archaic to the modern listener, but since they're all true and probably original it's ok with me. Works well both as background to home activities and as ingested with a glass of red in my listening chair. Favorite track - "The Letter". Also issued in Germany on MFP and on Brunswick as "Pop Giants vol. 26". Premiere UK had label as shown here and thin glossy cover. (PÖP*) (SXS*)

LOVE EXPLOSION/LOVE EXPLOSIONS BÄSTA LÅTAR MNW 21P (-71) SWEDEN

By far the weirdest LP released as part of the Swedish prog scene in the seventies. From a band so ineptly out-there they were booed off stage or even thrown out during concerts. An exemple mentioned on rear sleeve - their first drum solo happened after the public at a club cut the electricity to stop them from playing. But they soldiered on into the studio and it's clear nothing was done to embellish the appearance at the recordings for this one-off. Performance sounds like a couple of tone deaf friends winding down after a long night of binge drinking - filled with muddy trials sung by dabbling vocals to untuned instruments. Lyrically an unholy mix of uncensured genital rock and left-wing social engagements. From "Bara Du" (eng. Only You) - a tale about one of the members picking up a girl and having intercourse in a telephone booth - to empathy for squatters and the working class in general. Most of the tracks comes out as country ballads, some with Dylanish taint. The only up-tempo rocker "Ändlöst Med Sprut" (eng. Bottomless Squirt) - an uncredited cover of Chuck Berry's "Bye, Bye Johnny" - is about a guy having diarrhea in Afghanistan. Dirty rock on all levels. For "Djävulens Patrask" (eng. The Devil's Rabble") they borrowed the melody from Dylan's "Harmony Row" without permission. However Dylan's label Columbia didn't like the lyrics and refused to approve retroactively so this first press LP was withdrawn and second issue got a melody written by the band to the same words. Not sure why the version wasn't approved, but it probably had to do with the last verse describing an older woman on the bed pleasing herself with a device. As a whole garage in its purest form - they're not trying to be bad, but not aspiring to be good either, just doing their thing without caring the least about result, reception or sales. I reckon most people would call it ugly, but I love it just because it's there and it makes me smile. Favorite track - "Stockholm City"  https://www.youtube.com/watch?v=XjinJz15VbU   . Released in Sweden only. Second issue with the re-worked "Djävulens Patrask" came on blue label. To my knowledge never issued on CD. First had label as shown here, heavy vinyl and thin matt cover. (SCÄ*) (ÖGÄ*) (CCÖ*) (ÄXÅH*)(NÅY*)

MOODY BLUES/THE MAGNIFICENT MOODIES LK 4711 (-65) UK MONO

An album that didn't get much love on release and though including the UK #1 single "Go Now" not charting on any major lists. But after the band changed its agenda and became one of the most popular and big selling acts of the late sixties into the seventies the issue slowly became a collectors item and still today changing hands for big bucks. After reaquainting and spinning it for some days now I have a hard time believing those prices are in any way related to the musical quality. This is not the signature Moody Blues of later years - experimental, yet melodic and very touching. Recorded by the band's "Mark I" setting - before Clint Warwick and Denny Laine quit and were replaced by John Lodge and Dustin Hayward - it's no more than an average UK sixties pop album. A mix of self-penned and covers performed in a way that can make one believe reverence before American originals and role models were more important than personal expression. Well played, sung and produced, though rather tame in comparison to many other UK or US acts in the same box at the time. That said - it has a couple of moments I truly enjoy. The cover of "Bye Bye Birdie" do have the right energy. The self-penned "The Story" brings some cheeky guitars. "I'll Go Crazy" is handeled in a good way and "Go Now" always works if you're in that mood. But that's about it for me. A keeper it is and a must for any zealot fan, but more proper ride than mind blowing trip. 1965 releases in Europe and Australia. Japan 2006 CD (Air Mail Archive AIRAC-1228) came with seven bonus tracks. US version (London LL 3428/PS 428) omitted "Something You Got", "I Don't Mind", "Stop" and "Thank You Baby" and replaced them with "And My Baby's Gone", "It's Easy Child", "I Don't Wanna Go On Without You" and "From The Bottom Of My Heart". Premiere UK had ridged label as shown here and laminated cover. (MBÅL*)

ALL GOOD CLEAN FUN UDX 201/2 (-71) UK

My kind of sampler. Two LP:s with some really good stuff from U.A. and Liberty labels at the time, wrapped in a kind of luxurious heavily structured cover with a twelve page booklet containing info, pics and UK discography for the twenty involved acts. Only 45 edit seems to be Eric Burdon & War "Spill That Wine" while the rest are album versions. For me most interesting with issues like this is getting to know bands and/or songs I never heard or even heard of before. Here combos like Sweet Pain, Morning, Cochise and Help Yourself are all new to my ears and very good listening. Better late than never. It's hard to choose best separate tracks though the entire side three works very well for me. Raw rockers from Groundhogs, Sugarloaf, Hawkwind and Amon Duul II, followed by a softer melodic one from Morning. Not the "clean fun" promised by the title, but much dirtier greetings from not so tidy times. Also originally issued on vinyl downunder (U.A. SUAL 934294). UK 2004 3XCD release (Liberty 8660902) came extended to 39 tracks. (SÄM*)

ANNI-FRID LYNGSTAD/FRIDA ENSAM POLS 265 (-75) SWEDEN

Her second original studio LP (eng. "Frida Alone"). Recorded during and inbetween the sessions for the ABBA albums "Waterloo" and "ABBA", produced by Benny Andersson and backed by the same crew. So in a way it is an ABBA effort, only lacking participation of Agnetha Fältskog. Containing Swedish versions of recent international hits as "Wall Street Shuffle", Life On Mars", Wouldn't It Be Nice" and "Young Girl", but also classics as "Send In The Clowns" and "The Most Beautiful Girl". It has been said song choices and lyrics were specially chosen to show a strong independent woman who manage on her own. Don't know if that's true, but clearly she did. The most interesting track would be the original version of "Fernando", originally written just for her but later when "covered" by ABBA becoming a world wide hit. With Swedish lyrics you should think it must have attracted Scandinavians only, but it was also well received elsewhere. A quote from British music magazine Melody Maker - "The album portrays Frida as a very strong and emotive singer and shows the true value of the music, that if sung properly and with enough feeling it transcends all language barriers". To this old rebel's ears maybe not the most exciting listening, but very well done all the way and with enough vigor and personality to at least be called a good cover album. 1975 issue also on cassette (PMC 265). 2009 CD on Polar (986 876 4) came with two bonus tracks, as such also released on CD in Ukraine and Russia. Premiere vinyl had label as shown here and thin fully laminated cover with Polar ad inner. (FÄV*) (SCÄ*) (CCÖ*)(ÄBBÖ*) (PKÖL*)

THE SPENCER DAVIS GROUP/THE SECOND ALBUM SLP 1402 (-66) MONO SWEDEN

Continuing my reaquainting with the band's early efforts. For more on my relation to them check post on the "Autumn '66" album   https://monolover.blogspot.com/2017/03/the-spencer-davies-groupautumn-66-tl.html  . To my ears that had two magical moments - "Somebody Help Me" and "When I Come Home" - both penned by Jamaican artist Jackie Edwards (1938-92), with the rest being well produced and soothing but not that exciting. At first listen the best track here too is another Edwards composition - "Keep On Running". But in comparison, as this comes out somewhat more primitive with a part garage feeling, it sounds better to me. Less adjusted and more down to earth allowing contact rather than being hit with a prefabricated product. And there are a couple of more highlights to enjoy - cover of Leadbelly's "Take This Hammer" is very catchy and "Georgia On My Mind", though not reaching up to Ray Charles version, carrying a surprising amount of feeling for such a young voice. Still listening and perusing, but so far this has become a happy reunion. Very confused about the label. It's obviously Swedish and so am I, but all domestic issues I've seen so far was on Sonet and this is new to me. As it's the same label design as Swedish version of the 1968 "The Best Of The Spencer Davies Group Featuring Stevie Winwood" I guess it must have been pressed about then and for a short time only (Swedish Island changed design at the same time as UK). Audio here has more bass and treble than mid-register, but if you don't listen too close it's totally ok. Premiere UK on Fontana (TL 9285). This came with same numbering and top-opening sleeve as the Sonet issue. (ÖSÄP*) (TXÄW*)