CHRISTMAS GUITARS AND SONGS TLP 6029 (-89) SWEDEN

Swedish only compilation of Christmas carols and songs, performed by guitar bands in a late fifties/early sixties style. So far there's nothing about it on the net and the participating groups are all new to me, but after reading the scant info from the rear sleeve and doing some digging on my own I'm trying to make a post anyway. The Heartbreakers was a shortlived Norwegian band and the recording of "När Ljusen Tändas Därhemma" (When The Lights Are Lit Back Home) is from 1963. Chico & The Tigers was a Swedish rock outfit, existing a couple of years in the early sixties, and their recordings of "When It's Lamplighting Time In The Valley" and "Silent Night" were made 1962. The Nightrunners was founded in the sixties, but had to struggle all the way to 1987 before they got a chance to record their first LP (Triola TLP 6001). The three cuts from them here are not from that album, but exclusive to this. The remaining tracks seems to have been recorded 1989 especially for this issue. Kicki & The Kangaroos only issued one further EP - "Lady Of Wermland" (Kaskad KADEP 1). Mike & The Moonbeams also released a single - "The Lost City" - on Rainbow Music (RMS 102). Cant find anything useful on the remaining bands. Five of the tracks come with female vocals, two with male and the remaining seven instrumental. In a way just another attempt to cash in on Christmas I guess and though well played with superduper audio there's nothing totally indispensable on it. Anyway it may do it for the fan of classic style guitar bands, collectors of rare female vocal, or lovers of Christmas albums in general. It will sure get a spin or two here during the holiday. Can't seem to avoid the seasonal madness at any stake so I have to take a short break, but back with a new stack soon. Wishing You a Merry Frickin' Rockin' Christmas wherever You are/Erik. (SCÄ*) (CCÖ*) (FÄV*) (CXÅ*)

MUNGO JERRY/YOU DON'T HAVE TO BE IN THE ARMY DNLS 3028 (-71) INDIA

The band's third album. In style, arrangements and songwriting very much reminding of the former two (see earlier posts). A happy-go-lucky blend of skiffle, jug-band and rock'n'roll coming through simple and direct. Some parts posing as sloppy and garageish, though those are probably planned and not mishaps. On one hand you could call it humdrum for the similar chord buildings and likewise vocals, but on the other it sure is a happy album filled with good will and positive energy and listening now I can't help smiling. Favorite tracks - "Pigeon Stew", "Give Me Love", "Northcote Arms" and "Keep Your Hands Off Her". I probably wouldn't have bought it if it wasn't for this special Indian release, but now I'm glad I did. And it is lovely to have on the old style Stateside label with the exclusive sleeve design - later changed to the more common "hefty lady" one. Seems to have been issued and reissued on vinyl, CD or 8-track pretty much all over the world through the years, except US and Canada. Premiere UK on Dawn (DNLS 3028). Japan 2018 CD (Wasabi Records WSBAC-0091) came with four bonus tracks. First Indian had label as shown here on thick unflexible vinyl in a thin glossy cover. (ÄZÄ*)

LEONARD COHEN/I'M YOUR MAN 460642 1 (-88) UK

Don't know what it is with me and synthetic music. Got no problems with Eno or other more experimental stuff, but as soon as my old analog heroes come out to electronic backings replacing "real" instruments my ears just wanna shut down. Maybe it's the process itself that bothers me - instead of hearing a bunch of skilled band members or studio musicians either playing their pants off or just being beautifully adaptive I get one guy at an advanced keyboard doing both melody layers and rhythms...or worst case scenario a pre-programmed computor handeling all the backing. Indeed simpler and cheaper for the record companies, but for me it also means more alienated listening. So with a record like this I can't help pondering how it would have been if performed all analog. I get very well written melodies and lyrics, his voice is darker than ever and the female background vocals winsome. It became his biggest seller, high on lists world wide and spawning a number of successful 45:s. And many of the songs have remained, both publically and in me - "First We Take Manhattan", "Ain't No Cure For Love", "I'm Your Man" and "Take This Waltz"...all helping to build a masterpiece in my book...if it weren't for the synths. If made the old-fashioned way it probably would have sold less in the eighties, but considered a more timeless classic today. Nonetheless, even if I have to crash through synthetic walls to get to the core I do like it a lot. He was a master of his craft with the abitity to reach out, even in circumstances like this. Issued and reissued on all possible formats all over the world through the years. First US and Canadian vinyl on Columbia (FC 44191). Japan 2017 remastered CD on Sony (SICP 7159). Premiere UK had labels as shown here in a thin fully laminated cover. (LÄK*)

FLEETWOOD MAC/SONDERAUFLAGE 92514 (-69) GERMAN RECORD CLUB ISSUE

German record club variation of the "Then Play On" LP, released there at about the same time as the ordinary fourteen track. Not sure about the title as that means "limited edition", so maybe it was just eponymous and "sonderauflage" only showing it was limited. A special revision nevertheless and even if all cuts on it can be found spread on other early issues of the album the tracking and track order is unique to this...and so is the sleeve design including two swell band pics. The audio is excellent, for exemple "Rattlesnake Shake" comes out clearer and rawer than on the UK first press. Band devotees like me probably have all tracks already, but even if so...still worth it. As it was restricted back then and now seldom seen in the used record parlours, should you be lucky enough to find a copy in one of the cheaper bins - pick, pay and run! First press copies had two-tan labels like this (later one-tan), on thick vinyl in a laminated cover. (GÖXÄ*) (FXÄC*)

NEW WAVE 6300 902 (-77) UK

One of many punk/new wave compilations issued in UK during the late seventies and early eighties, all having their own special features. To me this is one of the better, carrying a sixteen cut suite of raw and cheeky and just happens to have some of my favorite period numbers. Most of it by US acts, with one each from Australia, France, Irland and England. Punk classics like Ramones "Judy Is A Punk" and "Suzy Is A Headbanger", girl hard rock from The Runaways in "Hollywood" and Cherry Bomb", Little Bob Story doing a pleasantly grinding cover of "All Or Nothing", Patti Smith's strangely beautiful "Piss Factory"...and so on. The audio is superduper and the fact that it's on a collectible label just sweetens the deal. Good stuff...good listening. Originally released on vinyl all over Europe, Downunder, Japan and Mexico, also as UK cassette (Vertigo 7199 005), but to my knowledge never like this on CD. Premiere UK had label as shown here and thin glossy cover. (SÄM*) (FÄV*) (WLÖ*)

MICHAEL B. TRETOW/LET'S BOOGIE CBS 81143 (-76) HOLLAND

Michael B. Tretow is today most known as producer, studio engineer and designer of the ABBA sound. Even with all the talent in song-writing and performing the quartet possessed, the recordings wouldn't have been the same without him. But he also had a domestic solo carreer, creating experimental comic numbers of which a couple became Scandinavian hits. This however is nothing like any of those. The lyrics mostly humorous, but the production and arrangements are more ABBA-ish than anything else. And since he isn't a very good singer the whole thing comes out more or less mismatched to my ears. There are lovers out there, but I'm not one of those. It might be valuable for some ABBA collectors since they're all there as support, together or separately, presumably as a "thank you" for all he'd done for them so far. I don't think it's good enough to be called "the lost ABBA album" I've seen it presented as by some sellers, but the die-hard fan may be pleased to get the whole quartet on the same LP. No favorite tracks here, I'm just keeping it for the oddity and for the sake of it. To my knowledge this was the only vinyl release, pressed in Holland for the Scandinavian market. Also on Swedish cassette (CBS 40-81143) and Norwegian 1998 CD (Universal UMD 86525). First vinyl had label as shown here in a glossy stickered cover with lyric inner. (ÄBBÖ*) (HÖLX*) (SCÄ*)

GENESIS/WE CAN'T DANCE GENLP 3 (-91) UK

Given the circumstances and my own sometimes rigid tastes concerning those here I shouldn't like this at all, but can't help doing it anyway. A band that in the seventies ruled the melodic rock and prog scenes with an almost unpresidented feeling for combining adventurous and captivating, making you feel both challanged and cozy at the same time. And with this, almost twenty years on, they'd shrunk down to a list friendly synth-pop trio. Always passed this by before taking for granted it was a mushy trifle, though after recently picking it up I hear lots of good. These guys could still write appealing songs and Phil Collins' vocals sounds as warm and personal as ever before. I don't love everything on it, but numbers like "I Can't Dance" and "Jesus He Knows Me" are incredibly catchy and the epic "Driving The Last Spike" - about British 19th century railway builders - strangely gripping. Also the audio on this UK 2xLP set is top notch and the all over atmosphere very amiable, so I'm glad I gave it a try and now have one more Genesis album to enjoy. Initially issued and reissued on CD all over the world through the years, while original vinyl seems to have been more limited. First US vinyl I know of is the 2018 2-LP Rhino release (R1 374780). Premiere UK had labels as shown here in a single matt cover with thin glossy picture/lyric/credit inners. (GYÄ*)

DAVE PEACE QUARTET/GOOD MORNING MR. BLUES STFID 2155 (-69) UK

Shortlived Birmingham blues outfit of which I know nothing other than what's stated in Dave Peace's own rear sleeve notes shown below. Apparently after failing school at age 16 he started to perform at nearby clubs and after a while gathering a band consisting of local musicians - drummer Mick Walsh, guitarist Dave LLoyd and bassist Dave Pegg - which after an excessive European tour got to record this one-off album for the notorious Saga label. Seems the only member that went on to some fame afterwards was Dave Pegg, who later played with Jethro Tull and Fairport Convention, but for the others this was about it. What I get here is very personal. All songs trditional style blues pieces written by Dave Peace in a style somewhat reminding of the John Mayall debute or Alexis Korner's "R&B From The Marquee"  https://monolover.blogspot.com/2012/05/alexis-kornerr-from-marquee-acl1130-62.html  . In any case a lot more 1963 than 1969. Seemingly recorded direct, live in the studio, without much production or even mixing for that matter. Closing my eyes in the listening chair I could as well been below stage in some obscure London joint enjoying a local garage blues band giving their best. Right in my face with the part unbalanced and the slips just adding to the experience. A blend of up-tempo and slow blues with quite a lot flowing organ, some good guitars and hard working drums. Nothing here for the faint hearted who crave smooth and well-produced, but for a garage lover like me it's a nice cuppa tea. Favorite tracks - title song and "Never Did The Thing That I Should". To my knowledge this UK was the only issue. It came with label as shown here on thick unflexible vinyl in a thin laminated cover. (SÄGÖ*) (ÖGÄ*)