Every Christmas I choose an LP that will take me through the holidays. This one was new to me when I spotted it in a bin a
while ago, but thought I'd give it a try. José Feliciano is a very
skilled guitarist with a heartfelt voice and "Felice Navidad" still one
of the most played modern Christmas hymns so it should fit. And it
does...in a way. Twelve seasonal songs, whereof six vocal, performed with latin sentiment and embedded in Hollywood strings. You can almost
hear it as an orchestral celebration to Christmas with Feliciano as guest star. To my ears he does best almost naked and not dressed in
sweet sugar, but 'tis the season to be cloying so here that suit
actually fits. "Felice Navidad" always good regardless of backings and the rest sentimental and heartwarming enough to put me in the
right mood. Released on vinyl pretty much all over the world in the
seventies, but to my knowledge not in UK. Premiere US on RCA Victor
(LSP 4421). US 2002 CD on RCA/BMG (07836 65130 2) came with three
previously unreleased bonus tracks. First German had label as shown here
in a fully laminated cover. (GÖXÄ*) (CXÅ*)
A while ago I picked out his third album and this, blew off the
dust and gave them the first good listen in a couple of decades,
hoping to rekindle. The former was easy to feel, made me
happy and even got me up on the livingroom floor to dance (see
earlier post). This not so much. The subjects are serious -
jealousy, faith healing, rituals and cultural conflicts - which also reflects in the music. I understand the
messages are important, but at least I would have got them easier if
conveyed by more catchiness. Nevertheless I do find some memorable
moments - "The Rhythm Of The Heat" (apparently inspired by a Carl Jung
experience in East Africa) and "San Jacinto" (about a native American
and his meeting with white society) are both empathetic and touching and
I would have liked "I Have The Touch" a lot if backed by real
instruments...good song sadly wrecked by prominent electronics. For
"III" I thought they managed to handle those and making it sound
just right, but here it's just too much. Most of the backing is
simulated with addition of sampling. It's also an early digital
recording which it seems they couldn't handle properly, cause a lot of
it comes through damp and uninviting. Maybe that was the
aim...I don't know but do miss some kind of welcoming feeling. To put it short - great album, just a little too dark and synthy for my taste. Issued and reissued on every possible format all over the
world through the years. In US released as "Security" (Geffen Records
GHS 2011) and a German-language version as "Deutsches Album" (Charisma 6302 221). Premiere UK had label as shown here in a thin fully
laminated cover with pic/lyric/info inner. (GYÄ*) (CÄX*)
Tommy Steele (born Thomas Hicks
1936) started his musical carreer playing skiffle on banjo or
guitar at various coffe houses in London, either solo or with
Wally Whyton's Vipers Skiffle Group. Then while working as a
seaman at a ship that docked in US, he was hit by and fell in love with rock'n'roll.
At home again he started to play it himself and was discovered as the
British answer to Elvis Presley, changed his name to Tommy Steele
and got a contract with Decca. The list success was almost immediate.
First single - the 1956 self-penned "Rock With The Caveman" -
reached #13 in UK. Soon after the cover of "Singing The Blues" got
to #1 even before Elvis' own version and his second album "The
Tommy Steele Story" (US "Rock Around The World" (London LL 1770) became the first domestically made LP to hit
#1. He also worked as actor and musical artist already in the
fifties, has continued to do so after the rock persona faded in
the early sixties and as it seems stayed active up to this
millenium. Searching the net I find some info about that second
album but little or nothing on this debute. It
was the first rock'n'roll LP by a British artist and therefore
worth taken seriously. It's a live performance all right, but no clue how,
where or when it was recorded. Café de Paris in London is mentioned on
rear sleeve so that may have been the place. Early rock setting with
guitar, double bass, drums, sax and screaming girls. Backing suitable
and even if his voice sometimes sounds inept for the quest he nails it
with presence and good humour. This is far from Elvis' at the time
dangerous and sexy charisma. Instead you get orderly British rock, more
polite and friendly than sensual and reckless. "Giddy Up A Ding-Dong",
"Teenage Party" and "Rock With The Caveman" have good groove, but as a
whole rather harmless in comprison to his American role models. Audio on this 10 inch is smashing - big, warm and
natural - like having the guys over playing for you in your living
room. Musically I wouldn't call it a rock classic, but nevertheless a
must for fans of early white rock'n'roll and all us who like to dig deep
in music history. Also released as 10 inch 1957 in France and
Downunder. Don't know of any later issues. Premiere UK had label as
shown here with R/T tax code (used 1955-57) on thick unflexible vinyl in a fully laminated cover with
crescent flips.
Greek outfit existing 1967-72. Today probably most known for their
million selling second single "Rain And Tears", the ground breaking
1972 psych/prog album "666" and for being the first step to fame for both
Vangelis and Demis Roussos. This was the band's debute LP, recorded in
Paris after the guys got stuck there on their way to London. Both title and front sleeve hints apocalyptic, but not sure if that reflects in the music. What
you get is a rampant amalgamation of about every genre that flowered at the
time and since all sung in
English not that far from contemporary British, just spiced with a big chunk
of mediterranean sentiment. Apart from a normal rock setting they also
play instruments as flute, vibes, double-bass, mellotron and bouzouki. All songs are self-penned covering a wide range of styles. "Rain And Tears" and "End Of The World" languishing
ballads sung by Roussos in his own well known way. "You
Always Stand In My Way" and "Don't Try to Catch A River" emotional
rock. "Mister Thomas" and "The Shepherd And The Moon" some kind of
folky prog, while the two longest cuts "The Grass Is No Green" and "Day
Of A Fool" must be tagged as psych. So nothing here for the
orderly listener who wants a safe journey with everything in its right
place, but maybe something if you're up for a challenge. Sixties
releases all over Europe, in South Africa and a couple of Southamerican
countries, but to my knowledge never issued in US. UK 2010 CD on
Esoteric Recordings (ECLEC 2205) came with two bonus tracks. Premiere
UK had structured label as shown here in a laminated cover.
I'm trying to find original issues of all his sixties stuff,
either credited to him alone or with orchestra. Not necessarily
because it's especially exciting or touching, as most of it isn't
to my ears, but he was the fifth Beatle and a key element to what
made the band the ikons they are today. So if I have a collection
of the other four's solo efforts it's only fair he should be there
too. On this I get easy listening versions of tweleve Beatles
related songs, "Eleanor Rigby" with male vocals the rest
instrumental. Never provocative, but all very well done with each
number accordingly costumed. Caressing versions of well known and
loved songs, on this US mono conveyed by top mixes and smashing
audio. Still if it wasn't for him I maybe wouldn't have bothered,
but it is and therefore I do. And the front sleeve pic is a true
sixties classic, worth it just to have that original. Also
released on vinyl in Canada, UK (S/ULP 1157), Germany, France (as
"The Beatle Girls") and a couple of South American countries.
First US had label as shown here in a laminated cover with ad
inner. (BÄ*) (ÖXCÅ*)
An item I was very happy to find in a bin recently and now feel I must
share. A stapled LP-size programme with actual ticket presenting their 1977 US tour for "News Of The World" https://monolover.blogspot.com/2018/12/queennews-of-world-ema-784-77-uk.html . Twenty thick glossy pages with concert dates, presentations of both band
and separate members, twentyone band pics and a subscription form for
Queen Magazine. This set also included an original ticket from the Nov.
29 show in Washington DC. I wasn't there myself and in fact never saw
them live, but all this together with listening to the LP give me lots
of good vibes and in a funny way a feeling of belonging. It would be
nice if someone reading this that also attended any of the concerts left
a comment and told me all about it. I'm aware this particular booklet
don't show up very often and then scarcely outside US. But this one was
picked from a bin in a small used record shop in Sweden forty-three
years after the fact, so I guess whenever or wherever you are there's always
some chance another will occure. (QÄN*)
British band formed 1962 as The Nomads. After changing name to The
Mojos 1963 they got a contract with Decca, releasing eight singles and
one EP for the label before breaking up 1968. Today often seen as a one
hit wonder because of their one high charter - the self-penned 1964
"Everything's Al'right" - managing #9 in UK. The song also had later
fame in the seventies as one of David Bowie's picks for his 1973 Pin Ups
album. The group saw many members come and go during their short
existence, whereof the most known must be drummer Aynsley Dunbar, who
btw also played on the Bowie version of "Everything's Alright" nine
years later. They never released an LP in the sixties so this 1982
Edsel collection seems to have been the first, compiling all A:s and
B:s recorded 1963-65. What I hear here is pure Merseybeat, reminding of
Swingin Blue Jeans or Gerry & The Pacemakers - a mix of up-tempo
rock and simple ballads, seemingly mostly recorded live in the studio
with little or non subsequent correction. Direct and naked, allowing
connection. All original mono with audio maybe sometimes a little too
bright for my old ears, but still very enjoyable. Favorite tracks -
the screamy "Nobody But Me", the intense "They Say" and of course
"Everything's Alright". Only released in UK, later reissue came on
white label. To my knowledge never issued on CD. First had label as
shown here in a fully laminated cover.
Following the 1970 album "The Last Puff" Luther Grosvenor left the
band to reemerge as Ariel Bender in Mott The Hoople and Mike Kellie
went on to The Only Ones. After some touring with various
replacements they reached a line-up where Grosvenor was replaced by
session musician Mick Jones and Kellie by Bryson Graham (earlier in
Mainhouse), which completed the setting that recorded this album.
Going through reviews I see it's often downgraded, music sometimes
described as dull and unimaginative while the lyrics are criticized
for being too simple. Maybe that's true in some way, but when
listening to heavy blues rock I don't expect nobel prize winning
poetry or groundbreaking polyphonic novelties. I just want a good
groove and if, like here, shuttled by top guitars and pleasant
vocals I'm in. Style bear resemblance to Free or Bad Company, just a bit
more intense. Most of the songs have a blend of hard and soft that's
very appealing with emotional vocals to raw guitar riffs and flowing
organ. So I get a well performed
album with both heavy groove and lots of feeling...and in my world
that's certainly a-ok. Favorite tracks - "Cotton Growing Man", "This
Time Around" and "Wildfire". Originally released on vinyl all over
Europe, in Canada and US (A&M SP-4385), Downunder, Japan and a
couple of Southamerican countries, also 8-track and cassette. Japan
2017 limited ed. CD in paper sleeve (Island UICY-78071) came with one
bonus track. Premiere UK had label as shown here in a glossy fold/out
cover with lyric sheet and blue Island co. inner. (FSÄ*)
A follow up to the sales-wise very successful "Tug Of
War", which was guested by Stevie Wonder and, like this, produced by George
Martin. I like that a lot (see earlier post). Apart from having a
couple of very catchy songs it also conveyes warmth, making you
wanna come back for the atmosphere. On this he collaborates with
another US megastar - Michael Jackson - and even if bringing good
music it's also more electronic, which means not as naural and a little less cozy. Backing band is sterling - counting Eric Stewart
(10cc), Andy Mackay (Roxy Music), Dave Mattacks (Fairport
Convention), Ringo Starr and Stanley Clarke among others - and
George Martin's production proficient. Title song is gripping and
"Say Say Say" tophole pop. Agreeable listening indeed, but I
can't
help feeling less invited to this party than I am to TOW. Maybe
it's the synths, maybe the whole attitude, or maybe it's just me. In
any case better than most other eighties stuff and a keeper for sure.
Issued and reissued on every possible format all over the world through
the years. Premiere UK on Parlophone (PCTC 1652301), US on Columbia (QC
39149). Japan 2015 2xCD + DVD (UCCO-90370) came remastered with nine
bonus tracks and six films. First German had labels as shown here in a
laminated fold/out cover with picture/lyric/credit inner. (BÄ*) (MÄCC*) (GÖXÄ*)
