PACKAGE OF SOUND PRO 5001 (-66) SWEDEN

If You´re like me and just love primitive sixties recordings, sometimes faulty and out of tune but with tons of energy and good will - this could be worth checking out. Compiled by a small Swedish radio station - Radio Mistluren - and sold in favour of handicapped children. The station was known for letting young debutant groups make tapes and then play them on radio. A few of the tracks on this were recorded at other locations, but most are from such tapes. Apart from the poster names Hep Stars and Shanes, non of the groups would make an album and for some it was their only recording. The purposive cuts sounds mainly unproduced and it seems one take per gang was enough. Best tracks are girl group "Plommons" with "Last Train To Liverpool" (also issued as a single - You can check it out here http://www.youtube.com/watch?v=MqXQ0H3Qzs4 ) and The Beachers "Too Late", with a very odd psych garage feeling. Issued in mono only with top audio. (SÄM*)(SCÄ*)(ÖGÄ*) (HÄH*) (XHÄ*)(CCÖ*)

NICE/ARS LONGA VITA BREVIS IMSP 020 (-68) UK

What I liked most with the groups debute "Thoughts Of Emerlist Davjack" (see previous post) was David O'Lists turned-on guitar work and the balance between his whimsical licks and Keith Emersons more serious efforts. During the recordings of this album O'List deserted and left the group as a keyboard-led trio. After unsuccessful trials for a new guitarist they decided go on as they were. With Emerson getting more space here the result is less playful psych and more towards art rock. The three opening tracks of side one has a flakiness reminding of the first LP, but missing the guitar. The rest are suites with classical and jazz influences, much like what later would appear on two first Emerson, Lake & Palmer albums. It was well recieved by critics, some calling it beautiful and ground breaking. In a way it's music history and one of the first efforts to mix rock and classical music, but I rather listen to their eccentric psych cuts since they are more personal and unlike anything else. Issued in stereo only, but "Happy Freuds" has a mono mix - as it was planned for a '45 B-side they probably just kept that mix for the LP. US release (Immediate Z12 52020) added "America/2nd amendment", only released as a single in England. (YDÄ*)(ÄPY*)

THE GREATEST HITS OF IKE & TINA TURNER HAC 8248 (-65) UK MONO

A collection of recordings made for Sue label 1960-63, consisting of seven A-sides and a few album tracks. The backing and production sounds rather average for the period, what attracts me most about it is Tinas singing. If You only heard her late sixties stuff with Ike or the solo hits this is a good way to check the beginnings. Through the years she has gained matureness and control to that powerful vox, but here it's just pure naked energy, uninhibited and without afterthought - a young girl with unschooled voice giving 100%. If recorded today it would be directed, modulated and processed to fit record industry expectations and soothing airplay, but that wasn't the method back then. They just did what they could with what they had and hoped for the best. And it was quite successful - of their first seven singles five reached top ten on US R&B list and four top 50 on Billboard. This compilation had its premiere release on US Sue label (LP 1038). First UK issue with ridged "plum" label as shown here and laminated cover. Has all original '45 mixes. Sound quality is shifting depending on how the recordings were made. (FÄV*)(FÖGÄ*)

TRAFFIC/JOHN BARLEYCORN MUST DIE ILPS 9116 (-70) UK

After Traffic disbanding in late -68 and Winwoods adventures with Blind Faith and Ginger Bakers Air Force, he returned to the studio 1970 to make a solo album. After recording a few tracks he felt the need for unanimous musicians and invited Capaldi and Chris Wood to join. So instead of a solo project it became a Traffic reunion and one of the groups most successful albums, peaking at #5 in US and #11 in England. It is a good one - six strong tracks and much of it a Guy Stevens production, natural and allowing with parts recorded live in the studio. Top sound all the way. My favorite from it is "Empty Pages" - a lovely tune, still great after fortytwo years. First UK issue had label as shown here and a yellowish "burlap" f/o cover (later issues had grey). US release on United Artists (UAS 5504) with a thicker firbre "sacking" background on cover. (ÖSÄP*)(TXÄW*) (GÖJ*)

ROLLING STONES/NO STONE UNTURNED SKL 5173 (-73) UK

After the group left Decca 1970, the label continued to push out albums with recordings they still had the rights to. Some of the original material was previously unreleased for obvious reasons - it wasn't good enough. They also issued promos, bad alternate takes and lukewarm live cuts. Most of it leaves an unpleasant scent, but if I have have to choose one not quite as bad - it's this one. Consisting of eight B-sides and four EP-tracks, most UK non-LP, it could have been a true gem. Garage pearls, rare oddities and a few classics, all in one place with good audio. The only problem is they didn't keep the prime mono mixes. Three of the tracks are true stereo (as far as I can tell of US origin), but the remaining nine re-channeled. If all had been original it would be a five star compilation, now it's just average. Reason I'm keeping it is the stereo cuts - especially "Child Of The Moon" sounds good - most of the others can be found on German "Around And Around" in true mono (see previous post). (RÅ*)

SOUNDS LIKE THE FLIRTATIONS SML 1046 (-69) UK

First formed as "Gypsies" 1962 in South Carolina. Releasing singles on four different US labels they never got a real break-through, standing in the shadow of Supremes or Martha & The Vandellas. Today some of these recordings are recognized as "Northern Soul" and much sought after, but back then there wasn't much interest. After supporting Tom Jones on his -68 European tour, their only single on Parrot label "Someone Out There" became a minor hit in Holland and England and they got a new contract with UK Deram. First release '45 for the label "Nothing But A Heartache" was a killer. No chart-topper, but stayed high on many Europan lists. In US it peaked at #34 on Billboard and higher on local charts. Today it's regarded as a pop and soul classic and has become the groups signature. This album is more of the same with dance friendly raunchy tunes. I clearly remember dancing to a few of them in the early seventies and they were true floor-fillers - when "Nothing But A Heartache" came on everyone was up. Also issued as mono in UK (DML 1046). I haven't heard that, but since the stereo is a perfect compatible I guess that was used for a fold-down as customary at this time. US release on Deram (DES-18028)(FÄV*)(DÄRR*)

BEACH BOYS/WILD HONEY T 2859 (-68) UK MONO

The last Beach Boys LP to have a double issue in US. And that was business as usual with true mono and fake "Duophonic" stereo. From now on most of the recordings would be made for stereo only and the mono issues for England and other countries fold-downs ("20/20" was partly an exception - check my post on that for details). The album is not a project with close-knit tracks, or part of bigger plans, just a collection of very good songs - some leftover from the "Smile" sessions or re-makes of earlier drafts, a few covers, and some newly written. I think it's a great LP. Allthough parts of the group was in a dark place after the collapsed "Smile" assignment, this is still a positive journey with great melodies. There are some minor differences in sound quality between the tracks, but in all the mono comes through next to perfect. The production is credited to "Beach Boys", yet appearently Brian Wilson did most of the work as before. The singles from it sold well and the album itself peaked at #7 in UK, #10 in Australia, and #24 in US. American release December 1967, first UK issue March -68 with rainbow rim label and a laminated flip-back cover. (BÅB*)

BRIAN KNIGHT/A DARK HORSE BRY 1 (-81) UK

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record this debute. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. The setting is top notch - just look at the list of musicians involved - and audio perfect. Don't know of any other vinyl issues, but it has been released on CD by Citadel Records (CIT6CD). (RÅ*)(FXÄC*)

FAIRPORT CONVENTION/ UNHALFBRICKING ILPS 9102 (-69) UK

The album was recorded during difficult times for the group. Drummer 18 y.o. Martin Lamble and guitarist Richard Thomsons girlfriend had just been killed in a car crash and they were all in shock. The back cover picture of them sitting around the table (second pic below) was taken soon after and according to bassist Ashley Hutchings he was still wearing the same bloodstained clothes as in the accident.(At least that is one of the legends surrounding this album and a story I have cherished for some time, but according to comments below it may not be true - just a legend). At about the same time they got an invite from Dylans English publisher and offered numbers from then unissued "Basement Tapes" sessions. The group listened to the complete work and loved it, but settled with three numbers - "Percys Song", "MIllion Dollar Bash" and "If You Gotta Go, Go Now" (here with French lyrics and re-titled "Si Tu Dois Partir"). To my taste this is the best they ever did. Apart from the Dylan covers - of wich "Percys Song " is downright hypnotic - it also has Sandy Dennys all time classic "Who Knows Where the Time Goes" and four more top numbers. The sound quality is perfect - big, strong, direct and authentic, you can almost imagine the studio design just by listening. Production is mainly credited to Joe Boyd, American producer who among other things opened first London psychedelic hangout "The UFO Club", produced Pink Floyds early recordings and worked with English folk-rock artists in the sixties. UK first release with label as shown here and a thin, matt cover. US -69 issue on A&M (SP 4206) with same tracking, but different "elephant" cover. Also on CD in Japan 1987 (Polystar P32D-25025) and UK -90 (Island IMCD 61). (BRYF*)(FÄV*)(ÖSÄP*) (FÄHZ*)

FRIJID PINK/DEFROSTED SML 1077 (-70) UK

Detroit based band with sound similar to other known bands from that area - MC5, Stooges and Amboy Dukes. Most known for their "Hose Of The Rising Sun" cover from the first LP - reaching top ten in US and #4 in UK. They lived hard and some of the members died or just disappeared, wich led to frequent changes in settings. This second album is more elaborated than their first eponymous. It's solid blues-based hard rock with lots of fuzzed guitars. I'm not sure how it was done, but it is self-produced and you get the impression most of it was recorded without second thoughts. The sound is very raw and dense and has a lot of nerve. I never got the opportunity to see them live, but this is probably close. When it comes to hard rock I choose this over fashionable poodle-cuts anytime. Originally issued in US on Parrot (PAS 71041). (DÄRR*)

TOM JONES/13 SMASH HITS LK 4909 (-67) UK MONO

Tom Jones has been in the business now for almost 50 years and still going strong. All the time he had this powerful voice, making everything he does his own - and that is a fact here on his fifth UK LP. Apart from the ballad "I'll Never fall In Love Again" the material is songs made hits by other artists, mostly American. The album is divided into one up-beat and one calm side, of wich I like the calmer ballad section most since it allows more sensible vocals. The mono mix, arrangements and sound are all perfect. Producer Peter Sullivan was a real pro in the genre, doing contemporary work for Engelbert Humperdinck and Lulu, also later Burt Bacharach, Jim Capaldi and The Seekers. Not issued in US, but Parrot -68 release "Fever Zone" (PAS 71019) has tracks in common. Very first press came with ridged label. The one shown here is later. (MÖRS*)(TÖJX*)

MOTT THE HOOPLE ILPS 9108 (-69) UK

At the time for the debute LP on Island the group already had a live cult following after touring England and Europe for some time. The setting behind this recording was very much a creation of producer Guy Stevens. As "The Doc Thomas Group" they had earlier recorded an album for Italian Dischi label and also performed as "The Shakedown Sound" and "Silence". Stevens brought in Ian Hunter and renamed them. He also wanted a sound like Bob Dylan singing with the Rolling Stones and that's what they tried to create here. No fans were lost because of this album, but it wasn't a big success - #65 in UK and #185 in US. To my taste it's not even close to "Mad Shadows" or "Braincapers". It has some good rock'n'roll, but Hunter sounds too much like Dylan, almost like an impersonator and the material is less strong than on the follow-ups. Hunter and others has pointed out that Rolling Stones -71 hit "Bitch" bares a lot of resemblance to "Rock And Roll Queen" on this album. It sure has about the same riff and probably Stones was inspired, but not enough for a lawsuit. First issued copies of the album erroneously had '45 B-side "Road To Birmingham" instead of A-side "Rock And Roll Queen", but that was corrected for later issues. Early UK pressings came with label as shown here and matt f/o cover. Initially released in Germany on Island (849 304) and 1970 in US by Atlantic (SD 8258). Also remastered on CD with two bonus tracks (Angel Air SJPCD157). (ÖSÄP*)(MÖHÖ*) (GÖJ*)

NICO/THE END ILPS 9311 (-74) UK

For a few years Nico was part of what can be described as a London art rock movement - a group of loosely connected American and English artists and producers emerging around the Island label in the mid-seventies. They made live performances together and helped eachother along with albums by guest appearances or producing. A few leading names were John Cale, Brian Eno, Kevin Ayers and members from the group Roxy Music. The music from artists involved can almost be described as a new genre - essential melodies and intellectual lyrics, spiced with elements from psychedelia and classical music, but still posting as rock. Athough the album has influences from this movement - Phil Manzanera on electric guitar, Eno on synthesizer and Cale producing and playing twelve different instruments - it's still essential Nico, with the harmonium and somewhat depressing melodies. If you like Nico it's a must, the production and guest appearances are very good and a few of the tracks lifts off - "It Has Not Taken Long" has beautiful background vocals and the piano ballad "You Forget To Answer" (about Jim Morrison not getting back to her just before his death) is mighty stuff. Sadly the album didn't sell at all. She was fired from the label, incresed her drug abuse and didn't get a new contract till Aura records signed her seven years later. Also issued -74 in US on Island with same number, in France 1982 by Island/Phonogram (6313342) and UK CD (IMCD 174). First UK release with thick, fully laminated cover and blue custom inner. (NÖC*)(ÄNÖ*)(FÄV*)

TEN YEARS AFTER DML 1015 (-67) UK MONO

The article shown above is what an English critic thought about their first LP 1967. Listening to it today I agree with all that. It is a stunning debute with nerve and energy and lots of skill, especially Lee's guitar play. They were already a great live group and on this that feeling is fully captured. If You follow this blog You know exactly what my favorite studio recordings are - four channels, partly improvised and only few overdubs - and this is exactly what we get here. It's straight on production, clear and close with lots of presence, and the full picture mono being very allowing. I had the UK stereo a while ago and that was actually pretty good, but this is better. The studio personnel was top notch - Mike Vernon and Gus Dudgeon co-worked the production and the latter also engineered. First UK issue came with ridged label. US release on Deram 1967 (DE 16009/DES 18009)(XYÄ*)(DÄRR*)