YES/RELAYER K 50096 (-74) UK

After "Tales From Topographic Oceans" Rick Wakeman left for a solo carreer, displeased with the band getting more experimental and pretentious. He was replaced by Patrick Moraz - a classically trained keyboard player and initially jazz musician. That may have influenced the sound to some extent, still getting the big picture this is more or less a continuation of the "Tales" album. Although based on Tolstoy's "War And Peace" instead of Hindu motives it's the same kind of long complicated song structures where the singular parts or the weldment itself seems more important than creating an overall bond with the listener. I hear so much skill on every level and can appreciate it in theory, especially Steve Howe's guitars, but I'm not really there. "To Be Over" has some of the old magic - in the middle of all twists and turns there's a beautiful melody escorting you through and making it stick. The rest is just too introvert for me. First US on Atlantic (SD 18122). Premiere UK had label as shown here, matt fold/out cover and structured lyric inner. (JÄZ*)

THE TEMPTATIONS/PSYCHEDELIC SHACK STML 11147 (-70) UK

It seems the album most of all was a brain child of Norman Whitfield, who produced and wrote/co-wrote all songs. The group itself was rather shattered at the time, still having a gap after David Ruffin and dealing with Paul Williams sickle-cell desease and growing alcoholism. There was also discontent with the band being more or less forced into psychedelia and Gordy's handeling of their affairs. Against that background it's surprising how good this turned out. In spite of the title it's a lot more soul than psych. The classic Motown sound is hardly there anymore, replaced with a more elegant style that would show a lot on the lists and dance floors with other groups and artists later in the seventies. The experimental elements mainly consists of some spread out effects, for the time slightly odd arrangements and stretched tracks with longer instrumental parts. It may have been regarded as psych 1970, but a few years later it was common American seventies soul. So it may be seen as an early sign of what to come, but most of all it's a smashing Temptation album with just a little more spin than usual. It's also nice to get the original version of "War", which later became a world wide hit for Edwin Starr. The one on here is more elaborated and well arranged, making Starr's turn sound almost blunt in comparison. Premiere US on Gordy (GLPS-947). Through the years I've heard rumours about a UK mono and seen the mono number in books and on lists, but never been able to confirm a r/l copy so it's probably just a rumour. First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (ÄIÖ*)

T.REX HIFLY2 (-70) UK

Although issued under their new abbreviated name "T.Rex" as it was at time for release, this is actually the last Tyrannosaurus Rex album, recorded five months earlier while they still were a duo before the name change. The '45 "Ride A White Swan", made at the same sessions, became the first T.Rex issue in October 1970 and the follow-up single "Hot Love", released three months after this album, the first with the new group. Complicated circumstances, but the important thing is - this is a Tyrannosaurus Rex LP and has very little to do with T.Rex glam. Apart from a 8.50 remake of Marc Bolan's 1965 '45 A-side "The Wizard" (Decca F.12288) the songwriting is simple with short catchy tunes carried by sparse arrangements and lyrics having pastoral or fairytale motives. A lot like the previous "Beard Of Stars" album, but a few things pointing forward to the band's next incarnation, like some of the cuts having orchestral arragements and some actual drums instead of bongos or other assorted rythm instruments. It was also the first collaboration with former Turtles vocalists Mark Volman and Howard Keyland, who would be a big part of the future group's special sound. With exception of "The Wizard" and "The Children Of Rarn" portions opening and closing the album all tracks are around two minutes long and more like odd pieces of candy than heavy meals. Bizarrely sweet and impossible to resist. First US on Reprise (RS 6440) replaced pt. 2 of "Children Of Rarn" with "Ride A White Swan". Premiere UK had label as shown here, heavy vinyl and semi-gatefold sleeve. (RÄX*) (FXÖ*)

MERRY CLAYTON/GIMMIE SHELTER AMLS 995 (-70) UK/SWEDEN

One of the most renowned and appreciated background singers in modern music history. Started her recording carrer 1962 at age fourteen. Early trials - solo or as member of girl group Raelettes - didn't lead to any success and eventully she wafted into a position as supporting vocalist behind acts as Ray Charles, Tom Jones and Burt Bacharach. Through the sixties and seventies her voice appeared on a number of prominent albums with aritsts like Carol King, Neil Young, Leon Russell, Joe Cocker and Rolling Stones and can be heard on big hits as "Sweet Home Alabama", "Feeling Alright" and "Gimmie Shelter". That "Gimmie Shelter" duet with Mick Jagger has to be the best vocals from any supporting vocalist ever. Even if slightly in the background she dominates the track and turns it from just another Stones number to a rock'n'roll icon. It's a fair guess that perfomance gave her the opportunity to record this solo debute on friend Lou Adler's Ode label. Adler himself produced and legend Gene Page (1939-98) did the arrangements. Most of the cuts are covers of known songs. You may think the primary recordings of numbers like "Country Road" or "Bridge Over Troubled Water" are so final there's nothing new to add, but this totally does with lots of soul power. Title track lacks the perfect nerve of the original, but still a very emotional version. I was very surprised when I first heard the album a while ago and realized it was almost forgotten. The backing is superb and her voice beautiful - comfortably moving between wild and tender yet in total control. It has every sign of a blockbuster but didn't sell much at the time. Title track reached #73 on Billboard while the album stayed away from the lists. Today one of those forgotten gems, but if you like soul music it's highly recommended. First US on Ode (SP-77001). 2010 CD issue on Repertoire (REP 5176). I can't place this particular copy exactly in place and time. It has the UK laminated MacNeill cover and matrixes. Label is brown, but with ridge and lacking the "ode70" logo. Probably some kind of mixed breed with Swedish issue using UK parts, in this case for some reason without the regular "NCB" lettering on label. (FÄV*) (CCÖ*)

THE WORLD OF THE TORNADOS SPA 253 (-72) UK

For group history and more - check separate post on their 1963 UK LP "Away From It All" http://monolover.blogspot.se/search?q=tornados . While that had exclusive recordings and didn't include any of the band's many single cuts, the US release ("The Sound Of The Tornadoes" London LL3279) concentrated solely on the '45:s - never originally issued on album in UK. Tornados belonged to the first generation of British pop and as they were being outmaneuvered by merseybeat and r&b Decca lost interest and put them aside. It took almost a decade before the label decided to release a compilation of their earliest '45:s, then as a part of the "World Of..." serie. It's a twelve track, consisting of eight A-sides and the rest B:s recorded between 1962-64 - all produced by Joe Meek who also wrote most of them. Even if long overdue it was a good deed making the tracks available again for old fans who couldn't find the rare singles or the US LP. The back cover says - "Mono recording electronically reprocessed to give stereo effect on stereo equipment". That means trouble in most cases, but this turned out pretty good. Compared to mono some parts are enhanced and others have slightly differing balance, but never sounding akward or disturbing and pushing the mono button makes it a-okay. First had label as shown here and laminated cover. (WÖF*)(FÖGÄ*)

THE BEACH BOYS/TODAY T 2269 (-66) UK MONO

One of many great Beach Boys LP:s. Although they're still at it in some form, to me the best years was up to 1973 and the "Holland" album. As all bands with lasting legendary status they managed to move through different genres and styles back then without losing edge or public interest. I'm seeing three major periods in those first twelve years - surf, psych and post-Smile. Checking facts today it's obvious the transitions most of all had to do with changes in Brian Wilson's life - his health and preferences. Prior to this album he'd got married, given up touring in favor of spending more time in the studio and started to smoke pot. It's hard to know exactly how much that meant for the new period they were entering, but whatever was behind it meant a lot. "Today" was the first of three seminal albums, followed by "Pet Sounds" and "Smiley Smile". Even if "Pet Sounds" by most is considered their greatest achievement and "Smiley Smile" a legend, this is the one for me. The songs here are not actually psych by modern standard, yet the arrangements and execution makes it so outstanding for its time that has to be the most appropriate subsumption. All you get from "Pet Sounds" and the civilized parts of "Smiley Smile" are already here. Slightly less experimental and with more regular song patterns, but the audio is better, the tunes catchier and apart from the "Big Daddy" conversation there's not a bad moment on it. Favorite tracks - "Good To My Baby", "Dance, Dance; Dance", "When I Grow Up" and "In The Back Of My Mind". US first on Captol (T/DT 2269). First stereo issues were "duophonic" - a kind of bad fake made from the mono tapes and not recommended. If you want an original with top audio better go for the mono. First UK had label as shown here with logo to the left and laminated flip/back cover. (BÅB*)

MOTT THE HOOPLE/ALL THE YOUNG DUDES S 65184 (-72) UK

I like the band's later glam period a lot, but the early rude rockers will always be closest to me heart. I see this as a transition album. There's a good story behind it and although only partly confirmed by band members it fits the disposition and I'm sticking with it until proven otherwise. After low sales of their previous LP:s the group was on the edge of break-up. There was bad blood between members and a growing discontent with Island's handeling of the group. They'd already recorded the bulk for a new album, produced by Muff Winwood, but things went slow. Then a former fan of the group - David Bowie - offered them the song "All The Young Dudes" and took over the sessions. It's still a matter of controversy what parts of the album were recorded in Island studios and how much was added subsequently, but Ian Hunter himself stated in a 1980 interveiw that the album was completed before they left and ready for release. However when Island's boss Chris Blackwell let the band go soon after, they "forgot" to tell him about the ready result, stole the tapes - and after getting a new contract with CBS released it as it was for their new label. True or not it explains a lot. Apart from the title track the impact is a lot more like Brain Capers and Mad Shadows than their later CBS stuff - simple, right on and no glam at all. The cuts are a little bit shorter and the sound somewhat more restained (probably due to CBS using more compression/limiting in their part of the process), but the songwriting and arrangements about the same. Title song shows where they were going - the rest is old style Mott The Hoople. First US on Columbia (KC 31750) came with slightly different front sleeve design and other pics on rear. Premiere UK had label as shown here and thin matt cover with a picture inner. (MÖHÖ*)

ASHTON, GARDNER & DYKE/THE WORST OF E-ST 563 (-70) UK

British rock combo existing between 1968 -71, today mostly seen as a one-hit-wonder because of the successful 1971 single "Resurrection Shuffle", reaching #3 in UK and #40 on Billboard. Ashton and Dyke came from beat group "The Remo Four" - which among other things did backing on George Harrison's "Wonderwall Music" - and Gardner previously played together with Ron Wood in "The Birds". Australian guitarist Mick Liber was a member most of the time, although never part of the group name. During three years they released four singles and five LP:s - whereof one soundtrack and one live. This was their second studio album. It has a good guest list - Jim Price (at the time also working with Rolling Stones), Stan Webb (Chicken Shack) and jazz trombonist Chris Barber. The list also includes four pseudonyms, probably used due to contractual problems. Three are obvious. "George O'Hara Smith" (George Harrison), "Romulus Woodworth" (Ron Wood) and "Sir Cederic Clayton" (Eric Clapton), but I don't have a clue what "mouth organ" player hides behind "Miscellaneous Moxy". Anyway it's a good album blending jazzy prog with simple rock and making it dirty. Even if the songs themselves aren't memorable the performances and intensity makes it worthwhile. Three tracks stands out. "Let It Roll" has some adventurous brass and a very rude guitar at the end. "Don't Want No War No More" and "Paper Head Paper Mind" both intense funk with great keyboards. Further it's fun hearing Ashton's homage to "Sweet Patti O'Hara Smith" (Pattie Boyd/Harrison), made at about the same time as "Layla", showing Harrison and Clapton weren't the only musicians in love with that girl. Back sleeve says all tracks were produced and arranged by the band, but also giving hints George Harrison was involved in production of "I'm Your Spiritual Breadman" and Jon Lord had something to do with "Oh Lord". First US on Capitol (ST-563). German 1994 CD on Repertoire (REP 4458-WY). Premiere UK had label as shown here and laminated flip/back cover.

HANK WILLIAMS AND HIS DRIFTING COWBOYS/MEMORIAL ALBUM MGM-D-137 (-55) UK

Not a big country fan and don't know much about the genre, but you can't argue with Hank Williams (1923-53). During his short, tragic life he did enough to reach legendary status with a vocal style frequently copied up to this day and a couple of iconic songs covered by hundreds of artists through a number of different styles. He's also considered an early inspiration for the fifties rock scene with songs like the 1947 "Move It On Over" - about eight years later re-worked by Bill Haley as "Rock Around The Clock" - and "Jambalaya" which became a standard for aspiring rock bands in the fifties and sixties. So whatever you're into there's no denying his great impact on the music scene back then and thus even today. The one shown here is the UK ten track version of the US eight track memorial album from 1953 (MGM E 202) with some alternate song choice and other sleeve design. No clue if the British used original US tapes or transfered from domestic '78:s, but the audio is very warm and natural with lots of presence. Good listening taking me back to where it all started. The UK first 10 inch had label as shown here and fully laminated cover with crescent flips.(SYSÖ*)(FÖGÄ*)(NYFÖ*)

MADDY PRIOR & JUNE TABOR/SILLY SISTERS CHR 1101 (-76) UK

One of the best LP:s from the UK seventies folk scene. It wasn't a big seller at the time, outrivaled by the more pop orientated up-tempo folk variations performed by bands as Fairport Convention or Maddy Prior's own Steeleye Span. The songs here are mainly traditional with some of the origins going back as far as medieval times. Crew is top notch, including Martin Carthy handeling the guitar, Nic Jones doing fiddle and Danny Thompson on bass. Co-produced by Prior and Robin Black (who also worked with Jethro Tull, Supertramp, Paul McCartney, Alice Cooper and Lou Reed among others). I have a special place in my soul for enchanting female vocals and here I get all I can take. Prior's bright powerful voice counterpointing with Tabor's darker timbre, sometimes taking turns and sometimes in harmony. You can hear they like the material and enjoy working together. It's positive, filled with joy and probably enough to give at least a few fanatic fans of the genre hard-ons. First US on Chrysalis with same number and cover (later on Takoma TAK 7077), also contemporary issues in Australia and Germany. Early CD on Shanachie (SH 79040). Premiere UK had label as shown here and matt cover with lyric insert. (BRYF*)(FÄV*)(SÖPX*) (JÖB*)

CROSBY, STILLS & NASH 588 189 (-69) UK

A quintessential supergroup. Three guys from best selling bands Buffalo Springfield, Byrds and Hollies getting together and developing a fresh sound for the upcoming seventies. As hard rock began to emerge from white blues and things got heavier and rawer on the top lists they went the other way and developed a softer more melodic style based on vocal harmonies. In todays digitalized musical world, where styles and orientations constantly merge as products and artists are reduced to brands things like that are hardly noticable, but back then it was a big event. Not only because of the prominent people involved, but also the beautiful songs and top notch performance. Of all their work - some as a four piece with Neil Young, some as Crosby/Nash duo - this debute is still my favorite. Even if they did a lot of good later, the style and appearance was pretty much the same and here's the place where it all started. It also brings two of their best songs - "Marrakesh Express" and "Suite: Judy Blue Eyes". Premiere US on Atlantic (SD 8229). First UK had plum label as shown here and soft structured fold/out cover with picture/lyric insert. (ÄTHP*) (ZHÄ*)