INDIAN SUMMER NE 3 (-71) UK

UK Coventry combo existing between 1969-72. After playing local universities and clubs they were discovered by then Black Sabbath coach Jim Simpson who recommended them to Olav Wyper - an earlier Vertigo manager, now head of RCA:s progressive Neon label. He brought them to Trident Studios in London together with Sabbath producer Rodger Bain to record this debute, but as things turned out it became their only album. Bassist Harker left just after recordings and the reformed group only lasted another year due to zero promotion, low sales and lack of money. Often when albums today reach some kind of rarity status because of initially low sales it derives from them not being good enough in the first place. This is a beautiful exception. From a time when genre subdivisions meant nothing I get psych, prog, r&b and melodic pop, not as separate parts but blended to a whole. It's all there - theme changes, catchy riffs, elaborated melodies and equilibristic guitar solos - tightly performed with attractive vocals and an almost ever-present organ. The audio is soft rather than distinct, creating a dreamy atmosphere. In all pretty unique (though I can't help hearing some faint resemblance to Traffic and Crazy World Of Arthur Brown through some of the vocals and keyboard treatment). From first minutes of opening track "God Is The Dog" I'm caught and don't wanna get out till the last bass note of "Another Tree Will Grow". Sadly unhyped and soon forgotten then, but luckily rediscovered last decades by concerned music lovers. German 1993 CD on Repertoire (REP 4357-WP). Italian 2002 on Akarma (AK 197) remixed for both vinyl and CD. Early vinyl issues also in US, Germany and Venezuela. First UK had labels as shown here, matt fold/out cover and black inner.

TONY JOE WHITE/CONTINUED SMO 5035 (-69) UK

An album that hasn't change my life in any way but provides good listening when I'm in the mood for simple and honest. A still active Lousiana singer/songwriter who will go to history more because of songwriting than own performance, with songs covered by artists as Elvis Presley, Tina Turner, Dusty Springfield and Tom Jones. This was his second album, still riding on the 1969 hit "Polk Salad Annie" from the debute and also breeding a new one - "Roosevelt And Ira Lee" - which didn't do as well in US as in Europe and other parts of the world. I get attractive blue eyed soul and swamp rock, a talented yet modest artist supported by some of the best studio musicians in the southern states. More intimate than outbursting and far from sensational, yet so charming it stays. Favorite tracks - "Elements And Things" and "Rainy Night In Georgia". Premiere US on Monument (SLP 18133). UK issues in both mono and stereo (never heard the mono, but since this stereo is a perfect compatible I guess that's a fold). First had label as shown here and laminated cover with die-cut hole on rear. (SYSÖ*)

INEZ & CHARLIE FOXX/GREATEST HITS - PAST AND PRESENT 8-63281 (-68) UK MONO

Sibling soul duo often referred to as a "one hit wonder" due to their most successful single "Mockingbird" - a re-write of the lullaby "Hush Little Baby" - reaching #2 on the US r&b charts and #7 on Billboard. That was their only high charter with a few following 45:s only managing top 50 on the r&b list and the lower hundreds on Billboard. For a long time all I knew about them was "Mockingbird" and rated them way below sixties Motown and Atlantic soul...till this compilation made me look further. As a 10 track summary from the previous five years - containing a-sides, album cuts and some newly recorded - it's very strong and does not stand back to any of the more renowned labels artists. A mix of power soul and pining ballads with tophole backing and beautifully emotional vocals from Inez in a soft natural atmosphere. All cuts original mono providing very good listening. Favorite tracks - "You Are The Man" and "(1-2-3-4-5-6-7) Count The Days". Premiere US on Dynamo (DM 7002/DS 8002). 1971 vinyl reissue on Pye (PKL 4406). First UK had label as shown here and laminated cover. (FÄV*) (DÄJ*)

THE YOUNG RASCALS/COLLECTIONS 587 060 (-67) UK MONO

A band I totally missed from the sixties and on, so occupied with the black soul coming out of Motown, Atlantic and Stax the American "blue-eyed" variation never really got to me. Loved "Groovin" which was big hit also in Sweden, but that was all. Found this their second album a while ago and thought I give it a try. Being able to listen to it without any connection to my own past through memories or emotions brings a whole new perspective, looking at its place in time formerly unattached. At first rather confusing - self-penned songs and covers performed and arranged in a way that almost mimics the label's black stars or the Motown wonder. Production is credited to the band probably with lots of help from main engineer Tom Dowd (who'd been a producer/engineer since the fourties working with classic acts as Drifters, Coasters, Ray Charles and Aretha Franklin). His participation would certainly explain the overall atomsphere and feeling, unusual for a white band. If you don't get too close it's impossible to distinguish their own compositions from the covers, so the creational inspiration is obvious too. There are a however a few things separating it from the source and making it more than just a reproduction. Some of the cuts have psych guitars, others rythms more reminding of ordinary rock and lead vocals though good all the way just isn't 100% soul. A little uneven but very well done with top audio all the way - clear and bouncy. I don't have a stereo to compare with, but as I've seen on the net this mono is separtely mixed. For me an interesting new aquaintance, still I have to give it a lot more time before deciding if it fits. Premiere US on Atlantic (SD/8134) Re-issues on vinyl or CD on Atlantic, Rhino and Sundazed as stereo only. First UK had structured label as shown here and laminated cover. (ÄTHP*)

BEN 6360 052 (-71) UK

When checking net facts and going through reveiws for this album I get about the same notion everywhere - very rare and very bad. I can't dispute the rarity, but is it really that bad? I don't think so. If you forget about the hideous prices paid and the tophole competition from the label's other acts and just listen it's quite enjoyable. I hear jazz/prog studio jams built around pre-set figures and themes played by skilled musicians and conveyed by excellent audio. Odd harmonies, rythmic gaming and some very nice solos. You could wish for beautiful melodies or a more coherent contour, but it is what it is and once you're buckled up it's a journey well worth taking. A natural part of the early seventies prog scene and even if it isn't up there with Colosseum (not many are) or several others I enjoy most of the parts. Favorite track - "Gismo" - where Pete Davey plays both adventurous sax and jazz flute to a firm and prominent bass. Also released in Italy 1972 (same sleeve design and number). Italian vinyl reissue on Akarma (AK 247). CD:s by Repertoire 1991 (REP 4195-WP) and 2014 (REPUK 1177). Counterfeits exist. First UK can be recognized by labels as shown here, matt fold/out cover with lilac glasses on front and "VO price code" on back, stamped matrix numbers and dated swirl inner. (WLÖ*)

QUESTION MARK AND THE MYSTERIANS/96 TEARS C-2004 (-66) US MONO

Mexican-American combo formed 1962. Started as an instrumental surf band, but after a few personal changes adapting a more common vocal r&b style. Today mostly described as a one-hit wonder because of the US list topping "96 Tears" single. From 1966-73 releasing two albums for Cameo-Parkway and a number of further '45:s on at least eight different labels, some with healthy sales but far from high charters. This debute album is a mix of earlier '45 cuts and new recordings. At first listen it doesn't sound garage at all. The audio is perfect with top separation and an almost glossy surface. But getting behind studio and engraving techniques you'll end up with fundamental songwriting and performance caught by right on takes. It's beautifully simple and catchy, most of it escorted by a prominent organ. To me this is happy and positive listening. The energy and give it all you've got attitude invigorates and make me wanna come back for more. Also originally issued in Canada (same as US) and Mexico (Gamma GX 01- 256). Re-issued on vinyl in Japan 1978 (London GXF 2031) and US 2011 (ABKCO RGM-0010), but so far not officially on CD. Premiere US had label as shown here, thick unflexible vinyl, glossy cover and "perfect gift" inner. (ÖGÄ*) (YZÄ*) (ÖXCÅ*)

UNDERGROUND COMMUNICATION PD 12026 (-70) GERMANY

Sampler containing eleven cuts from US and UK artists German Decca had the domestic rights to at the time. On compilations like this, made to promote then new and upcoming artists, you'd be happy to find one or two numbers from albums that by now have become vinyl rarities. On here all tracks are like that. "I Flew" from Bulldog Breed's "Made In England". UK band The End's "Introspection (PT II)" from their one-off "Introspection". Two picks from Amboy Dukes "Journey To The Center Of The Mind" and one each from the East Of Eden albums "Snafu" and "Mercator Projected". Further "Miss Teach" from Touch's eponymous LP and "In The Beginning" from Genesis debute album. There are also two tracks from Big Brother & The Holding Company's 1967 debute with a very fresh and eager Janis Joplin plus a '45 only psych soul cut by the post-Hendrix Curtis Knight. All that put together makes it a tophole psych/prog album and musically as valuable as any of the originals. Highly recommended! First had label as shown here and fully laminated cover, some with poster. (GÖXÄ*) (SÄM*)

SPOOKY TOOTH/SPOOKY TWO ILPS 9098 (-69) UK

Spooky Tooth has to be one of the most eclectic (i.e. adaptive, imitative or just indecisive) UK bands ever, during a decade or so going trough an unprecedented number of different names, settings, genres and collaborations. Started as pop/rock combo Ramrods 1960, three years later playing r&b with renewed setting as VIP:s. Reformed as Art 1967 with yet another setting and recorded a psych album produced by Guy Stevens. Thereafter following Stevens through the 1967 Hapshash & The Coloured Coat sessions, providing backing as "The Heavy Metal Kids". First album as Spooky Tooth - "It's All About A Roundabout" - 1968 also produced by Stevens and this second by Jimmy Miller. Later they would back French electronic and experimental composer Pierre Henry on his album "Ceremony" and do a collaboration with Joe Cocker's Grease Band on "The Last Puff", as "Spooky Tooth Featuring Mike Harrison", before breaking up 1970. Common knowledge seems to be this album was the best they made, their tour de force. With that background in mind I have a hard time to compare and value one effort higher than another - it's all about perspective. To my taste Art's "Supernatural Fairytales" still sounds superb and "Roundabout" has its moments, the Hapshash album is one of the best acid trips on record, "Ceremony" an interesting sign of the times and "Last Puff" includes some very striking bulky blues. This is also good, but I'm not in 100%. The heavy numbers are all outstanding - "Waitin' For The Wind", "Evil Woman", "Better By You, Better Than Me" - but why gospel inbetween and what's with the country rocker in the middle of everything? Though very well performed with top production and audio the parts doesn't fit. Maybe I'm being too strict, but considering the hype and the sums this UK changes hands for today you could expect more. First US on A&M (SP 4194). Premiere UK had structured label as shown here, thick unflexible vinyl and matt fold/out cover. (ÖSÄP*) (FSÄ*)

HAPPY NEW YEAR!

May Yours be filled with countless bargains on rare and beautiful vinyl. All The Best/Erik

MOODY BLUES/IN SEARCH OF THE LOST CHORD DML 711 (-68) UK MONO

Just listened to the album and I'm so inspired right now, getting flashbacks from smokey gatherings decorated with beads and body paint. Like the former "Days Of Future Passed" it's a concept album and the disposition grandiose, but this time without the orchestra and band members playing all 30+ instruments themselves. Also the theme is a lot broader, covering about everything on the exploring young mind back then - LSD, space travel and Indian religion. Groovy and pretentious, but carried by such great melodies it's impossible not to love. It was the first rock album allowing the mellotrone to take a prominent place. Mike Pinder had worked as a tester of the instrument already in the early sixties and by 1968 probably the most experienced player and developer. I've never been a fan of later synth utility where electronics mimic and substitute real instruments, still totally buy early trials like this when it's used as a device among others. For favorite tracks I'm choosing all of side two. Apart from the quirky yet catchy "The Best Way To Travel" it's almost romantic - filled with alluring melodies and themes blending to a whole. The conclusion "OM" (which is the lost chord btw) may seem borderline ostentatious to a modern listener, but as a final movement it's logical and beautiful. This mono is a fold, not all bad but the stereo comes through a lot better. First US on main Deram label (DES 18017). Premiere UK had label as shown here with large DSS logo and laminated fold/out cover. (MBÅL*) (DÄRR*)

KEN HENSLEY/PROUD WORDS ON A DUSTY SHELF ILPS 9223 (-73) UK

Though presented as a solo effort I've always seen this as a Uriah Heep LP and a good one too. Issued between the band efforts "Magicians Birthday" and "Sweet Freedom". Apart from Lee Kerslake's former playmate in National Head Band - David Paul - playing bass on some of the tracks all were recorded by Kerslake on drums, Gary Thain on bass and Hensley himself doing the rest of the instruments. All songs written and arranged by Hensley and produced by Gerry Bron. Even if you miss David Byron's vocal power or Mick Box' distinct guitar technique the rest is familiar - songwriting and background quires, Hensley's voice and above all Thain's melodic and adaptive bass. On the softer side, but any of the songs could have been on any surrounding UH studio LP. I especially like the way he treat the guitars. They're everywhere - as support, riffs and a couple of chunky solos with lots of howl. Not his main instrument and far from equilibristic, but pleasantly present providing balance and spicing things up. All that together makes it a good album and certainly more than just the necessary UH complement I know many collectors keep it as. Favorite tracks - "Fortune", "When Evening Comes", "Proud Words" and "Cold Autumn Sunday". First US on Mercury (SRM 1-661). Premiere UK had "i" logo label as shown here and matt fold/out cover with lyric inner. (ÖRHÄ*)(PRÖZ*)

MERRY CHRISTMAS!

Taking a short break as I'm trying to combine work hours with seasonal obligations. Wishing You a very happy holiday wherever You are. Back soon. Kindly/Erik

HEP STARS/JUL MED HEP STARS LPO 06 (-67) MONO SWEDEN

One of the odder christmas LP:s. Most of it recorded post other sessions and clearly the result of some heavy drinking while unwinding in the studio. Main inspiration to do it in the first place may have come from the "Beach Boys Party!" album and Beatles' fan club singles. But while BBP consisted of carefully made studio recordings produced to sound like unmeditated live takes and the fan club issues were limited to a die-hard fan community, this actually was uncensured recordings of five severely inebriated guys trying to do seasonal songs and initially sold in regular shops. There's talking going on in and between some of the numbers - besotted discussions what to play and if they know the songs or not, spiced with low level puerile humor. Three of the cuts are traditional Swedish songs, executed to Benny Andersson's accordion in a kind of post party atmosphere. Further three hymns faithfully performed by singer Svenne Hedlund to a sparse backing. Two good rockers - "Christmas Today" and "Christmas On My Mind" - a chipmunk style "Jingle Bells" and "White Christmas" sung through a megaphone accompanied by a sentimental violin. To that background the final cut sounds like from another planet. A separate take from a Stockholm church where Benny Andersson plays Händel's "Dotter Sion" (eng. "Thine Be The Glory" or "Zion's Daughter") on the pipe organ very accurately, showing what a great keybordist he was even this early. 2001 CD (EMI CMCD 6284) omitted the drunken talk and the Swedish accordion cuts and replaced them with recordings of common seasonal songs, resulting in an average christmas album (probably an attempt to clean up Benny Andersson's part of the ABBA history and make it more acceptable for today's fans). I know some prefer that, but to me it's this vinyl version that really shows the true meaning of the traditional Swedish christmas - getting soaked and silly while trying to do something good. The record was quickly withdrawn and never reissued in original shape. It had label as shown here and fully laminated cover. (ÖGÄ*) (HÄH*) (SCÄ*) (CXÅ*) (CCÖ*)(ÄBBÖ*)