THE MYSTIC NUMBER NATIONAL BANK SPB 1001 (-69) UK

Kansas City blues rock combo who got signed by ABC:s newly formed Probe label 1969. This debute album got either luke warm or bad reveiws at release, failed to sell and they broke up soon after. I guess for many music fans it remains one of many one-offs from groups that couldn't get it together and deliver when they got the opportunity and now has been dispatched forever. But since times and tastes changes and appreciation for sixties music nowadays also includes historical values as vintage studio processes, audio and ambience it might be worth a second chance. Back then just an ordinary rock band, with today's genre prickled terminology - garage, raw blues, psych blues or maybe even early hard rock. I can live without some of the more arranged tracks. It's obvious orchestrated ballads - "Big Boy" - or brass soul - "Beautician Blues" - wasn't their thing. Yet for a lover of garage recordings, seemingly unproduced with a live feeling, most of the rest is really good. I get lots of raw guitars, messy backing and unbridled vocals, live in the studio 100% sincere. If someone back then had played me opening and closing tracks - "Blues Jam" and "Blues So Bad" and told me they were early Pretty Things rehersals I wouldn't have doubted it. Same raw energy, just a bit more untuned and unfinished. So if you're into well arranged, soothing rock with a hit feeling - avoid! But if you want the good, the bad and the ugly totally naked like played from a shaky stage on a muddy meadow - some of this may fit. Premiere US came with a gimmick fold/out sleeve. German 2011 CD on O-music (OM 71009). First UK had label as shown here and laminated flip/back cover. (CÖLÖ*)

SMALL FACES IMSP 008 (-67) UK STEREO

 

 With this third album the band was at the end of a transition mode not uncommon those days - new label and, more important, new drugs - leading to a change in sound and expression. The Decca debute LP was right on r/b soul and most of the accompanying 45:s short, catchy hit numbers. Extrovert and fervent, like they did it standing on their toes. The songs on this first for Immediate are still short and catchy, but coming through more relaxed dealing with both introvert and everyday matters. You get the impression they're doing stuff important for themselves rather than taking executive advice. I think it's a great album. Not as elaborated or animated as the following "Ogden's Nut Gone Flake", but the songwriting and ambience are very much alike and you can hear ideas and portions here later used there. ONGF is a sixties masterpiece, yet there's so much to it when listening I feel obligated to be alert. No need for that here. The simple pleasant melodies, down to earth lyrics and emotional vocals strike directly in a gentle way. Produced by the band, no doubt with help from engineer Glyn Johns. The mix and audio on this stereo are just fine, maybe a little thin at parts compared to the mono (IMLP 008), but more open with good listening all through. Favorite tracks - "(Tell me) Have You Ever Seen Me", "Feeling Lonely", "My Way Of Giving" and "Get Yourself Together". Originally issued as fourteen track like this on Stateside in New Zealand (SSLM 6034), Columbia in Germany (SMC 74292), Immediate in France (SIMX 340596) and South Africa (IMLJ 008). US made their own version - "There Are But Four Small Faces" (Immediate Z12 52002) - a twelve track semi-compilation carrying seven tracks from this coupled with five UK non-LP single cuts, also released in a few South American countries. Both versions frequently reissued, separately or together on vinyl and CD through the years. Premiere UK had label as shown here and matt or laminated flip/back cover. (SXÅH*) (YDÄ*)

PROCOL HARUM/LIVE IN CONCERT WITH THE EDMONTON SYMPHONY ORCHESTRA CHR 1004 (-72) UK

Sometimes I don't understand public response at all. Here's a band that through the period 1967-77 issued nine superb studio albums, filled with catchy innovative songs carried by tophole production and audio. Against that background it seems strange their most successful LP ever is this 1972 live with a 45 pick from the concert - "Conquistador" - remaining their second biggest selling single - after "Whiter Shade Of Pale". Not that it's a bad concert, on the contrary. They manage to stay faithful to the originals and still add that little extra. I especially like getting the whole "In Held Twas In I" suite right on. But why on earth didn't the studio versions of those numbers or all the other fantastic stuff they made do better? One of life's big mysteries. US first on A&M (SP-4335). Premiere UK had label as shown here and thin matt cover. (LYBÖ*) (PRÖX*)

PAUL McCARTNEY/McCARTNEY II PCTC 258 (-80) UK

I know a couple of die hard McCartney fans who truly hate this album and consider it the worst solo effort by any Beatle. But since it was a million seller topping the UK list, reaching #3 on Billboard and going top ten in many other countries it's clear opinions differ. Recordings made summer 1979, almost a year before release, by McCartney home alone. I've seen claims most of it just was him having fun, testing a Studer 16-track home studio and some new electronic device - and that's exactly what it sounds like. A random mix of pop, rock'n'roll and synth pieces, some apparently made in the spur of the moment and others seemingly unfinished. It was a smart move putting all the strongest tracks on side one - "Coming Up" is good catchy pop, "Temporary Secretary" annoying but rather funny, "On The Way" sounding half done yet a pleasant blues attempt, "Waterfalls" ballad with hit feeling and "Nobody Knows" a totally OK rock'n'roll pastiche. Side two has more synth experimenting which obviously wasn't his area. Maybe he should have called Eno for structure. A disappointment in comparison to the 1979 masterpiece "Back To The Egg" , but with enough good cuts to make it worthwhile. First US on CBS (FC-36511) came with a bonus single ("Coming Up" live). Premiere UK had label as shown here and glossy fold/out cover with picture/lyric inner. (BÄ*) (PÖX*)(MÄCC*)

JETHRO TULL/MINSTREL IN THE GALLERY CHR 1082 (-75) UK

One of few bands that managed their first fifteen years of existence not releasing one bad LP, moving through all contemporary popular genres - blues, psych, prog, hard rock and pop - without losing focus or identity. Even if I don't dig every second of every album, there's always enough well written melodies and shrewd lyrics to make me wanna come back and listen. This was their eighth studio album and still going very strong. It's rather uneven in style - lyrics going from cynical and ironic to downright beautiful and music moving between sparsly arranged folky ballads and raw hard rock. Superficially tied together by the "Minstrel" theme, even if that's rather weak. What do make it come out as an entity is Ian Anderson's melodic songwriting, his warm personal vocals and Martin Barre's expert guitar play. I just listened to the whole thing and can't pick any favorite. It's all so good and well put together it seems wrong to detach just one piece, but at the moment I prefer side two because it puts me in a serene and happy mood all through - big smile. First US with same number and similar package. Premiere UK had label as shown here, cover with matt front, glossy back and picture/lyric inner. (YÖHT*)

THE BEST OF GEORGE HARRISON PAS 10011 (-76) UK

Maybe not the rarest or most sought after collection, but for me it ticks all the right boxes. I get a mix of good songs - Beatles and solo - including the studio version of "Bangla Desh", which can be hard to find on LP elsewhere. It's on good old Parlophone with a remaining UK Apple numbering and the sleeve is high quality Garrods & Lofthouse. It has been criticized, also by GH himself, for bad compiling and the timing was awful as it was released at about the same time as his new studio album "33 1/3". You can always argue with any song choice on any collection, but once released it is what it is and I'm quite OK with this. The timing may have impeded sales back then - US #31 and not charting in UK (while "33 1/3" did a lot better) - but it sure don't affect the listening today. Whatever the background it still is a very nice collection of tracks and the audio top notch. I couldn't ask for more. US on Capitol (ST-11578) came with totally different sleeve design and custom labels. Premiere UK had label as shown here, thick glossy cover and picture/ad inner. (BÄ*) (PÖX*)(GÄÖ*)

TIM BUCKLEY EKS-74004 (-66) US

Another Tim Buckley I bought after falling in love with his second album "Goodbye And Hello".   https://monolover.blogspot.com/2013/04/tim-buckleygoodbye-and-hello-ekl-318-67.html  That was outstanding at release and IMO remains a sixties classic. The multi genre setting with its imaginative lyrics, strong melodies and generous production still does it for me when I'm in for adventure. When I first listened to this debute I got a lot more ordinary period US singer/songwriter folk rock/pop and didn't find it half as interesting, but today with more experienced ears I hear similarities. The honesty, fragility and anxiety are already there with the ability to touch. Same core, just with very different production and arrangements. Don't know how much of that was due to Buckley's own request, the fact this was produced by Paul A. Rotchild and HAG by Jerry Yester, or the musical zeitgeist moving towards psych and flower power in those years. In any case it's intriguing how two albums can be so alike and at the same time totally different. I was planning to make a mutual rating of the LP:s, but can't. While "Hello And Goodbye" grabs me and take me on a harlequin trip this is cooler, more intimate and brings a closer connection. Guess both are the better depending on what mood I'm in. Also issued in mono (EKL-4004). First UK mono/stereo with same label and numbers. Premiere US had label as shown here and thin glossy cover. (SYSÖ*) (YZÄ*)

IF/2 ILPS 9137 (-70) UK

Got this as part of a record exchange a couple of years ago, put it away and forgot all about it till recently when I found the LP squeezed in behind some Iron Butterfly's. That happens to me sometimes after trading stacks and keeping a few on hold for later enjoyment. Then they totally disappear from the radar when new stuff comes in and attention is redirected. Didn't know anything about the band, but learned a lot from this Wikipedia article - http://en.wikipedia.org/wiki/If_%28band%29 . So without emotional hung-ups or memories attached I'm listening with fresh ears. First thing that strikes me is the keyboards - I could never resist a record where one of the main instruments is a well treated organ and there's quite a lot of that here, both as solos and background. Next the guitars being both equibrilistic and eclectic, moving from jazz > "Echos And Shadows" - through blues/rock > "I Couldn't Write And Tell You" - to psych > "Sunday Sad". Finally I get brass and the whole backing right on the spot. Impression is a recording by an experienced, very tight live group with some of the parts pre-written and other made up as they went along in the studio. So far so good, but what holds me back a little are the vocals - no doubt by an experienced singer always nailing it, still too anonymous for my taste. Then the songwriting. All nicely balanced and put together, but at least I miss truly catchy interludes - moments that make me open my heart and connect once and for all. Maybe that will come with further listen. US first on Capitol (SW-676). I've heard rumors about a UK pink label issue, but don't believe it. Probably a mix-up with the German "pink" issue or others, as some countries still used it up to the mid or late seventies. Early UK had label as shown here and cover with matt front and glossy silver back.

FOUR TOPS/ON TOP MT 647 (-66) US MONO

The second of three successful original studio LP:s from the combo - in time surrounded by "Second Album" and "Reach Out". The period 1965-67 - also including a big selling live album and a Greatest Hits - was their most victorious in US and at the same time made them the second Motown act (after The Supremes) with a household breakthrough in Europe. When the hit machine Holland-Dozier-Holland left the label 1967 and they were assigned to other producers/songwriters their popularity started to decline, but they've continued to perform and record as "Four Tops" through a number of member and label changes up to today. This however is from the hight of their carreer and ability. The two sides seems to have different aims. First has a lot of what I love with Motown - a combination of catchy melodies, emotional performance and firm up-tempo - while the second contains more ordinarily produced covers. Though all those are well sung and played I stick with the true H-D-H magic on side one which also has two of my favorites - "I Got A Feeling" and "Loving You Is Sweeter Than Ever". The mono mix is as expected from Motown this period - clear,steady and dynamic. Also issued as stereo (MS 647). UK first on Tamla Motown (STML/TML 11037). Premiere US had label as shown here and glossy cover. (YZÄ*) (TÖMÖ*) (ÖXCÅ*) (FÖRH*)

AYNSLEY DUNBAR BLUE WHALE BYG 529015 (-71) FRANCE

Combo only existing a few months between Dunbar's Retaliation band and him being drafted as a member to Zappa's Mothers. Recordings for this album made spring 1970, but issue postponed till about a year later. Prior to the sessions Dunbar had already met and played with Zappa at a BYG records festival in Belgium. It's a good guess the change of direction here was inspired by that meeting. While Retaliation concentrated on white blues this is a lot more towards psych and prog. Still having a bluesy feel, but songwriting slightly more jazzy combined with jam episodes. Apart from Dunbar's obvious skills there's some outstanding guitars from Ivan Zagni (Patto, Louis Cennamo) and Roger Sutton (Nucleus, Brian Auger). Entire musical performance top notch - at the same time secure and adventurous, beautiful and outrageous. Co-produced by Dunbar and Colin Caldwell (who also worked with Curved Air, Catapillar and Chris Barber). That said - to me this is very much vocalist Paul Williams' album as he was co-writer or writer of all tracks but WTP and part arranger. It's also his strained and personal voice that gives needed balance to the music and makes it emotional. So rather than just witnessing a show by very skilled musicians (one of many at the time) you're invited and connected. Not a bad track here with the psyched "Willy The Pimp" cover adding a lot to the Zappa/Beefheart original. US on Warner Bros. (WS 3010), German on Metronome (MLP 15395). As I understand early UK sales was a US import and first actual UK press came with the 1978 Charly issue (CR 30142). 1994 French CD on Spalax (CD 14814). Premiere French had label as shown here and thin, fully laminated cover. (MFÄX*)

EVERY MOTHER'S SON'S BACK E-4504 (-67) US MONO

Shortlived NYC rock band (1967-68), often referred to as a one hit wonder due to their Billboard #6 hit "Come On Down To My Boat". Of the following four singles one made top 50, two just managed top hundred and the last didn't chart at all. Here's the second of two albums, issued late 1967. While the first can be described as for the time rather ordinary summer rock, this is more elaborated moving towards psychedelic pop. Most of the songwriting is still on the kind clean cut side and the multi layer vocals pleasant while the production and arrangements goes all in for a trip. You get varispeed, backward instrument loops, and fuzz guitars. Not all at once, but in small portions spread all over the place as parts of the big picture. I hear inspiration from Beach Boys, Beatles, Monkees and US bubblegum pop, but can't seem to find the band's own identity. Maybe unfair, but to me most of it sounds like one of those studio projects where hired muscians poses as a group to cash in on flavor of the year. No hit feeling and nothing really touching, but very well done all the way and a fitting background to any "summer of love" theme party. Also issued on MGM in UK (CS 8061). No clue if this mono is a separate mix or a very good fold. Premiere US had glossy label as shown here, thick vinyl and gimmick cover with a fold out pic on front. (ÖXCÅ*) (YZÄ*)