RINGO STARR/BEAUCOUPS OF BLUES PAS 10002 (-70) UK

Ringo had been a country fan since early Beatles years and after meeting Nashville producer Peter Drake during the making of George Harrison's "All Things Must Pass" they agreed to work together on his next LP. The recordings took place in Nashville where Drake had put together a country & western dream team for the event, many with Elvis connection - apart from PD himself on steel guitar the crew included drummer D.J. Fontana, The Jordanaires, Charlie McCoy, Jerry Reed and Jerry Kennedy with addition of Scotty Moore handling the engineering. Among other prominent names were Charlie Daniels (Bob Dylan, Leonard Cohen), Roy Huskey Jr. (Johnny Cash, Chet Atkins) and multi-instrumentalist Ben Keith. All twelve songs written directly for the issue. The recordings were "Nashville style" - hard work around the clock, far from the laid-back Beatles sessions Ringo was used to and the album was completed in less than three days. Never been a big country fan myself but when it's this good I just enjoy. Written and played by some of the best in the business and Ringo's vocals nailing country style, where personality and emotion always go before beauty. The mix, balance and audio are perfect bringing lots of presence. Tophole listening all through. Favorite track - the duet with Jeannie Kendall in "I Wouldn't Have You Any Other Way". Appreciated by some critics at the time, but failed big sales - only reaching #65 on Billboard and not charting at all in UK. First US on Apple (SMAS-3368). Issued as mono in Brazil and Argentina. Had them both and can guarantee very well sounding folds. Premiere UK had label as shown here and fully laminated fold/out cover. (BÄ*) (ÄPLÄ*) (RYNX*)

KEPZELT RIPORT EGY AMERIKAI POP-FESTIVALROL SLPX 16579 (-73) HUNGARY

Hungarian rock opera/musical building on a short novel by Tibor Déry. A translation of the title would be - "An Imaginary Report On An American Rock Festival". Plot partly inspired by the happenings at Altamont deals with an Hungarian defective couple - József and Eszter - visiting the "Montana Rock Festival" where lots of bad things happens. Most dramatic events are when a black guy is stabbed to death by Hells Angels, Eszter is lured into taking drugs which eventually leaves her dying whereafter József is stabbed by her dealer, but survives. As I get it the whole story is plagued by death and drugs, functioning as a warning for the American life style with the drugged crowd being compared to a former Hungarian nazi party - Arrow Cross. It became an instant success both domestically and in other eastern European countries, through the years reworked and performed as theater, radio play and in various concerts. An American version was prepared, but not possible to preform during the early Reagan years so it didn't premiere there until 1986 in Albany, New York. Musically it has been compared with "Hair", "Porgy and Bess" and even "West Side Story". No much into musical theater myself so I can't judge from that angle. As I understand the songs here are samples from the show, recorded especially for this issue. Five rock numbers - performed or backed by Hungary's then most prominent rock band Locomotive GT - and the rest pop style ballads, some with female vocals. Since I don't get the lyrics and most of the melodies don't stand by themselves I can't connect 100%. The split "Ringasd El Magad" pt.I/pt.II works best for me with its heavy rock feeling and good guitars at the end. 1995 reissue on vinyl and cassette by Gong label (MK 16579) and 1992 CD on Hungaroton (HCD 37659). There's also been a number of remakes and updates through the years. First press had label as shown here, thick unflexible vinyl and thin fully laminated cover. (BÅC*) (FÄV*) (RÖKÖ*)

THE BEST OF HERMAN'S HERMITS/VOLUME 2 E 4416 (-66) US MONO

Continuing the recent post on their debute with more on the different UK and US agendas and one song in particular. The band released eleven albums in America from June 1965 to January 1968, but only five in Britain (not counting the illusive export pressings). From January 1965 to April 1966 they had nine consecutive top ten 45:s on Billboard whereof five not even released as singles in UK. The British still held on to the EP, a format already abandoned in the US so pretty much everything they recorded could be found on LP there. For exemple - "Leaning On A Lamp Post" got to #9 on Billboard, but wasn't issued for the UK market until the 1971 "The Most Of Herman's Hermits" and then as a stereo version. It's a cover of a 1937 George Formby hit and has remained one of my favorites with the band. Though with more distinct tempo changes and different background it's so faithful to the original I get a flash-back from my kid years - hearing George Formby on the radio and movie matinees. So even if I have all other tracks on this album it's worth keeping just to get the original mono mix of that particular number with best possible audio. UK 1967 export press (Columbia SCXC 32) in stereo only. First US had label as shown here, thick glossy cover and a "signed" giant face poster of Peter Noone. (ÖXCÅ*) (YZÄ*) (HÄHX*)

YES/YESTERDAYS K 50048 (-74) UK

Big selling compilation at the time and though all cuts on it have shown up on numbers of subsequent LP and CD collections I still see it as a necessary complement to my Yes collection. You get the former B-side to the 1970 "Sweet Dreams" single - "Dear Father" - for the first time on LP and also the full length killer cover version of Simon & Garfunkel's "America", earlier only released on the 1972 "New Age Of Atlantic" sampler and as a 4.12 US single edit. That is the only cut including Steve Howe and Rick Wakeman, the rest is by the band's first setting with Peter Banks on guitar and Tony Kaye on keyboards. Apart from the B-side two tracks from the debute and four from "Time And A Word". Listening to those songs from the pre-Howe and pre-synth days it's obvious the band's special idiom that later would lead to world wide success was there already from the start. The songwriting, Jon Anderson's vocals and Chris Squire's melodic bass set the mode early and Peter Banks does not stand back to Steve Howe. Tony Kaye has a less prominent role than later Wakeman, but not less important. In all very good listening with top audio. If you're one of those who got deep into the group first with "Yes Album" or later this may be an ear opener and reason to look beyond. Premiere UK had label as shown here, matt cover and stiff pic/info inner. (JÄZ*)

THE KINKS/FACE TO FACE NPL 18149 (-66) UK MONO

A stylistic transition album for the band with Ray Davies lyrics getting more concerned dealing with contemporary social subjects and personal reflections. There's also a change in the melodic idiom from r&b and primordial hard rock towards pop and music hall. Still very much garage and the production more allowing than adjusting. Probably a fitting description and I gotta start somewhere, but at the same time it implies some kind of distance to the album I don't have at all. This goes dirtectly to my heart and no words in the world could change that. Picture is totally clear showing the lives and observations of Ray and the band in England mid sixties - parties, loves and general phenomenons in society back then. Recordings are borderline primitive, sometimes unbalanced and seemingly uncorrected, giving a an almost direct connection to the band in the studio rather that shoving a ready made product down your throat. I especially fancy the vocals - unschooled, sometimes as speak-singing and sometimes strained - but always nailing it and 100% personal. I sure get the best from my two favorite musical worlds here - well written and catchy melodies conveyed by a true garage feeling. All cuts are good in their own way, but the hits "Dandy" (not released as single in UK and US, but reaching #1 in Germany, #2 in Belgium, #3 in Holland and top ten in many other countries) and "Sunny Afternoon" (UK #1 US #14) stands out together with the rocker "House In The Country" (my guess a great inspiration to the die-hard Kinks fans in Blur and their hit with the same name). Also as UK stereo (NSPL 18149). First US on Reprise (R/RS 6228). Premiere UK had label as shown here, thick unflexible vinyl and laminated flip/back cover. (KYX*) (PÖY*)

THE BEST OF STEVE MILLER 1968-73 E-ST 24058 (-77) UK

Compilation with cuts from his first five years. Not to be confused with the 14 track LP/ 19 track CD "The Best Of The Steve Miller Band" issued 1990 or a couple of others with similar names. This one was originally issued in UK and Australia and the first with cuts reaching as far as the 1973 "Joker". Title track from that and the former non-LP B-side "Shu Ba Da Du Ma Ma Ma" are 1973, the remaining ten from 1968-70. So it can be seen as just another collection of early Steve Miller cuts. But even though I miss "Little Girl" from Your Saving Grace it happens to have most of my favorites from those years - like "Space Cowboy", "Don't Let Nobody Turn You Around" and "Celebration Song". Together with tophole pressing, good audio and nice packaging enough to make it a keeper for me. 1982 UK reissues on Fame label (FA 3030) and 1986 on Capitol (EMS 1191). First press had label as shown here, thin matt cover with embossed photo frame on front and stiff pic/info inner.

SUPER STARS - SUPER HITS/24 ORIGINAL ALL TIME GREATS D 348 (-67) US MONO

US Columbia record club sampler with one for me unexpected collection of artists from a vast variation of labels. Lots of goodies here. To start with it's nice to get earlier non-LP tracks gathered in one place - e.g. Aretha Franklins 1965 version of "Sweet Bitter Love", Sonny & Cher debute "Baby Don't Go" and Four Seasons "Spanish Lace". But here's also a number of excellent cuts from albums that today can be hard to find - like Count Five "Psychotic Reaction" and The Young Rascals "Come On Up" - topped with a couple of then prominent hits - Doors "Break On Through", Sam & Dave "Hold On I'm Coming" and ? & The Mysterians "96 Tears". Audio shifts a little due to original recordings, but it's enjoyable listening all through. Cover painting by US "pop" artist Bill Bell. Still quite common on auction sites and possible to get a fine copy under $10. So if you can look past the rather cheapish appearance and just want good period music at a low cost it's recommended. Also released as stereo (DS 348). First had label as shown here and thick glossy cover. (SÄM*) (ÖXCÅ*) (YZÄ*)

PETER SARSTEDT/AS THOUGH IT WERE A MOVIE UAS 29037 (-69) UK

For background check post on his debute. This is about the same - singer/songwriter mode reminding of Donovan, Harvey Andrews and early Cat Stevens, mixing contemporary genres as ballads, baroque pop, psych and rock'n'roll. All very British with a cozy atmosphere. Orchestral arrangements, as on the debute made by Ian Green, are sparser here but not less adventurous. It's like he's trying to sqeeze most contemporary genres into one piece of vinyl attempting to please both hippies, conformists and all inbetween. The album has been criticized for being too self-aware and even pretentious, but which late sixties singer/songwriter wasn't? It's almost a sign of those times. I get a smorgasbord of contemporary pop music styles tied together by pleasant vocals, concerned lyrics and partly quirky arrangements conveyed by warm embracing audio. Maybe not all up there with his more famous British peers, still odd and good enough to be worth a fair chance. Favorites - the pop psych title track, the humoristic "Take Off Your Clothes" and the country rocker "Sunshine Is Expensive". Also issued as UK mono (UAL 29037). Haven't heard that but since the stereo is a perfect compatible I'm guessing a fold. First US on World Pacific (WPS-21899). Premiere UK had label as shown here and laminated fold/out cover. (SYSÖ*)

ROLLING STONES/IT'S ONLY ROCK'N'ROLL COC 59103 (-74) UK

Up to and with the previous "Goat's Head Soup" I was all in with Rolling Stones. This album was the first I couldn't connect to 100%. The title is a damn lie - a couple of mushy ballads, disco funk, a Temptations cover and a raggae. So however you turn it it's not only rock'n'roll. Two good rockers - title track and "If You Can't Rock Me" - but both with introspective lyrics (rock about rock) showing on a growing distance to the craft. For me this is the album where the Stones started to loose that special "it" factor. Maybe it had to do with the absence of Jimmy Miller, deep down on drugs at the time, forcing them to be more in charge, or a kind of awakening to the situation. Or maybe it's just the band adapting to new circumstances - the seventies music scene with posher studio equipment and a number of other genres masquerading as rock. In any case it's not dirty enough for me. Title track, "If You Can't Rock Me" and "Luxury" still has it, but the rest doesn't do it for this old sixties fan of the band. 1974 issues all over the world on vinyl, cassette and 8-track. Premiere UK had label as shown here, matt cover and stiff pic/credit inner. (RÅ*)

SUMMER BREAK

Still time left of the sunny season so I'm taking a short vacation from regular indoor life and will try to be outside as much as possible the rest of July. That means no new posts in the nearest week or two. Back in a while and then it's business as usual. Happy Holidays/Erik

UNDERGROUND '70 SPR 35 (-70) GERMANY

One of many "Underground '70" samplers issued in the wake of the UK "Fill Your Head With Rock" and "Block Buster" compilations - all with differing track choice adjusted to contemporary domestic music scenes. This blends then popular US acts still appreciated today - as Al Kooper, Chicago, Flock, Moby Grape and Sprit - with now lesser known outfits like Aorta, Illinois Speed Press, Appaloosa and Jacob's Creek. For me an opportunity to reaquaint with idols from forty years ago, but also discover bands that for some reason stayed unknown to me all this time. The Aorta track "Heart Attack" is lovely psych with howling guitars and jazzy organ, Illinois Speed Press "Hard Luck Story" heavy guitar blues, Apploosa "Rosalie" an orchestrated country ballad and Jacob Creek "Behind The Door" odd soul/prog/psych. All good tasters making me wanna hear more. Premiere German issue had custom silver label on purple vinyl as shown here, fully laminated cover and tophole audio. Highly recommended both for the interesting tracking and high class package. (SÄM*) (GÖXÄ*)