A to me indispensable 2-LP promotional sampler, containing cuts from eighteen Harvest albums released 1969-70, most of them getting hard or almost impossible to find at an ok price today. And there's further frosting on this cake - first issue of the Pink Floyd song "Embryo" and the only place for it till 1983, when it showed up on the US Capitol collection "Works". Too much good stuff to go in detail with here, just check the track list below. Got many favorites, but to mention a few - Pretty Things "The Good Mr. Square", Bakerloo "This Worried Feeling", Quatermass "Black sheep Of The Family", Syd Barrett "Terrapin" and of course - "Embryo". If I have to say something negative - most tracks are cut very loud, which fits some of the songs while others are on the edge of cracking. Not too bad - Deep Purple "Into The Fire" bursts all seams while the rest plays enjoyable enough. This sampler is getting quite scarce, but not super rare and copies still show up in used bins at affordable prices. Should You spot one of those don't hesitate, just pick, pay and run! 1970 release also in Germany (Harvest 1C 178-04 424/25). Never reissued on CD. The 2007 UK Harvest 3xCD compilation "A Breath Of Fresh Air : A Harvest Records Anthology 1969-74" though carrying fiftytwo tracks only had three in common with this. Premiere UK had label as shown here and laminated fold out cover with "29/11" price sticker. (SÄM*) (HÄVL*)
One of many early incarnations of the band that later would emerge as Lucifer's Friend. Here working as a backing combo to (uncredited) singer George Mavros for the German "Europa" label. Showing on a rather common set-up at the time, where aspiring groups were hired cheaply by budget labels to anonymously play on recordings then issued to cash in on the flavour of the day. Another known exemple on that would be The Good Earth "Hard Rock And All That", preformed by a primary setting of Mungo Jerry and issued by UK Saga 1968 (see earlier post). But while that was a small catastrophy, today only loved by the most die-hard Mungo Jerry fans and a few stubborn garage freaks, this is already very good hard rock much in the same vein as the fully blossoming Lucifer's Friend. Nine self-penned tracks coupled with three covers. All in a style slenderly reminding of UK contemporaries as Uriah Heep or Spooky Tooth, yet with a personal touch taking it far from copying. Performance working on all levels - good singer, lots of howling guitars and hard working drums, production and mix sufficiant and audio a-ok. So it may have been sold as budget, but the outcome is certainly full price. Favorite tracks - the very heavy guitar larded "Tavern" and "Nosferatu" borderline psych with high-pitch groans spread over a carpet of fuzz. Album also released in Italy 1972 (same sleeve and number). Unofficial 2004 CD reissue on Mason Records contained both this and their second album "Flash". Early German vinyl had label as shown here and either laminated or matt sleeve. Not sure which was first. (GÖXÄ*)
Louisiana band today mostly seen as a one-hit-wonder. Formed as "John Fred & His Playboys" 1956 by 15 y.o. John Fred Gourrier (1941-2005) and 1958 reached #82 on Billboard with the song "Shirley". Non of their next thirteen singles made any list impact and It was first with the 1967 "Judy In Disguise (with glasses)" - written as a kind of pastiche on The Beatles title "Lucy In The Skies With Diamonds" - they got a breakthrough, topping the US list and reaching top ten in a number of other countries. The follow-up - "Hey Hey Bunny" - managed a Billboard #57, but that was it and their next ten 45:s flunked. This album didn't make it that big either and aware of the background maybe you'd expect a bright shining hit surrounded by fillers, but it's not that bad. Most of the songs self-penned, stylistically ranging between blue-eyed soul/funk and contemporary brit-pop. John Fred is a very good singer, backing and arrangements impeccable and the audio on this US stereo lovely - coming through warm and well-mixed. And though JIDWG is the star of this show, some of the rest is good too. E.g. "Agnes English" a bouncy love song dedicated to a very British lady, "Up And Down" dance friendly up-tempo soul and the Alan Price-ish "She Shot A Hole In My Soul" quite catchy. As a whole maybe not life-changing, still good listening all through. Originally also released in Canada, South-africa, downunder and a couple of European countries. First UK on Pye International (NPL 28111). German 1991 CD Repertoire Records (REP 4153-WZ). Early US had label as shown here and thick glossy cover. (YZÄ*)
Texan jazz guitarist (born Lorenz Albert Van DeLinder III 1943-2017), today known as "the godfather of fusion". After a period in music school he continued playing in a number of rock and jazz bands - among them The Free Spirits, Gary Burton and Chico Hamilton - before setting on a solo carreer and relesing his first own LP "Lady Coryell" (US Vanguard VSD 6509) early 1969. I first discovered him at the time of his third album "Spaces" (US Vanguard VSD 6558). A supergroup collaboration with John McLaughlin, Billy Cobham, Miroslav Vituos and Chick Corea, which was something totally new back then. Recorded more or less live in the studio, flaunting fast brilliant solos in an atmosphere somewhere between jazz and rock it struck hard and is now seen as the work that more or less fathered the jazz fusion genre. Me and my friends loved it and I remember vivid discussions who was the best guitarist - Coryell or McLaughlin. Today, as my ears are getting slower, I'm not that blinded by speed anymore, but actually prefer this his second album. It has jazzy parts, but the overall impression is more towards funk and blues. Guitars are still brilliant, though here against a steadier foundation making the listening more secure. For exemple - opening track "Sex" can best be described as funk psych with its warped vocals and reckless guitar sound and in the instrumental "Elementary Guitar Solo #5" he's working hard and fast, without once forgetting it's the blues. He may not be the best singer, but there's not much of that and you forget it anyway as soon as the next solo appears. The audio on this UK press is superb - big, bold and natural with a separation allowing every part to be heard clearly. Premiere US on Vanguard Apostolic (VSD 6547). Also originally released on Vanguard in Canada, France and Germany. Japan 2001 CD on King Record (KICP 777). First UK had label as shown here, heavy vinyl and fully laminated cover.
Have a lot on my hands at the moment so in the nearest future I wont be able to post this frequently. Starting tomorrow it'll be every other day instead. Not a huge change, so I hope it's OK. Thank's for checking in. Kindly/Erik
Hawkwind's debute LP and by many also regarded the beginning of space-rock. There had been previous trials that, in retrospective, might fit the genre - for exemple the Pink Floyd cuts "Astronomy Domine", "Interstellar Overdrive" and "Set The Controls For The Heart Of The Sun" - but those still coined "psych" as they were part of a much wider repertoire. Hawkwind however stayed with the concept and can therefore be called the first true space-rockers. After just coming together and without even having a fixed name - first appearing as "Group X" or "Hawkwind Zoo" - they took part in a talent show and was there spotted by John Peel, which eventually led to a contract for Liberty label. Well at the recordings producer Dick Taylor (who'd just quit as guitarist in Pretty Things) had a hard time to organize any kind of acceptable outcome by conventional means and therefore decided to let them just do their thing live in the studio and then mold the result downstream. And that's about what I hear here. With exception of "Hurry On Sundown" opening and "Mirror Of Illusion" ending the set, all in between sounds like live takes more or less chopped up and divided into separate tracks. As first accustomed to their next two LP:s "In Search Of Space" and "Doremi Fasol Latido" I like it a lot. To my ears the folky "Hurry On Sundown", though good in itself, doesn't fit the ambience, but the rest is exactly how I want my Hawkwind - long hypnotic whim-filled parts with, what it seems, more concern for inner groove than public approval. Favorite tracks - "Paranoia" (both parts) and "Mirror Of Illusion". This press sounds marvellous - big, strong and natural with top separation it's still the Hawkwind original with best audio. 1970 issues in parts of Europe and South Africa. US 1971 on United Artists (UAS 5519). UK 1975 reissue on Sunset (SLS 50374). Japan 2010 remastered limited edition CD in paper sleeve (Liberty TOCP-95059) came with four bonus tracks. Very first UK on blue label was reputedly pressed in less that 1000 copies. I'm confident the black label copy shown here is quite early too as the matrixes are A-2/B-2, the vinyl more than medium thick (later pressings would have considerably thinner vinyl) and wrapped in the original matt fold/out cover. (HÖWK*)
For artist background check post on her second album "Merit Hemmingson Plays". That was jazz/pop hammond interpretations of known songs, some reminding of Booker-T & The MG:s. After continuing the same idiom for a third RCA LP - "Merit!" - she switched label to Columbia and changed direction to Swedish traditional, resulting in an album trilogy - "Huvva!" (Yikes!), Trollskog" (Troll Forest) and "Bergtagen" (Bewitched) - where folk music, hymns, kulning (herding calls) and other pastoral tunes were transformed to jazz, pop and rock. This, the second, is subtitled "mer svensk folkmusik på beat" (more Swedish folk music on beat). It's divided into two suites, both stringing bits and pieces from more or less ancient Swedish music tradition into coherent sets of modern presentation. Hemmingson does all organ, some moog and most of the vocals as wordless tuning, humming or kulning. Backing mostly folk jazz played by studio musicians Janne Schaffer, Björn J:son Lindh and Sabu Martinez among many others, together with professional folk music practitioners. It's hard to pick any favourite track since it all stick together. I guess there are two ways listening to it - either you're already familiar with the underlying tradition and then it'll come rather natural, or you're not and it will take lots of good work to get in. No run-of-the-mill folk album, but interesting as it is. To my knowledge released in Sweden only, also on cassette (same number) and 1992 CD (EMI 4750192). Premiere vinyl had label as shown here and laminated fold/out cover. (FÄV*) (SCÄ*) (CCÖ*)
As I'm feeling abnormally tired this very early morn my first plan was to more or less copy last week's post on Chicago's debute for this their second album, cause it's the same blend of experimental and melodic, skillfully performed and carrying many memorable moments. Since I haven't listened properly to it for a year or so I took it for a spin and all was exactly as I remembered - like a joyride with a couple of very good friends. And somewhere in there I rediscovered "25 Or 6 To 4". Always liked that song before, but now it became so much more. Suddely it drew me in and I felt like getting a well needed fuel injection. The beautiful melody...hard working drums...elaborate brass and ethereal guitars...braided together to a piece of art...wow and goosebumps everywhere. Played it five times already and only fear of getting evicted made me stop. No clue why it hit me so hard this very moment. Maybe lack of sleep has made me peculiarly impressionable, or it is that good and never really realized it before. In any case it feels fine and now, if the neighbours allow, I must play it just one more time...
Strange how much music can alter in value for a person given time, not through tonal remake of any kind but by changes in zeitgeist leading to both new concepts and revaluations of the old ones. Lena Andersson (born 1955) is a Swedish pop singer who at age 15 was spotted by upcoming ABBA manager/producer Stickan Andersson (1931-97) and brought to his Polar label. She immediately got a huge domestic hit with "Är Det Konstigt Att Man Längtar Bort Nån Gång?" - a cover of the Buffy Sainte-Marie song "I'm Gonna Be A Country Girl Again" - and soon became a household name frequently exposed in the medias. The rock/psych/prog loving gang I hang out with back then truly hated both that song and this debute LP since we saw it as meaningless mindnumming pop and in a Sweden that only had two channels on TV and three on radio it was everywhere - like melodic stalking. Now after not hearing it for over forty years I'm receiving a totally different message. From a very young debuting female singer that in a couple of days recorded a cover album, mainly consisting of country and folky tunes. Ranging over originals by Donovan, Buffy Sainte-Marie, Tom Paxton and Malvina Reynolds coupled with one from an early Björn & Benny collaboration and own interpretations of traditional folk tunes. Six sung in English and six in Swedish. Though in her mid-teens the vocals sounds surprisingly mature, spiced by just a few girlish slips and a young vibrato. So in my world this has changed from being a pain in the butt to an album well worth having - and it only took me fortyseven years! To my knowledge this was the only original release. Never reissued on CD, but a couple of the songs were included on the 2003 20-track "Musik Vi Minns" (Polar 038539-2). A few also showed up on her 1972 Japan only album "Kawaisonako" (Seven Seas SR 806). Premiere Swedish had label as shown here and fully laminated cover. (FÄV*) (CCÖ*) (SCÄ*) (ÄBBÖ*)
Follow-up to the "Twain Shall Meet" album, second of three LP:s they released 1968 and obviously made during a period of turbulence in the band. Not only shown by member changes - it was the first with Zoot Money (here as "George Bruno") and the last for Vic Briggs and Danny McCulloch - but also evident from the music and performance. While the former TSM contained well written songs conveyed by thorough production and arrangements a big part of this sounds like more or less prepared jam-sessions. One get the impression the guys showed up in the studio with a few ready made songs while rest was winged as they went along. And why not? Five skilled and attuned musicians backing Burdon's fetching vocals through a couple of very good ideas just can't be bad. The cooler regular numbers - the latin induced "White Houses" and the dark "Immigrant Lad" - come out well-done, while most of the rest can be described as garage psych with a bluesy taint. All of side two sounds lovely to me. "St. James Infirmary" and "New York 1963 - America 1968" are well spent 23+ minutes. A journey containing good vocals, meaty guitars, theme and pace changes and weird whims on just the right level of pretentiousness. Another favorite would be "Year Of The Guru" because of the brutal guitars. First released in US and Canada (MGM SE/E 4553), also downunder, in Japan and a couple of European countries, but for some reason not in UK. I would love to find a US mono, but till I do this Swedish 1st (label say manufactured by Deutsche Grammophon, so presumably some kind of German export) has all I need, including smashing audio. It came with label as shown here, thick vinyl and fully laminated cover. (SCÄ*) (GÖXÄ*) (ÄNÄ*)