STEVE WINWOOD & THE SPENCER DAVIES GROUP GP-9942 (-68) SWEDEN

Swedish only release on Sonet's Grand Prix budget label. One of many compilations issued around the world after Winwood left the band 1967, most of them having exclusive tracking orders and sleeve designs, including big selling hits and some non-LP cuts. This is less exciting, mixing seven tracks from "Autumn '66" with five from "Their first LP", only exclusive being the label and sleeve design. But it is odd and has to be mentioned, even if just for the fanatic Winwood fans or sixties collectors who can't get enough. Label say "stereo playable mono", but there's not much stereo to it. Some of the cuts are true mono while others only have a slight difference between the formats. Pressing and audio are top notch, providing very good listening with or without mono button pushed. First had label as shown here, thick unflexible vinyl and fully laminated cover with orange fonts on spine. (SWÄU*)(TXÄW*)(CCÖ*)(SÖNÄ*)

GOODBYE CHICKEN SHACK SDL 8008 (-74) GERMANY

After existing ten years and releasing six LP:s through a large number of different settings, this became the last original issue as "Chicken Shack" before the three year recess 1974-76. Stan Webb was only remaining member - with Dave Wilkinson, Rob Hull and Alan Powell exclusive to the issue. It's a live concert recorded at Brunel University, London, October 1973 using a Pye Mobile Studio and produced by Barry Murray. Two songs from "Imagination Lady" mixed with a couple of Stan Webb guitar numbers and some classic rock. Although I miss some of the original band atmosphere, it's still a very good rock/blues album with accomodative backing and great guitar parts. The audio and ambiance are remarkable, giving that "being there" feeling I like so much. Favorite tracks - "You Take Me Down" and "Webb's Guitar Shuffle". A UK Deram release was planned, but postponed. To my knowledge this German was the only original issue. Japan 1976 vinyl on London (GP-175). German 1994 CD on Deram (844 240-2). UK 2013 CD on Esoteric (ECLEC 2379). First German had label as shown here and matt fold/out cover. (LYBÖ*) (GÖXÄ*)

YOKO ONO/APPROXIMATELY INFINITE UNIVERSE SAP 101/102 (-73) UK

For my own Ono background check post on her "Fly" album http://monolover.blogspot.se/2012/08/yoko-onofly-svbb-3380-71.html . That was brash and experimental, going from krautrock to avant-garde with a carefree attitude. This follow-up is more politically aware and can be described as early feminist rock. While "Fly" partly was free form in song structures as well as lyrics, this has a message presented through regular songs. It has been disparaged a lot through the years, but when listening now it's quite enjoyable. The backing - by Lennon and Elephant's Memory - adds good rock'n'roll to most of the cuts (Mick Jagger visited the sessions and is rumoured to have chipped in on one or two - remaining unconfirmed). Subjects are serious and in a way tied to the period, but still prevailing in many circuits. Her much critisized vocals doesn't sound bad at all - I get personal and sincere, at least compared with the huge number of list toppers dependent on computerized adjustments to get it out today (they don't fool me). Of the twentytwo self penned tracks my favorites are - "Yang Yang", "What Did I Do", "Air Tank", "Move On Fast" and "Is Winter Here To Stay" (a blues with her familiar Kabuki style singing). Early US on Apple (SVBB 3399). First UK had label as shown here and matt fold/out cover with lyric inners. (BÄ*)(FÄV*)(JYZÖ*) (ÄPLÄ*)

JIMI HENDRIX/IN THE BEGINNING NR 5068 (-73) UK

I'm having a Hendrix period at the moment, listening to all I got. Usually I stick with recordings made 1967-70 and try to avoid posthumous issues of earlier sessions where he only participated as supporting musician. So this should definately be a no-no having excerpts from a few unannonced concerts made before the breakthrough and first issued three years after his death. Some of the performances are subpar and the audio partly bad. That said I still find it relevant. It has nothing in common with the 1972 US "In The Beginning" LP:s on Shout Records from sessions he did with Lonnie Youngblood, or the Polydor issues with him and Isley Brothers. This is from the first stage appearances he made after arriving in England 1966. Visiting Flamingo Club in London at nights he jumped in and played with the regular bands at a few occations. Cover notes names a bunch of artists that performed at the club around this time, but don't specify which ones he accompanies on the record - probably to avoid legal complications. There are mainly two reasons I find this valuable. First - it's an exemple of the gigs that helped to build a reputation and following in England before the Track recordings and breakthrough. Second - though a couple of the numbers reminds of earlier efforts with King Curtis and others where all you can hear is a sufficiant rythm guitar, this also have three songs - "You Got Me Running", "Hard Night" and "Sweet Little Angel" - where he plays brilliant solos, showing some of the magic that would make him legendary. Maybe it's too much calling the LP "historic", but it does carry a small part of Hendrix history otherwise unaccounted for (or maybe not - please check comments below). Also released in France with different sleeve design as "Jimi Hendrix Vol. 2 - In The Beginning". I've searched the net for other issues having corresponding cuts, but can't find any. UK had label as shown here and stuctured fold/out cover. (JHÄ*)(LYBÖ*)

ONE MORE CHANCE CLASS 3 (-74) UK

Another sampler I couldn't do without. Maybe no need if you collect Charisma singles, but for me trying to get all good music on LP:s it's a must. Fourteen A-sides 1969-73, whereof six non-LP. Genesis "Happy The Man" the most notable plus rarities as Audience "Indian Summer", Capability Brown "Wake Up Little Sister", Jo'burg Hawk "Orang Outang", Jack The Lad "One More Dance" and String Driven Thing "It's A Game". For those previously appearing on album the Monthy Python cut has an exclusive 2.10 edit and Van Der Graf Generator "Theme One" only appeared on the US and Canadian releases of the corresponding "Pawn Hearts". Favorite track for now is Clifford T Ward's beautiful "Wherewithal", also on his "Home Thoughts" album. Some of the rarer cuts shows up on various CD collections, but if you want them early press LP this is probably the only place. For those I can compare with the album versions the audio on this is somewhat more compact, but still very good. Issued in UK only. It came in a matt cover with glossy picture inner. (SÄM*) CÄX*)(GYÄ*)

PUGH ROGEFELDT/PUGHISH MLP 15368 (-70) SWEDEN

For background check post on his debute http://monolover.blogspot.se/search?q=pugh . After that becoming an unexpected domestic success the same trio - Rogefeltd, Janne Carlsson and Georg Wadenius - went back to the studio less than a year later with producer Anders Burman and engineer Michael B. Tretow. As the story behind the album title goes Burman wasn't pleased with the lyrics and nagged Rogefeldt to write better. Under pressure he couldn't come up with anything at all and finally invented a new language -"Pughish" - consisting of made-up words and meaningless sentences, to go with the music. That can be heard in "Aindto!" and last part of "Stinsen I Bro". Further he made "Föräldrarlåten" work by blending English and Swedish lyrics with pitched in qoutes from Bo Diddley and a childrens song. Musically it reminds of his first, having improvised parts built around pre-set themes, but on a steadier ground with more elaborated songs. Even if I appreciate the freshness and atmosphere of the debute more, this is still an enjoyable psych/prog journey with lots of good guitars from Georg Wadenius. Favorite song - "Stinsen I Bro" http://www.youtube.com/watch?v=A2dUZiyd1_g . Remastered CD 2004 on Warner (5050467411128) First Swedish press had blue label as shown here and laminated fold/out cover. (SCÄ*)(CCÖ*)

STEPPENWOLF LIVE 1C 188-91 644/5 (-70) GERMANY

I saw them on stage in England 1970 and was very impressed. Around this time I experienced quite a few live performances by US and UK bands touring Europe. Steppenwolf wasn't my absolute favorite for studio albums, but on stage they proved to be the tightest and rawest with an incredible groove. Some of that magic is captured on this 2-LP set, most of it recorded in Santa Monica 1970 to promote the "Monster" album. I bought it early and enjoyed as a flashback. It was about the same numbers and with my eyes closed I could rekindle the moment. Much later I learned that three of the cuts - "Twisted", Hey Lawdy Mama" and "Corrina, Corrina" actuallty were studio recordings, remade and with added crowd noise to emulate live. That is cheating and in a way disappointing, but on the other hand so well done here it's almost impossible to hear if you don't know. It's the same feeling and groove all through and still a very good live album, so I just go with it. Also this version of "The Pusher" is the meanest ever and that alone makes it worthwhile. Audio is really good, allowing you to be there if you choose. Premiere US on Dunhill (DSD 50075). UK Stateside single LP release (SSL 5029) came with eleven tracks, omitting "Monster" and "Power Play". Early German, made from US tapes, had label as shown here, thick vinyl and laminated fold/out cover. (LYBÖ*) (GÖXÄ*)

JASON'S FLEECE 6363002 (-70) SWEDEN

Combo existing 1970-71, sometimes under the name "Sam & Hawkey". Members shifted, most of the time including Swedish jazz/prog musicians Björn J:son Lindh (1944-2013), Kenneth Arnström, Janne "Loffe" Carlsson, Georg "Jojje" Wadenius, Sam Ellison, Hawkey Franzen and American jazz bassist Red Mitchell (1927-92). This was their only album, also involving Jan Bander on drums and Tages/Blond vocalist/bassist Göran Lagerberg. The music resembles US pop/jazz/prog outfits as Blood, Sweat & Tears, Chicago or Electric Flag. Sleeve notes doesn't say exactly how long or how much Lagerberg was involved in the band, but to me some of the songwriting and vocal style remind of late Tages stuff or the Blond album - maybe just a coincidence. The performances and arrangements are a lot more advanced though with some intriguing twists - e.g. the counter bass/scat song figures in "Confession", strings at the end of "Winter Comes On Slowly" or psych guitar/sax duet in "Cash Box Lady". Even if song structures are quite regular most of the time it's still a very good jazz/prog album with funk, blues and psych outings, performed by some of the best. "Confession" and "Rusty" were coupled as a mono '45 (Mercury 6062015). 1970 LP release in Sweden only. Not re-issued on CD. It came in a fully laminated fold/out cover with stapled sheets containing nine pics and the Red Mitchell quote shown below. (SCÄ*)(DÄXÖ*)(CCÖ*)

THE VERTIGO ANNUAL 1970 6499 407/8 (-70) UK

One of those indispensable samplers, with so much going for it - label design, musical quality, rare tracks, top audio and alluring cover pics - it has become a collectors item by own merits. One cut each from the sixteen first albums realeased by the label. Most represented here didn't sell a lot back then and the originals can sometimes be hard to find or afford. I haven't had or heard all of those so I can't compare, but get the impression they picked the better or best from each. Some compilations have at least one downer regarding track choice or audio. On here I can't find one thing less than marvelous. From the happy-go-luckys Fairfield Parlour "In My Box" and Magna Carta "Going My Way" over the heavy Sabbath, Juicy Lucy and Uriah Heep cuts to the jazzier Nucleus, Colosseum and May Blitz it's all tophole. Only bad thing is I can't use it as background music when doing chores at home. The beauty entices me and sooner or later I get stuck in front of the speakers, forgetting everything about cleaning or whatever. Contemporary issues on Vertigo in a couple of other countries. Spanish "Anual de Vertigo 1970" came with other cover design. To my knowledge not released in US. Early UK had labels as shown here, matt fold/out cover and dated swirl inners. (SÄM*)(ÖRHÄ*)(WLÖ*)

SUPER DUPER BLUES SPR 31 (-69) UK

Another top sampler with early press cuts taken from LP:s that would cost a bundle if bought together today. The track list contains seven songs from white blues artists and five from their black blues progenitors. Fleetwood Mac is the most represented act. Apart from three original album tracks most of the band also participated on the Eddie Boyd recording and Peter Green did guitar on the Gordon Smith one. All were recorded within a few years sharing the same locations and producer - Mike Vernon - with similar setups and arrangements. The common atmosphere and sound makes it almost appear like recorded by the same gang, using a bunch of different lead vocalists. Both track choice and audio are excellent, giving an evenly pleasurable listening. Eddie Boyd's "The Blues Is Here To Stay" is mono, the rest stereo. First UK had label as shown here and laminated cover. The fact that it's a mono cover with stereo sticker just makes it part of the UK CBS strategy back then, meaning mono's may have been planned, but not necessarily pressed. (SÄM*)(FXÄC*) (BLÖH*)