MICHAEL JACKSON/MUSIC & ME M767L (-73) US

 His third solo album. It recieved lukewarm rewievs and to today remaining his lowest selling. As the story goes he wished to include his own songs and play instruments at the recordings, but was put down by the Motown staff. He was also going through the puberty voice change at the time which hampered his ability to sing clean. This is the first time I'm hearing it, so I'm curious if that background adversely affected the result or if it's still ok Motown. Listening now I hear a very good production - arrangements, mix and audio all tophole. His voice can sound somewhat strained sometimes, but always in tune. The songs mostly very mellow, nothing  catches at first spin. I dig the more powerful "Johnny Raven" and "Euforia", but to me some of the rest come strangely unremarkable. Far from bad, just lacking that special edge you almost always get from a Motown LP. Fitting to have in the background for slow moments, but not very arresting. Still a keeper as it is the "king of pop" on my favorite label.  Issued and reissued all over the world on every possible format through the years. First UK on Tamla Motown (STML 11235). Japan 2013 remastered CD on Universal Music (UICY-75786). Early US had label as shown here in a fully structured cover. (YZÄ*)  (TÖMÖ*)

                                                                            

                                                                               

                                                                              

                                                                                      

                                                                                  

 

JACK HAMMER/THE TWISTIN' KING LP 001 (-64) MONO BELGIUM

 Jack Hammer (born Earl Solomon Burroughs in Georgia, 1925-2016) was a US singer/songwriter and pianist who in the late fifties and early sixties wrote songs for artists as Jerry Lee Lewis and Nina Simone. He was also for a while a member of The Platters and released his first solo album 1960 - "Rebellion" - on Warwick label. After that he moved to Belgium, where he recorded a serie of twist songs, of which "Kissin' Twist" became a big hit in many European countries. He was crowned "The Twistin' King", but that hype faded when the dance became yesterday's news and after spending time in Germany performing at US military bases he moved back to US in the seventies. This album was recorded to cash in further on his big hit and contains twelve numbers, all including "twist" in the titles. Don't know if anyone reading this twisted back in the sixties. I did at school dances and parties and have many fond memories to it. I guess today very obsolete for most people under the age of sixty, but if you were there this might be something to enjoy. Sounding very fifties with songs in styles reminding of early rock'n'roll, boogie and doo wop, all up-tempo. He's a good singer and the arrangements on the spot with mixed background quires. It may seem monotonous listening to twelve such numbers in a row, but it is a happy record with many positive vibes and if you still can do the moves it might get you up from your comfy chair. I'm a little too stiff nowadays, but I can always listen and reminisce. Released like this in France  and Belgium. In Italy, UK, Israel and Germany with other titles, sleeve design and partly differing track choices. Too many variations  for me to get into here. German 2024 CD "On The Dancefloor With Jack Hammer" on Bear Family records (17711) contains most of the tracks from this. First Belgian had label as shown here in a laminated flip/back cover. 

                                                                          

                                                                               

                                                                                 

 

JOHN LENNON AND YOKO ONO/UNFINISHED MUSIC NO. 1:TWO VIRGINS T 5001 (-68) US

 One of the most famed and at the same time less played records ever. Recorded by John and Yoko in Lennon's home while his wife Cynthia was on holiday in Greece. Consisting of tape loops, spoken words, screams and sound effects, all mashed together seemingly on a hunch without care for any result. According to Lennon it was just them expressing contemporary feelings and meant to be recieved in whatever way the listener wanted to. Maybe it says something about me, but I don't get it. It could be heard as an exemple of psych or avant-garde and I do dig those genres. Though then I need some kind of theme or melodic content, like in the first two Yoko Ono albums, to truly enjoy. What I hear here is just a mishmash of sounds that doesn't tell me anything. What gets me is the sleeve design showing the couple stark naked front and back, ordinary looking without any kind of photo-shopping, wanting to express both innocence and honesty. That's brave. Of course with all that EMI and Capitol didn't wanna distribute it, so Track records took on the challenge in UK and Tetragrammaton in US. First released as true mono through mail order only, all publicly issued stereos after that was fake. EMI did press the UK vinyl, but left the sleeve handeling elsewhere. I never heard that but guess it sounds quite clear. This US is repudetly just transferred from a UK vinyl with lots of surface noise. And that is what I hear on this mint copy - not only is the "music" too much for me, it also comes quite muddy accompanied by lots of hissing sounds. So it won't be spun a lot here in the future, but it is a welcome addition to my Beatles collection. Also originally issued on vinyl in UK (Apple S/APCOR 2), Canada and Netherlands and as US 8-track and cassette. Japan2016 CD on Sony (SICX 71) came with Yoko's "Remember Love" as bonus track. Premiere US had label as shown here in a glossy cover contained in a brown bag with face pics and a bible quote from Genesis, chapter 2.  (BÄ*)  (JYZÖ*) (YZÄ*) (FÄV*) (ÄPLÄ*)

                                                                                

                                                                                 

 

MARVIN GAYE & TAMMI TERRELL/UNITED STML 11062 (-68) UK

 This is the tenth Marvin Gaye album I'm posting, six of them with duets. Check here  https://monolover.blogspot.com/search?q=(G%C3%96JI*)&max-results=20&by-date=true . This was the first of the duo's three collaborations and also first LP for Tammi. It became Gaye's most successful album of the sixties, selling a million and also spawning four big selling 45:s - "Ain't No Mountain High Enough", "If This World Were Mine", "If I Could Bild My Whole World Around You" and "Your Precious Love". Two of the cuts - "Hold Me Oh My Darling" and "Two Can Have A Party" - were originally Tammi Terrell solo efforts that Gaye overdubbed for the LP. So popular back then, but how does it sound almost sixty years later? At least to my ears very well. Two top singers backed by The Funk Brothers, The Andantes, The Spinners and The Originals, handeled by a production team consisting of Harvey Fuqua, Johnny Bristol, Hal Davis and Berry Gordy. This is good Motown. A catchy mix of up-tempo and slow movers. The cuts differ some in style and arrangements, yet sticking well together and providing happy listening all through. There are no bad tracks here, but if to choose favorites - "You Got What It Takes", "Two Can Have A Party", "Ain't No Mountain High Enough" and why not the very sweet cover of "Something Stupid". This is also a very good stereo mix - spread and very together at the same time. Premiere US on Tamla (TM/TS 277). Sixties releases also in Canada, Germany and a couple of South American countries. CD issues in US, Japan, Spain and EU. First UK had label as shown here in a laminated flip/back cover with ad inner for UK Motown issues.  (FÄV*)  (GÖJI*)

                                                                             

                                                                                  

 

                     

                                  

                                                                                 

                                                           
 

SIMON AND GARFUNKEL/PARSLEY, SAGE, ROSEMARY AND THYME CL 2563 (-66) US MONO

 Their third album and the one that's mainly considered their breakthrough. It reached #4 on Billboard, #13 in the UK, has been rewarded 3xPlatinum in US and also from 1999 in the Grammy Hall Of Fame. All songs except the traditional "Scarborough Fair" and "Silent Night" penned by Paul Simon, "Cloudy" co-written by him and Bruce Woodley. There's a lot more on the album you can get from Wikipedia, but I'm not going into that. Check here instead  https://en.wikipedia.org/wiki/Parsley,_Sage,_Rosemary_and_Thyme  . Just wanna say that I'm stunned how fantastic this still sounds today. Not only because the vocals and backing, or that you get the three classics "Homeward Bound", "The 59th Street Bridge Song (Feelin' Groovy") and "Scarborough Fair", but also for the pressing and audio. This US mono is one of the best such I've ever heard. Big and clear with tophole separation it embraces me from first to last cut and make me wanna listen again immediately. It's like the guys have travelled all the way from 1966 just to pay me a visit. This is why the audio of an original is as important as the music itself. If honest and right-on it can take you back to the recordings and listen to the artists intentions. If distorted by various technical manners or transcribed to other more modern formats it becomes something else. Not necessarily bad, but...something else. Issued and reissued on all possible formats all over the world through the years. Premiere US had label as shown here in a glossy cover with Columbia ad inner.  (YZÄ*)  (ÖXCÅ*)

                                                                                 

                                                                                  

                                                                                   

                                                

                                                                                                                                     
                                                                                 

                                                                               

                                                                               

 

MONICA TÖRNELL/ALRIK 6316 033 (-73) SWEDEN

 If the only album you've heard from her is the out there jazz/soul/funk third LP   https://monolover.blogspot.com/2025/02/monica-tornelldont-give-damn-6316-052.html  this second may come as a surprise. Deeply rooted in Swedish folk music with only one track - John Bundrick's "Magical Fountain" - sung in English, the rest in Swedish. Some of the tracks are interpretations of traditional tunes, like "Öje Brudmarsch" (Öje Bride's March), "Suplåt" (Drinking Song) and "Inte Äger Jag Gods Och Guld" (I don't Own A Big Estate Or Gold). The latter has an odd subtitle - (eng. translation) "Polka from Dalarna written down at Nicolai police station". Haven't found any explanation for the location, but she was known to be rather wild, so maybe she spent a night in the slammer at some point. Three of the songs sung a capella, the rest backed by assorted instruments as fiddle, flute and keyboards, mostly to a body of guitar, bass and drums. If you're in the mood for traditional folky stuff, sometimes in a more modernized style, mixed with sweet ballads and even some rock'n'roll, this might be it. I really like her voice - sometimes girlish, sometimes mature, but always personal. I dig it all so it's hard to pick favourites, but I've added a few below.  To my knowledge this Swedish was the only original release. Also issued 2012 as 11xFile, Flac, Album, 44.1KHz-16bits by Universal Music. Vinyl had label as shown here in a fully laminated cover. (FÄV*)  (SCÄ*)  (CCÖ*)

                                                                               

                                                                                 

                                                                          

                                                                             

                                                                                    

  

                                                                                         

      
 

DIANA ROSS AND MARVIN GAYE/DIANA AND MARVIN STMA 8015 (-73) UK

 Two of Motown's brightest stars doing a duet LP, produced by Valerie Simpson, Nicholas Ashford and Berry Gordy. Sounds like a dream for a Motown fan, but apparently it took time to get right. As the story goes...there were plans for it already 1970, but as Ross then had full time with launching her solo carreer and Gaye initially refused to do one more duet album due to his last three had come just before his partners had left the label - Mary Welles and Kim Weston quit and Tammi Terrell died of a brain tumor - and therefore he felt like cursing who ever he sang with. When the recordings finally started 1971 the two didn't get along. Ross was pregnant and didn't like Gaye smoking dope in the studio. They recorded one song together - Wilson Pickett's "Don't Knock My Love" - after which Ross was occupied with her baby and film projects while Gaye had other things planned, so to get going Motown decided to record them separately and then mix their vocals together. It took to 1973 before the album was ready for release. It got good reviews, but just reached #26 on Billboard while managing #6 in UK. Though even with such an uncertain becoming I can hear no trace of that here. It's a beautifully crafted love album with top audio and they sound close all the way. Maybe not one I would choose for sparkling moments or a pick me up, but perfect for relaxing or soft love meetings. It all fits very well together in a snug atmosphere, but if to pick favourites - the funkiest cuts "Don't Knock My Love" and "My Mistake (Was To Love You)" plus the emotional "Just Say Just Say". Issued and reissued all over the world on every possible format through the years. Premiere US on Motown (M-803V1). US 2001 CD on Motown (012 157 173-2) came with four bonus tracks. First UK had label as shown here in a matte fold/out cover. Unfortunately this copy have the groove somewhat unfocused on side two, which make the music sway at some of the cuts. Don't know if that goes for all copies of this pressing, but now I have to find another one of some kind to get it right. (TÖMÖ*)  (FÄV*) (GÖJI*) (ZYZÖ*)

                                                                               

                                                                                  

                                                                                    

                                                                                      

                                                                                   

                                                                                   

 

A MOTOWN SPECIAL DISCO ALBUM 2C068-98.729 (-77) FRANCE

  As a Motown freak I'm mostly into the sixties songs, but since I am addicted to the label I also wanna try later stuff to see if there's something there for me. Here's a collection of eight disco hits recorded 1975-77. And though I know the artists all of the songs are new to me. My own best disco memories are all from the sixties and early seventies, when we jived to Sly Stone, Beatles, Stones, Colosseum and Motown stuff in general, so I haven't danced to any of the numbers here and therefore have no emotional connection. But it's easy to fall in love with Diana Ross "Love Hangover" and Thelma Houston "Don't Leave Me This way" - both starting slow and emotional, then progressing to up-tempo and even more emotional. And both Eddie Kendricks "Goin' Up In Smoke" and Tata Vega "Full Speed Ahead" has enough of the classic Motown feeling to get me. Also the audio is very good, so if played loud it would certainly gild any dance party. Even if I have no previous relation to any of the songs they still do me good and I may just get up and start moving my old legs to this record before too long. Also released on vinyl in UK, South Africa and Greece, but to my knowledge never on CD. First French had label as shown here in a thin glossy cover. (TÖMÖ*) (MFÄX*) (FÄV*) (SÄM*)

                                                                                   

                                                                                

                                                                                       

                                                                                   

                                                                                  

 

SANDIE SHAW/REVIEWING THE SITUATION NSPL 18323 (-69) UK

 For more on her please check post on her debute  https://monolover.blogspot.com/2013/09/sandie-shawsandie-npl-18110-65-uk-mono.html  . This was her fifth original LP. It's been on my want list for a very long time. Not only because I happen to like sixties female vocal, but also since it's different from all she'd done earlier. Here's a girl famous for pop ballads and schlagers suddenly recording a self-produced album with covers of Led Zeppelin, Rolling Stones, Dylan, BeeGees, Beatles, Loving Spoonful, Dr John and Donovan. Backed by Ian Wallace (King Crimson) on drums and some to me unknown guys on guitar, bass, saxophone and flute. Most reviews has been less than favourable and it didn't sell at release, but let's give it a chance fiftysix years later. First thing that hits me is how down to earth it is. For exemple versions of the Stones and Zeppelin stuff far from the originals elaborate and hard hitting productions. Instead it's all very relaxed, like a couple of skilled friends getting together and playing for fun. And the audio is superb, bringing a very natural feel. To me good listening all through, but if to pick favourites it'd be the rather sexy bossa "Love Me Do", the very cool versions of "Your Time Is Gonna Come" and Rufus Thomas' "Walking The Dog". I guess an album that won't attract modern listeners in general, or many lovers of her earlier stuff, but for me the combination of her voice and the choice of tracks really work. Vinyl issues also Downunder and in South Africa. UK 2013 CD on Salvo (SALVOCD 066) and the EU 2xLP "Record Store Day" issue on UMC (0836040) both came with ten bonus tracks. Premiere UK (also as mono NPL 18323) had label as shown here in a very thin and brittle fold/out cover. (FÄV*)  (PÖY*)

                                                                                  

                                                                                  

                                                                                 

                                                                              

                                                                               

                                                    

 

CATHERINE HOWE/"HARRY" SF 8407 (-75) UK

 British singer/songwriter born 1950. Though award winning and with tons of positive critical acclaim through the years - among other things appointed "one of the great unrecognized voices" and "Kate Bush before her time" -  she's still sadly unknown by the large public. There's lots of more info on her in Wikipedia, go there and see  https://en.wikipedia.org/wiki/Catherine_Howe#Bibliography  . This was her second of seven studio albums up to 2015. If you're in need of snug stuff it's a gem. All cuts but two - Dylan's "To Be Alone With You" and Tom Jans "Loving Arms" - self penned. Profoundly produced and arranged by Del Newman (1930-2020), who also worked with artists as Cat Stevens, Rod Stewart, Elton John and Caryl Simon. Sitting in my listening chair I'm feeling relaxed by the songs. Doesn't matter if slow or slightly up-tempo, it's smooth and caressing and her vocals always on the spot. Orchestrated ballads are usually not my cup of tea, but here it all fits and I have to give in. A lovely album, perfect for piping down moments. Favorite tracks - "When The Sparrow Flies", "Loving Arms" and "Harry". Also issued on vinyl in US and South Africa. Japan 2018 CD on RCA (SICP 5775). Premiere UK had label as shown here in a matte cover with her name and frame embossed on front. (FÄV*)

                                                                                      

                                                                                    

                                                                                     
                                                                                   

                                                                          

 

ESPERANTO/LAST TANGO SP-4524 (-75) US

 British-Belgian outfit existing between 1971-75, in that time releasing three LP:s of which this was the last. Founded by Raymond Vincent, formerly in Wallace Collection  https://monolover.blogspot.com/search?q=wallace+collection . The settng here consists of two violins, one cello and two vocalists backed by drums, bass and keyboards. And since the genres involved are psych, prog and art music it should be an interesting ride. And it sure is, starting with one of the most adveturous Beatles covers I've ever heard - "Eleanor Rigby" performed with frenetic strings to odd rhythms, so off that if if wasn't for the lyrics I wouldn't have recognized it. Then  "Still Life" - a strange mix of art music and funk with eastern influence. And on it goes with freaky genre blends, often in high speed but always expertly executed. This is not for the faint-hearted listener, but if you enjoy taking a less certain road, for better or worse, just to see what's happening it might be something for you. Full album below. Issued on LP and/or CD all over the world through the years. Japan 2016 CD on Belle Antique (BELLE 162512) came with two bonus tracks.  First US had label as shown here in a fully laminated cover. (YZÄ*)

                                                                                  

                                                                                 

                                                                                     

 

ABC TELEVISION'S THANK YOUR LUCKY STARS VOL. 2 LK 4554 (-63) UK MONO

 One of two LP:s released 1963 in association with the UK TV-show "Thank Your Lucky Stars", broadcsted between 1961-66. While the other was a sampler of Pye artists  https://monolover.blogspot.com/2023/04/brian-matthew-introduce-abc-televisions.html , whith more "grown-up" music as pop ballads and smooth jazz, this was mainly directed towards a younger audience. I love picking and digging in to stuff like this, where I can get a mix of today still well known acts and ones that disappeared from the public eye long time ago. Apart from the obvious Rolling Stones I bet most lovers of sixties music also are familiar with Brian Poole & The Tremeloes, Tornados, Heinz and Bachelors. Though the real gold for me here are the recordings that otherwise only surfaced on 45:s or long forgotten LP:s back then and therefore sadly forgotten by most today. Some of them has resurfaced on CD:s or as downloads by now, but as this sampler was almost coincident with the recordings it's worth more to me. Good to hear tracks like The Caravelles "You Don't Have To Be A Baby To Cry" - femal vocal duo with enough spunk to catch, The Big Three "By The Way" good Merseybeat pop, Kathy Kirby "Dance On" emotional rhythmic pop and Mickie Most "Mr. Porter" an exemple from his early artist carreer before he became a successful producer. All in original mono with smashing audio. To my knowledge only issued on vinyl in UK and Israel (PAX ISK 1003) and that was it. Premiere UK had label as shown here with "Recording First Published 1963" and "Made In England" only at the top in a laminated flip/back cover with Handling/Playing inner.  (SÄM*)  (FÄV*)