CMU - SPACE CABARET (TRANSATLANTIC 1972) Japan mastering cardboard sleeve + 2 bonus

Only the Odell couple and Ian Hamlett remained from the first album. Mortimer, Gordon and bassist Ed Lee had been replaced by Richard Joseph on vocals and acoustic guitar, Steve Cook on bass and finally Leary Hasson on keyboards. The latter one had earlier played in Marsupilami, and was undoubtedly the most exciting of the new members. "Space Cabaret" is musically quite different from the debut. The bluesy tendencies were gone, and the band went instead for a more symphonic and spacey kind of progressive rock with some slight folk-influences and overall far more complex material. The lyrics were also considerably more far out and dreamy than on the debut, fitting well to the new musical direction. The 17-minute title-track in four parts is probably the best thing the band ever did. Hasson introduced Mellotron, el-piano and some spacey synths to the band's sound, and Joseph are allowed to sing a lot more along with Odell than what Gordon ever was on the debut. The melodies are thoroughly strong and the arrangements have a spacey sweep and atmosphere to them. The first side closes with the short and acoustic "Doctor Am I Normal?". This charming folk-song seems to be a bit out of place from the rest of the record's space-concept, but is still a good tune. The second side is taken up by two complex 10-minute pieces. First out is "Dream" that starts slow and gloomy, but quickly picks up the pace in the funky mid-part that finally leads out into a quite heavy finale. The closer "Light Shine" is, despite several vocal-passages, mostly a showcase for Hasson and his various sounds, climaxing in a fine jam between his organ and Hamlett's guitar...
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CMU - OPEN SPACES (TRANSATLANTIC 1971) Japan mastering cardboard sleeve

Cambridge based CMU were a sort of folky bluesy progpsych outfit,like so many at the turn of the '70s,and they managed a couple of albums. Their debut, Open Spaces (1971) is a stunning, complex, melodic progressive album with exceptional female vocals, great fuzz guitar and strong keyboards.By their 2nd album, Space Cabaret (1972),CMU had moved away from their bluesy roots into a more folk/psych direction,although they could also rock out when the mood took them. Original LPs on Transatlantic Records are now rare...[net]
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Contemporary Music Unit (CMU) - Open Spaces: A fantastic recording, in pretty much the same vein as Affinity, or the Linda Hoyle album. Belongs to the best pages of UK Progressive Rock. Beautiful female vocals, and very atmospheric arrangements...
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BLUE CHEER - NEW! IMPROVED! #### (PHILIPS 1969) Japan mastering cardboard sleeve

Fans of early Blue Cheer won't want to miss this amazing transform.. from loud and raucus rock to fine tuned and tasteful rock and roll. Side two of the album in particular flows through Peace of Mind and Fruit and Icebergs. Peace of Mind is filled with mild and powerful musical statements. Some of the absolute best dual lead guitar solos ever performed will absolutely wreck you. Fine and somewhat eerie harmonies will move you. An emotional masterpiece. Fruit and Icebergs is performed in the best 3 piece rock band tradition. Reminiscent of the glory days of Cream, Leslie West and Mountain and others of that time with the originality you've come to expect from Blue Cheer. Certainly every song on the album is worthy of high mention and praise but if these two songs in particular don't strike you in the rock and roll jugular then your veins are tapped out....[net]
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Originally released in 1969,as this was Blue Cheer's third album. Almost as good as their first two lp's,'Vincebus Eruptum' and 'Outsideinside'. Even though bassist/vocalist Dickie Peterson and drummer Paul Whaley are joined by two 'new' guitarists Randy Holden and Bruce Stephens,'New Improved!' is still a worthy pick.Tracks that impressed me the most were "West Coast Child Of Sunshine"(a good psychedelic piece),"Aces 'N Eights",their Dylan cover "It Takes A Lot To Laugh,It Takes a Train To Cry" and "Honey Butter Lover"....[net]
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CHARLEY MUSSELWHITE'S SOUTH SIDE BAND - STAND BACK! (VANGUARD 1967)

Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping...[net]
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1) Baby, Will You Please Help Me (Musselwhite) 3:20
2) No More Lonely Nights 5:15
3) Cha Cha The Blues 3:06
4) Christo Redemptor (Duke Pearson) 3:14
5) Help Me (Carraras, Farver, Ward) 3:31
6) Chicken Shack 4:23
7) Strange Land (Musselwhite) 3:04
8) 39th and Indiana (Musselwhite) 2:43
9) My Baby 2:43
10) Early In The Morning 4:32
11) 4 P.M. (Harvey Mandel) 3:27
12) Sad Day (Barry Goldberg) 5:02
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MUTUAL UNDERSTANDING - IN WONDERLAND (NIMBUS 1968) Japan/Korea mastering cardboard sleeve

Incredible harmony pop , an album that's as sunshiney as anything coming from the west coast in the late 60s but which was recorded up in Canada by this obscure little group! The group features both male and female voices , strung together wonderfully, with a sophistication that's way more than simple pop and backed with full strings and tightly groovy rhythms, in a quality that's almost like A&M pop at its best, but even more unique. There's a near-perfect quality to the record through and through a sound that makes us wonder why this one stayed so off the radar, but which makes us love it all that much more for its uniqueness. A number of tracks are familiar, but redone with a very groovy 60s edge -- and titles include "Look Around", "Wonderland", "Do You Know The Way To San Jose", "Pretty People", "Rain Rain Go Away", "Always True To You Darling In My Fashion", and "When The World Was Young"...
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IT'S A BEAUTIFUL DAY - MARRYING MAIDEN (COLUMBIA 1970) Japan mastering cardboard sleeve

After their wonderful debut from 1969, Linda LaFlamme left replaced by Fred Webb. Here, the songs tend to be softer and shorter than on their debut, and also more eclectic. There's a few stinkers on this album as well, like "The Dolphins", but some great songs like "Essence of Now", "Soapstone Mountain", and "Good Lovin'". Two songs features Jerry Garcia on pedal steel, "Hoedown" and "It Comes Right Down To You", which have, not surprisingly a country-ish flavor, especially since the Dead did release two country-ish albums at the same time, Workingman's Dead and American Beauty. It's strange that Marrying Maiden should be It's a Beautiful Day's best selling album even though it's not as good as their first.,,[net]
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From the sharp opening bars of Don and Dewey to the end, this album is comprised of some of the best music.
Listening to it, you get a firm essence of the late sixties - Haight Ashbury sound but with an added dose of sophistication and perfection.
No one can possibly listen to ESSENCE OF NOW and not be hit by the haunting music and the lyrical, unforgettable words.
This album stays with you for some time after hearing it and any serious rock or blue grass fan should have a copy for their library...[net]
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& here is a link to the first IABD album also in the same Jap reissue series...thanks to a blog's friend out there...
First Album

LE ORME - COLLAGE (PHILIPS 1971) Japan mastering cardboard sleeve [Italian Prog.]

Collage was the third album from Le Orme, and the first of theirs to be genuinely progressive. Having just reduced the band to a three piece, Le Orme have a more sparse, raw sound on this album than their later efforts. In general, however, this album set the scene for the next three albums with its combination of keyboard bombast, sublime melodies and the strong presence of dei Rossi's drums.
The title track opens the album with much pomp, and a little bit of Scarlatti thrown into the mix.
The rest of the album is of fairly good quality, with songs ranging from fairly typical early seventies rock to dark and atmospheric space-prog.
There is an overall "recorded live in the studio" feel of the album, which in some ways is enjoyable, but I find it detracts from the romantic-melodic atmosphere that Italian bands do so well.
This album is in most respects inferior to the three subsequent albums released by Le Orme. It could possibly lay claim to having greater consistency than Contrappunti, and the rawer, agressive jamming quality may appeal to some.
It is an album all Le Orme fans should get around to owning, but it is by no means essential for anybody else...[net]
1. Collage — 4:42
2. Era Inverno — 5:00
3. Cemento Armato — 8:08
4. Sguardo Verso il Cielo — 4:12
5. Evasione Totale — 6:56
6. Immagini — 2:58
7. Morte une Fiore — 3:00
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WHO - MEATY BEATY BIG & BOUNCY #### (TRACK 1971) Japan mastering cardboard sleeve

After the success of The Who's 6th album, "Who's Next", Decca Records decided to throw together a compilation to reintroduce The Who's earlier stuff to new fans who had only heard "Who's Next". The end result was "Meaty Beaty Big and Bouncy", the second Who compilation to be released on either side of the Atlantic and the third overall (preceded by "Direct Hits" in the UK and "Magic Bus" in the US. The album was released on November 20, 1971 in the US peaking at number 11 in the charts. It was released on December 3, 1971 in the UK, due to the fact that Kit Lambert wanted to change the track listing but wasn't able to. In the UK, "Meaty Beaty Big and Bouncy" reached number 9.
The album contains 14 of The Who's best tracks between 1965 and 1970. This album contained many non-album singles as well as album favorites. "Meaty Beaty Big and Bouncy" does a good job summarizing The Who's career up to 1970 in under 45 minutes. While it might seem obselete to newer compilations like "The Ultimate Collection", "Meaty Beaty Big and Bouncy" is still a fan favorite.
1. "I Can't Explain" - 2:05
2. "The Kids Are Alright" - 2:45
3. "Happy Jack" - 2:12
4. "I Can See For Miles" - 4:06
5. "Pictures of Lily" - 2:43
6. "My Generation" - 3:18
7. "The Seeker" - 3:11
8. "Anyway, Anyhow, Anywhere" - 2:42
9. "Pinball Wizard" - 2:59
10. "A Legal Matter" - 2:48
11. "Boris the Spider" - 2:28
12. "Magic Bus" - 3:21
13. "Substitute" - 3:49
14. "I'm a Boy" (alternate version) - 3:41
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SURFARIS - FUN CITY,USA (DECCA 1964) Remastered reissue

A Glendora, CA, surf group remembered for "Wipe Out," the number two 1963 hit that ranks as one of the great rock instrumentals featuring a classic up-and-down guitar riff and a classic solo drum roll break, both of which were emulated by millions of beginning rock & rollers. They recorded an astonishing number of albums (about half a dozen) and singles in the mid-'60s; the "Wipe Out" follow-up, "Point Panic," was the only one to struggle up to the middle of the charts. The Surfaris were not extraordinary, but they were more talented than the typical one-shot surf group; drummer Ron Wilson was praised by session stickman extraordinaire Hal Blaine, and his uninhibited splashing style sounds like a direct ancestor to Keith Moon. He also took the lead vocals on the group's occasional Beach Boys imitations...[net]
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STANDELLS - DIRTY WATER (TOWER 1966) Mastered in mono + bonus

"Dirty Water" is their Tower debut. The title song is a Punk classic reproduced on numerous "Nuggets" type comps, and along with the five and-a-half minute b-side, "Rari" was recorded in Hollywood by Richard Podolor. Most of the remaining tracks - originals, covers, and songs written by Cobb, an accomplished sonwriter - were recorded a year later (April 1966) at Kearnie Barton's Seattle Studio, and were "over-modulated directly to the multi-track tape, causing the finished master to become a powerful...gritty and distorted wash of sound..." charactistic of the Northwest punk/garage bands recording at Barton's studio during the period (such as the Sonics). These early recordings contained influenced later groups like the MC5.
Drummer Dave Dodd (an ex-Mouseketeer!) had a sexy, delicately cool and seductive voice that influenced (N.Y. Dolls guitarist)Johnny Thunders' breathy singing on "Hurt Me" and other classics. Dodd sings about two-thirds of the material included and is a near-forgotton punk-rock progenitor. He could snarl with the best Jagger-imitators and convey the soft bad-boy sexiness that exudes both cruelty and vulnerability. (His vocal on the classic "Medication" is one of the most understated and seductive ever!). Despite scores of versions recorded in 1966, Dodd manages to make "Hey Joe" sound like it was written for him. Keyboardist Larry Tamblyn also contributes a couple of fine rockers. The bonus cuts are all worthy,including the pre-Cobb audition track, the early-Beatles influenced "It's All In Your Mind," and two solid outtakes from the "Try It" sessions...
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BLUES PROJECT - LIVE AT TOWN HALL (VERVE FORECAST 1967)

Third album & the Blues Project by this time were ready to disband. Al Kooper and Steve Katz would go onto form Blood Sweat and Tears, and Danny Kalb would do some jamming around before forming Seatrain. The egos and the different music influences did them in. As Kooper would go onto say the only thing they had in common was that they were all Jewish. Kooper was a veteran of music already starting in the business when he was 15, and scoring with "Short Shorts" in 1958, and then went onto be part of Bob Dylan's band of studio musicians. He was the Rock and Roller, Danny Kalb was strictly blues, Steve Katz was the folk musician, and the keyboard player was into classical music while the drummer was a jazz addict. Thier breed of music was strictly underground where some songs got recognition, but it would take "No Time Like The Right Time" to become thier lone hit song. They did gain some airplay with the FM side with "Wake Me Shake Me", "I Can't Keep From Crying Sometimes", and the legendary "Flute Thing". This was an album to be freed from thier recording contract, but it's done up rather well. There's some very good sounds with an electric version of "Flute Thing", and also "Where There's Smoke There's Fire" with some showy organ playing by Kooper...
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TRISTE JANERO - MEET TRISTE JANERO (WHITE WHALE 1968) Japan mastering cardboard sleeve

Dallas was hardly the capital of Latin-tinged summer sixties' pop in 1969, so when a band in their early-twenties named Triste Janero (a name curiously derived from the Portuguese for 'Sad January') released their only album Meet Triste Janero, the world hardly shuddered to a halt. Sergio Mendes & Brasil '66 had authentic Latin origins, and had captured an appreciative Jazz audience. To Triste Janero's peril, a lack of promotion from original label White Whale ensured that only the band's hometown offered a welcoming reception, and soon after they disbanded. That's a crying shame, as Meet Triste Janero is a soft-pop Latin-drenched classic of shimmering, warm sounds.
The beautiful thing about Triste Janero is being able to listen to them tread the fine line between pop and jazz whilst simultaneously stamping their own trademark over each song. After the sultry instrumental taster A Beginning Dream opens the proceedings, album standout Rene De Marie casually seduces the listener with its stark chords and evocative vocals by lead temptress Barbara Baines, still only a young teenager at the time. The band's wonderful arrangement of the Bacharach-David classic Walk On By even predates the emerging fusion of electric guitars with contemporary jazz, a genre predominant of the early seventies and exemplified by Santana's Caravanserai.
The cover of Nilsson's Without Her switches genders from a male to a female perspective, and is the closest Triste Janero come to a Brasil '66 sound. Before you know it, they've also tread through territories pioneered by Jobim, Francis Lai and even The Lovin' Spoonful. The band's take on the latter's You Didn't Have To Be So Nice arguably usurps the original as standard version.
Jazzy instrumental finale T.J. Blues is a lengthy closer that allows the band some improvisational experimentation.
Meet Triste Janero is a lost classic of a debut album; it demonstrates startling maturity from a very young band and it expertly blends together differing genres of sunshine-guitar-pop to form an embracing, cherished sound...
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J.K. & Co - SUDDENLY ONE SUMMER ###### (WHITE WHALE 1968) Japan mastering cardboard sleeve

This album was created by J.K., a 15-yr. old (!) who was used to hanging out with musicians and entertainment types. The kid also took acid (and judging from the lyrics, heroin) and listened to the Beatles, and this album is the result of those experiences, and also trying to create a song cycle that described the think line between life and death, with songs about childhood and innocent love in the beginning, then growing awareness in the middle, and then death at the end, all shot through with a sense of freedom and release.
It is a quite effective effort, and the music is very interesting and sophisticated, particularly for such a young mind. "Fly" is gorgeous and very Beatles-esque, almost worth owning the album alone. "Christine" is a nice simple love song, and "Nobody" and "O.D." introduce the darker side of awareness leading to the many-faceted "Dead" that closes the album. The album is extremely interesting!!
The musicianship is also very good, with psych-tinged guitars bouncing here and there, droning bass pulsing in the background and various other studio effects for good measure. (Backwards Piano, sitar, some mellotron... you name it.) Really, it's all outstanding stuff. Jay's voice also fits the theme of the record perfectly and is often haunting and spooky in it's delivery...
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REMO FOUR - SMILE (STAR-CLUB 1967) + 8 bonus

An obscure Merseybeat band that went through several stylistic changes over the course of their nearly decade-long life, the Remo Four were very popular for a time in Liverpool around the time the Beatles were still playing in the Cavern, and were even signed by Brian Epstein, but never had anything approaching a hit single......
......By 1966, the Remo Four were spending most of their time in Hamburg, Germany, where they played the Star Club. Their personnel also altered around this time, and with the incorporation of organist Tony Ashton, their sound took on far more of a soul-jazz flavor. They did a couple of singles and an album, Smile!, for the Star Club's label in 1966 and 1967, and these show quite a bit of artistic growth from their Merseybeat days. The Remo Four were now a sophisticated soul-jazz-rock group with prominent organ, in the mold of other British artists of the era like Graham Bond, Georgie Fame, Zoot Money, and Brian Auger, although they were not explicitly derivative of any of the aforementioned figures, with hints of the straighter rock approach of the Animals and the Spencer Davis Group. Although they wrote little original material, their arrangements and interpretations were forceful and imaginative...[net]
>>>A UNIQUE ORGAN DRIVING BEAT ALBUM<<<
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JACKIE DeSHANNON - WHAT THE WORLD NEEDS NOW...(IMPERIAL 1968) Japan mastering cardboard sleeve

She's often held up as a paradigm, a prime example of one creative woman standing up for herself in a male dominated industry at a very sexist time. And she's even better known for her two big hits: "Put A Little Love In Your Heart" and "What The World Needs Now Is Love." But not many know that Jackie DeShannon wrote tons of songs -- some of which were hits -- for other artists.
"What The World Needs Now Is Love" was her only No1 hit in 1968 and also appeared in the 1969 film "Bob,Carol,Ted & Alice"...Here