Johnny Cash & June Carter "If I Were a Carpenter" (1969) (single)

If I Were a Carpenter, 7'' single

release date: Dec. 1969

format: vinyl (1970 reissue)

[single rate: 4 / 5] [3,82]

producer: Bob Johnston

label: CBS - nationality: USA

Tracklis: A) "If I Were a Carpenter" (4 / 5) (live) - - B) " 'Cause I Love You"

Single by Johnny Cash & June Carter taken from the album Hello, I'm Johnny Cash (Dec. 1969).

The single was part of my parents' record collection, and I got this with a bunch of other singles and lps at some point in the mid to late 1970s.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Elvis Costello "This Year's Model" (1978)

org. cover

This Year's Model
release date: Mar. 17, 1978
format: vinyl / cd (1993 remaster Extended Play)
[album rate: 4,5 / 5] [4,38]
producer: Nick Lowe
label: Smash / Demon Records - nationality: England, UK

Track highlights: 1. "No Action" - 2. "This Year's Girl" - 4. "Pump It Up" - 5. "Little Triggers" - 8. "(I Don't Want to Go To) Chelsea" (live on later 2002) - 9. "Lip Service" (live) - 11. "Lipstick Vogue" - 12. "Night Rally"

2nd studio album by Elvis Costello released only eight months after his debut is like that produced by Nick Lowe and it was originally released by the newly-founded Radar Records. It follows closely the recipe of his first attempt, but it also adds more than just another layer to his repertoire. This is the first time Costello is backed by The Attractions consisting of bassist Bruce Thomas, Steve Nieve on piano and organ, and Pete Thomas on drums. The trio was founded by Costello in the fall of '77 as backing group for his live performances. The '93 Extended Play remaster series on Demon (issued by Rykodisc in the US) contains six bonus tracks including "Radio Radio", which had only been released as a standalone single, though included on the US version of the album.
The album was my first acquisition with Costello, and I think of it as one of his absolute best. He has written all songs on the album and compared to the highly original debut this is simply more of the same, and more on top of that. It has that certain Costello sneer-at-conformity, which made it perfect in a music world of punk rock rebelling against 'the old world', but it wasn't really - and Costello never was punk. His music shared the energy and simplicity with punk, but it was something else, which would soon be known as new wave - and that style was a broad term. Something that later would also come to describe Costello's early albums is power pop. A term I never quite understood as it's mostly used to categorise a particular form of energetic rock that is anything else than what people usually think of when speaking of pop music. Calling it power new wave or just something else would be better than using the term pop, which I guess all artists of new wave was rebelling against. Anyway, with This Year's Model Costello was on everyone's lips. Lyrically, the songs are witty and intelligent songwriting and at the same time, the music itself is so powerful and uniquely composed.
The album was met by critical acclaim and time has only stressed its importance as one the best British albums ever produced. It's naturally enlisted in "1001 Albums You Must Hear Before You Die" and in 2000, Q magazine placed the album at number 82 on its list of the "100 Greatest British Albums Ever". Rolling Stone magazine ranked it number 11 in 1987 on its list of the best albums of the period 1967-1987, and in 2003, the album was ranked number 98 on Rolling Stone magazine's list of "The 500 Greatest Albums of All Time".
Highly recommendable.
[ allmusic.com, Blender, Rolling Stone, Uncut 5 / 5 stars ]

Alternate '78
vinyl cover on
Smash Records

 

US vinyl cover
on Columbia
Records

. . .

"I was seriously thinking about hiding the receiver
when the switch broke as it's old
They're saying things that I can hardly believe
they really thinking we're getting outta control

Radio - is the sound salvation
Radio - is cleaning up the nation
They say you better listen to the voice of reason
But they don't give you any choice
'cause they think that it's treason
So you had better do as you're told
You better listen to the radio."

. . .

The Clash "Black Market Clash" (1980)

Black Market Clash (compilation)
release date: Nov. 1980
format: vinyl (12EXP-304) / cd
[album rate: 4 / 5] [4,07]
producer: Mickey Foote; The Clash; Mickey Dread
label: Epic Records - nationality: England, UK

Tracklist: A) 1. "Capital Radio One" (4 / 5) - 2. "The Prisoner" (4 / 5) - 3. "Pressure Drop" (5 / 5) (alt. version) - 4. "Cheat" (4 / 5) - 5. "City of the Dead" (5 / 5) - 6. "Time Is Tight" (3 / 5) - - B) 1. "Bankrobber / Robber Dub" (4 / 5) - 2. "Armagideon Time" (4,5 / 5) - 3. "Justice Tonight / Kick It Over" (4 / 5)

Compilation album by The Clash only for the North American market issued by Epic Records (sub-label of CBS Records). Most of the tracks had been issued as B-sides to single releases for the UK and European market only. The decision to release it only one month before the band's third studio album, the triple lp Sandinista!, may seem a bit strange, but that release was postponed until Jan. 1981 on the American continent, and Black Market Clash wasn't released in Europe until 1991. I found the 12'' vinyl at my local record store (the first US issues were 10'' vinyl), as an import item back in 1983 or '84. At first, I thought of it as a non-official release, as no-one really new of it. Back then, The Clash was huge, although Sandinista! was a bit of a peculiar experience / development in sound. I remember that I was quite fond of this one, and primarily saw it as an album that linked the epic London Calling (1979) and Sandinista! rather nicely.
Over the years, I have come to appreciate it even more. In the early '80s, I had some difficulty in getting along with reggae and many punk rock and ska revival artists' honouring and trying out the genre. A lot of punk and new wave artists had to do some reggae track sooner or later, and often with little success. But The Clash didn't just try it, they combined, mixed, and altered the original Jamaican style into a new blend. Actually, many of the new ska revival bands played a British version that was close to rocksteady and Jamaican ska, but The Clash was more reggae-minded in a more experimental way using dub in nearly all their reggae inspired tracks. "Pressure Drop" is originally by Toots & The Maytals but The Clash completely changed the track into a more energetic punk rock AND reggae song, which is amazing. The original song IS really great, and it's only a mystery how Frederick 'Toots' Hibbert never was hailed as much as Bob Marley. Joe Strummer's vocal is characteristically crisp as ever, and the harmonic Strummer / Jones backing vocals are just top-notch together with tight but also reggae styled guitar, bass and drums. Half of the tracks are in the reggae dub category, and the other half is punk rock as in 'Best The Clash way possible'. The album was reissued as "Super Black Market Clash" (1993) with 21 tracks but that issue seems way to uneven, and some of the best tracks from the original release are strangely omitted.
[ allmusic.com 4 / 5 stars ]

[ collectors' item ]

Melody Mixers "I Napoli" (1967) (single)

I Napoli, 7'' single

release date: 1967

format: vinyl (XM 62075)

[single rate: 2 / 5] [2,24]

producer: ?

label: Polydor - nationality: Denmark

Tracklist: A) "I Napoli" - - B) "La bostella"

Single release by Danish pop and schlager quartet Melody Mixers consisting of band leader and guitarist Jørgen Artby together with a changing line-up counting names such as Mogens Billing, Kell Billing, Annie Lykke, Leif Petersen, and Ullrik Lie Arlieth. The quartet was founded in Copenhagen in 1955 and existed with changing line-ups until 1970 and especially saw a change of female lead vocalists. On this, Annie Lykke is new vocalist in replacement of Kate Sand, in '69 they were expanded to a quintet with Alice Anders on vocals, and for a time they played as a sextet with the addition of Annelise Brixager, also as vocalist, before dissolving in 1970.

The A-side track is a cover by Carlo Donida and with Danish lyrics by Peter Mynte, and the B-side is a cover by Perez Pilar with Danish lyrics by Peter Spar.

The single was part of my parents record collection, and it's an item that I never found entertaining, although, it's part of my first music memories that wasn't purely children's songs.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Familien Andersen "Hej sol - skin på mig! (1972 (single)

Hej sol - skin på mig!, 7'' single

release date: 1972

format: vinyl

[single rate: 2 / 5] [1,82]

producer: Helmer Olsesen

label: Polydor - nationality: Denmark

Tracklist: A) "Hej sol - skin på mig!" - - B) "Cirkus! Cirkus!"

Single release by Danish seven-members family act Familien Andersen fronted by the youngest 'star' of the family, Lille Bo (aka Bo Andersen). The family and especially Bo became stars overnight after performing the song "Jeg har set en rigtig negermand" on the national TV show "Musikalske venner" in 1970 (Bo as 4-year-old). The song was later included in the family film "Far til fire i højt humør" (1971) directed by Ib Mossin with Bo as Lille Per in one of the main parts performing the song, and with that, the family and Bo in particular experienced an overwhelming national popularity. Familien Andersen released at least two full-length albums: a Christmas album Jul med Familien Andersen (1970) with its renditions of popular Christmas Carrols, and their final album, for the most part consisting of original songs Familien Andersen (1975), after which they withdrew from performing.

The single was part of my parents record collection, and it's an item I never found entertaining, although, it's one of my very first music memories that wasn't purely children's songs.

👉 Another one from that earliest stage.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

The Clash "London Calling" (1979)

London Calling
release date: Dec. 14, 1979
format: vinyl 2 lp (CBS 88478) / cd
[album rate: 4,5 / 5] [4,68]
producer: Guy Stevens, Mick Jones
label: CBS Records - nationality: England, UK

Track highlights: A) 1. "London Calling" (5 / 5) (live) - 4. "Hateful" (5 / 5) - - B) 1. "Spanish Bombs" (5 / 5) - 3. "Lost in the Supermarket" (5 / 5) - 5. "The Guns of Brixton" (4,5 / 5) - - C) 2. "Death or Glory" (4,5 / 5) - 4. "The Card Cheat" (4,5 / 5) - - D) 1. "Lover's Rock" (4,5 / 5) - 2. "Four Horseman" (4 / 5) - 3. "I'm Not Down" (4 / 5) - 4. "Revolution Rock" (4,5 / 5) - 5. "Train in Vain" (5 / 5) (live)

3rd studio album by The Clash is a double vinyl album regarded as the band's best album. The style has evolved to a more quiet, subdued punk rock combined with ska, reggae, rockabilly / rock & roll, and jazz. Almost all tracks are co-written by Joe Strummer and Mick Jones, commonly known with Strummer as the lyricist and Jones as the musical composer - sometimes vice-versa. I recall, buying the album one or perhaps two years after its release, and the album was for a period of time, my most beloved album, although, this was at a time with so much new music coming to my attention that it was hard to keep an album as favourite for more than a few weeks. I really loved the energy of the punk rock era, and was of the impression that this was not entirely as great as Give 'Em Enough Rope, which I till this day still feel. The album was, and still is, considered a milestone of modern rock. Some claim that it's the first real post-punk album in the sense that a genuine punk rock band explores and incorporates other styles and genres from a punk rock perspective. The album is enlisted at the very top of numerous best of lists comprising the best albums of all time, and naturally, it's also in "1001 Albums You Must Hear Before You Die".
btw.: The front cover design is inspired by the debut album (1956) by Elvis Presley.
[ allmusic.com, Sputnikmusic, Rolling Stone, Q Magazine 5 / 5 stars ]

1979 Favourite releases: 1. Joy Division Unknown Pleasures - 2. The Jam Setting Sons - 3. The Clash London Calling

"Collector's item".
[ from €30,- ]

BEST OF 1967:The Velvet Underground and Nico "The Velvet Underground & Nico" (1967)

The Velvet Underground & Nico [debut]
release date: Mar. 12, 1967
format: vinyl (reissue) / cd (2012, 45th Anniversary Edition)
[album rate: 5 / 5] [4,88]
producer: Andy Warhol
label: Polydor Records - nationality: USA

Tracklist: A) 1. "Sunday Morning" - 2. "I'm Waiting for the Man" - 3. "Femme Fatale" (5 / 5) - 4. "Venus in Furs" (5 / 5) - 5. "Run Run Run" - 6. "All Tomorrow's Parties" (5 / 5) - - B) 1. "Heroin" - 2. "There She Goes Again" (5 / 5) - 3. "I'll Be Your Mirror" - 4. "The Black Angel's Death Song" - 5. "European Son"
[ full album ]

Studio album debut by The Velvet Underground originally released on Verve Records and, according to the album credits, produced by Andy Warhol, which does sound unlikely as Warhol didn't have any recording experiences - however, he did pay for the studio sessions. Allegedly, his producing method was to direct the band that they should go ahead and do whatever they felt like. Actual technical producer is most likely Tom Wilson. The Velvet Underground is in its classic line-up with Lou Reed on lead vocals & lead guitar, John Cale on electric viola, piano & bass guitar, Sterling Morrison on guitar, bass guitar & backing vocals, and with Maureen Tucker on drums & percussion. Nico was never part of the band but she often participated when playing live, and she is here credited as lead vocalist on tracks #3, #6 and #9 and doing backing vocals on track #1. And although, Warhol may have suggested to include Nico in the band - as he liked the idea of having a woman in front of this masculine project, but both Cale and Reed was against his idea, and then again Warhol's untrained musical background didn't help him to pursuade Reed nor Cale. Instead, Nico participates as featuring solo artist, and she already released her solo album debut Chelsea Girl in October that same year. Lou Reed is songwriter and composer of all songs - only tracks #A1 and #B4 are co-written with Cale and #B5 is credited the whole band.
The album is one of the most iconic and legendary albums in rock history. Although, the initial reception wasn't just positive, its status has put it among the utmost influential albums ever released. The cover has its own story, and the tracks, dealing with all kinds of touchy subjects, have their particular background stories. Soundwise and in terms of style, this was something out of the blue highly original, and then they didn't exactly do much good for a potential career by choosing to sing about drugs and sex. But the band stood on its own values and most certainly didn't give a hoot about anyone's opinion. Nowadays, it's dificult to point to an album of greater influence than this one.
I don't remember exactly the first time, I listened to this album but in the late 1970s my older brother introduced it to me, and I do remember that I liked it from the first minut on, and I have loved it ever since. Every now and then, I put it on, and I'm always amazed of how fine and fresh it still sounds production-wise, as well as the immediate and direct appeal every single track conveys.
Naturally, this is enlisted in "1001 Albums You Must Hear Before You Die".
This very album is a strong contender to the best and the most important rock-album ever released.
Highly recommended.

1967 Favourite releases: 1. The Velvet Underground and Nico The Velvet Underground & Nico - 2. Jimi Hendrix Are You Experienced? - 3. The Doors The Doors

org. cover

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Richard Hawley - Live

Richard Hawley
"Tonight the Streets Are Ours"

[Live on Later with Jools Holland, 2007]
[track from Lady's Bridge, 2007]

Richard Hawley Live:

"Darlin' " (At Devil's Arse, Derbyshire, 2011) [track from Lowedges, 2003]
"Coles Corner" (Live at Glastonbury, 2010) [track from Coles Corner, 2005]
"Hotel Room" (Live in Brussels, 2010) [track from Coles Corner, 2005]
"Remorse Code" (Live at Melkweg, Amsterdamm 2012) [track from Truelove's Gutter, 2009]

.  .  .

.  .

. 

Nazareth "Razamanaz" (1973)

Razamanaz
release date: May 1973
format: vinyl (6303 085 A) / digital (2006 remaster)
[album rate: 3,5 / 5] [3,62]
producer: Roger Glover
label: Philips - nationality: Scotland, UK

3rd studio album by Scottish hard rock band Nazareth is produced by Deep Purple bassist Roger Glover.
My older brother handed me this in a pile of other albums, primarily of the 1970s, alongside albums by Deep Purple and Jethro Tull, when he left our family house back around 1979/80.

The Jam "In the City" (1977)

In the City [debut]
release date: May 20, 1977
format: vinyl (2383 447) / cd
[album rate: 4,5 / 5] [4,28]
producer: Vic Smith and Chris Parry
label: Polydor Records - nationality: England, UK

Track highlights: A) 1. "Art School" (5 / 5) - 2. "I've Changed My Address" (4,5 / 5) - 3. "Slow Down" - 4. "I Got by in Time" - 5. "Away From the Numbers" (4 / 5) - - B) 1. "In the City" (5 / 5) (live) - 2. "Sounds From the Street" (4 / 5) - 3. "Non Stop Dancing" - 4. "Time for Truth" - 5. "Takin' My Love" - 6. "Bricks and Mortar" (4 / 5)

Studio debut album by The Jam released on Polydor Records and produced by Vic Smith [Vic Coppersmith-Heaven] and Chris Parry. Primary songwriter Paul Weller on lead vocals & guitar, Bruce Foxton on bass & additional vocals, and Rick Buckler on drums constitute the blasting trio who was leading the mod revival movement with strong influence from The Kinks, The Who, and Small Faces back in a punk rock disguise. The album contains two covers - "Slow Down" written by Larry Williams and first issued as B-side to his single "Dizzy, Miss Lizzy" in 1958, and (the) "Batman Theme" by Neal Hefti for the 1966 TV-series . This was already covered by The Who in '66 and that version is found on the EP Ready Steady Who (Nov. 1966), which could be the place where The Jam found its inspiration. Pete Townshend (The Who) and many others praised the band as the biggest thing since The Fab Four, and I was hooked from this and onward, although, my first actual listen may have been All Mod Cons (1978).
The band was always in my top 5 of favourite artists from scratch and until Paul Weller left and put an end to the band in 1982.
[ allmusic.com 4,5 / 5 stars ]

1977 Favourite releases: 1. Ramones Rocket to Russia - 2. The Clash The Clash - 3. The Jam In the City

Jimi Hendrix "Are You Experienced?" (1967)

Are You Experienced? [debut]
release date: May 12, 1967
format: cd (reissue)
[album rate: 4 / 5]

Track highlights: A) 1. "Foxy Lady" (5 / 5) - 2. "Manic Depression" - 3. "Red House" (4 / 5) - 4. "Can You See Me" - 5. "Love or Confusion" - 6. "I Don't Live Today" (4,5 / 5) (live) - - B) 1. "May This Be Love" - 2. "Fire" (5 / 5) - 3. "Third Stone From the Sun" - 4. "Remember" - 5. "Are You Experienced?"

Studio debut album by The Jimi Hendrix Experience originally released on Track Records (distributed by Polydor). Both style and sound of the album was something totally new as it was released. Hendrix shows his r&b-based source transformed into electrified psychedelic blues rock or acid rock. The Beatles, Rolling Stones, The Kinks, Small Faces, Buffalo Springfield, Frank Zappa, Cream, and many others had experimented with dubbing and started to bring in psychedelic elements to their sound but the Hendrix' feedback distortion was something new, and the tracks are refreshingly new. The album is naturally enlisted in "1001 Albums You Must Hear Before You Die".
I don't think I listened to the album in its entirety until the early 80s, but I had listened to several of the songs from the album, e.g. "Foxy Lady", "Manic Depression", "I Don't Live Today", and "Fire" back in the 70s, and I knew from early on that it was something extremely powerful.

1967 Favourite releases: 1. The Velvet Underground and Nico The Velvet Underground & Nico - 2. Jimi Hendrix Are You Experienced? - 3. The Doors The Doors

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

BEST OF 1978:The Clash "Give 'Em Enough Rope" (1978)

Give 'Em Enough Rope
release date: Nov. 10, 1978
format: vinyl (reissue - CBS 82431) / cd
[album rate: 5 / 5] [4,87]
producer: Sandy Pearlman
label: CBS Records - nationality: England, UK

Tracklist: A) 1. "Safe European Home" (5 / 5) - 2. "English Civil War" (4 / 5) - 3. "Tommy Gun" (4,5 / 5) - 4. "Julie's Been Working for the Drug Squad" (3,5 / 5) - 5. "Last Gang in Town" (4 / 5) - - B) 1. "Guns on the Roof" (3,5 / 5) - 2. "Drug-Stabbing Time" (4 / 5) - 3. "Stay Free" (5 / 5) - 4. "Cheapskates" (4 / 5) - 5. "All the Young Punks (New Boots and Contracts)" (4,5 / 5)
[ full album ]

2nd studio album release by The Clash, who went through a change of line-up after releasing its debut album as drummer Terry Chimes left and was replaced by Topper Headon (aka Nicholas Bowen Headon).
Somehow this was never credited as much as the debut album (1977) or as the highly praised successor, London Calling (1979). This is however, my favourite The Clash album, and I‘m very very close to rate the other two just as high as this one but here’s why. The debut album of '77 has of course a special status in punk rock and popular music history. The songs were raw, intense, and energetic but [... trying to say something negative about it] also much alike [whoo... careful now!], and then there’s the production aspect. Some would argue and say: “It’s punk rock you daft e-diot! Not friggin’ George Miiikel!!” Right, eh I get the point, but... even so, I think the debut has a (shallow) poor production sound compared to this one. And it’s a bit funny mentioning the production side because at the time this one was all brand new, people claimed that the production was too heavy, and way too 'polished', meaning too traditional rock related, and simply not punk rock enough. At that time that meant: not ugly enough, and not contrary to what else is around, which of course was a HUGE part of being correct 'punk'. The only pit fall about this argument is a focus on form and style instead of sound, lyrics and music - in essence what making music is all about! Anyway, compared to the punk rock iconic London Calling, my only negative remark about that is that it’s a little... weak [listen, I just said 'weak' about one of my favourite albums]. 'WEAK!???' Sorry, now don’t sue me. I love this band and that album is on my desert islands' list, I’m just trying to make a tiny little point here as to why I prefer Enough Rope, Okay?! Easy, for heaven's and Joe's sake - bless his soul wherever he enlightens everything. What I mean about 'weak' is that London Calling is not really a pure punk rock album altogether but more of a great pop / rock and rock album with some really fine pop / rock songs. It's songs like “The Right Profile”, “Wrong ‘Em Boyo”, “Koka Kola”, “Lover’s Rock”, “I’m Not Down” - all of which are just a wee bit too nice and sweet [stylistically, not lyrically, mind you!] and I end up skipping them in the (considerably) long run.
In my mind, Give 'Em Enough Rope has no weak spots - so that’s why... there you have it - it’s simply G R E A T. < period >
[ allmusic.com 4,5 / 5, Q Magazine 5 / 5 stars ]

1978 Favourite releases: 1. The Clash Give 'Em Enough Rope - 2. The Jam All Mod Cons - 3. Bruce Springsteen Darkness on the Edge of Town

Jethro Tull "Thick As A Brick" (1972)

Thick as a Brick
release date: Mar. 10, 1972
format: cd (1987 reissue) / vinyl (2022 remaster)
[album rate: 4,5 / 5] [4,38]
producer: Ian Anderson
label: Chrysalis - nationality: England, UK

Tracklist: 1. "Thick as a Brick (Part 1)" (4,5 / 5) - 2. "Thick as a Brick (Part 2)" (3,5 / 5)

5th studio album by Jethro Tull. Before going to the studio to record new material the band's drummer, Clive Bunker had left the band and was replaced by Barriemore Barlow. This is the bands [Ian Anderson's] response to music critics referring to Acqualung (1971) as a concept album. Anderson wanted to make a gimmick out of this release, so he really went all the way in making something that could only be labelled conceptual. However ironic the idea behind the album was founded, and created with inspiration from Monty Python's Flying Circus, it really is a musical masterpiece. The album consists of one composition, only divided into two halves (Part 1 and Part 2) due to the vinyl album format. The style is progressive rock blended with classical and folk. It's really a great composition that hasn't ceased to fascinate me. I think, I first heard the album back in the early '80s where I had found a vinyl copy at the local library. At this time, I knew of Heavy Horses and Songs From the Wood on vinyl and wanted to know more of the band. I recall, how great it was to unfold the newspaper version of the sleeve with its fictitious stories about a local community and the primary story about 8yo wonderkid Gerald Bostock. Initially, I thought it was true, but having learned about the gimmick, I still found it pretty ingenious. The album reached number #5 in the UK but it topped the albums chart list in the US.
EDIT 2025:
The 2022 50th anniversary remaster is a repress of the 2012 remastered Steven Wilson remix, and it comes with reprint of the original newspaper cover.
[ allmusic.com 4,5 / 5, Rolling Stone, SputnikMusic 5 / 5 stars ]

1972 Favourite releases: 1. David Bowie The Rise and Fall of Ziggy Stardust and the Spiders From Mars - 2. Lou Reed Transformer - 3. Jethro Tull Thick as a Brick

Pusle Helmuth "Tryllesangen" (1967) (single)

Tryllesangen, 7'' single

release date: 1967

format: vinyl

[single rate: 2 / 5] [1,76]

producer: ?

label: Polydor - nationality: Denmark

Tracklist: A) "Tryllesangen" - - B) "Jodlesangen"

Single taken from the Danish family film "Min søsters børn på bryllupsrejse" (1967) in which 'Pusle' (nickname - aka Louisa Nene Helmuth) plays her second part as child actor following her debut in "Min søsters børn" (1966) both directed by Annelise Reenberg. Both songs on the single is written by Erik Leth and composed by Sven Gyldmark, who composed music scores to more than 200 films throughout his career. As a popular feature young children were cast as wonderkid actors in the 60s and Pusle Helmuth was definitely one of the most famous, as she featuring in a little more than a handful of nationally popular films over a five-year period starting in 1966.

This single was part of my parents' record collection and a single I hardly ever listened to. Even as a 6-7 year-old, I simply found it of little interest, although, the songs were part of my earliest music memories with music that wasn't purely children's songs.

👉 Another one from that earliest stage.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Françoise Hardy "Clair-obscur" ('Clair-obscur', 2000)

Joni Mitchell "Clouds" (1969)

Clouds
release date: May 1, 1969
format: digital
[album rate: 3 / 5] [3,07]
producer: Joni Mitchell, Paul A. Rothchild
label: Reprise Records - nationality: Canada

Track highlights: 3. "I Don't Know Where I Stand" - 4. "That Song About the Midway" - 8. "Songs to Aging Children Come" (3,5 / 5) - 10. "Both Sides, Now"

2nd studio album by Joni Mitchell is a fine acoustic folk and singer / songwriter album. The arrangements to Joni's singing voice are with little or no other additional instrumentation but her acoustic guitar like was the case on her debut album. I find this a more introvert and gloomier album than her acclaimed debut. This seems like the weaker difficult follow-up to a strong first album. However, the album was well-received, reaching number #22 in Canada and number #31 in the US and Mitchell was awarded a Grammy for Best Folk Performance in 1969.
[ allmusic.com 4,5 / 5, Rolling Stone 3,5 / 5 stars ]

Toots & The Maytals "Slatyam Stoot" (1972)

Slatyam Stoot
release date: 1972
format: digital
[album rate: 4 / 5] [3,84]
producer: Warrick Lyn
label: Dynamic Sounds - nationality: Jamaica

Tracklist: 1. "Louie Louie" - 2. "Pomp & Pride" - 3. "Daddy" (4 / 5) - 4. "If You Act This Way" - 5. "Pressure Drop" (4,5 / 5) - 6. "Redemption Song" (4 / 5) - 7. "Come Reggae" (4 / 5) - 8. "The Same Thing" - 9. "Collie Baby" - 10. "It Was Written Down"

6th studio album by Toots & The Maytals nearly only features compositions written by Frederick 'Toots' Hibbert. The first song is a cover written by Richard Berry. "Pomp & Pride" may be referred to as rocksteady but it fits nicely in the new emerging genre of reggae.
"Daddy" had first been released in '65 on The Sensational Maytals and is here rearranged into a roots reggae version, and "Pressure Drop" was issued in '69 on the album Sweet and Dandy, and is here slightly less tight. Track #7 "Come Reggae", an uptempo soul, rocksteady and reggae composition by Toots Hibbert is another song with the word "reggae" in the title - the first known song with the word was the 'Toots' Hibbert track "Do the Reggay" from 1968, thus giving name to the new genre. The last three tracks on the album are actually the most reggae-styled tracks on the entire album, although I don't find them bettering the first seven.
The album is yet another great release by Toots & The Maytals, and as such highly recommended.

Andrés Segovia - Live

Andrés Segovia
"Sevilla"

[Live performance of Isaac Albeniz's "Sevilla", 1962]

Andrés Segovia Live:

"Live concert" (43:44 min.)
playing "Mozart variations" (3:33 min.)
playing "Gavotte" by J.S. Bach (4:17 min.)
playing Villa-Lobos "Prelude no. 1, e minor", live in Spain (4:36 min.)
playing Luis de Navaez at the age of 86 (2:52 min.)

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Malihini-Kvintetten "Lille sommerfugl" (1966) (single)

Lille sommerfugl, 7'' single

release date: 1966

format: vinyl (45-1130)

[album rate: 2 / 5] [2,18]

producer: ?

label: RCA - nationality: Denmark

Tracklist: A) "Lille sommerfugl" - - B) "Maria Elena"

Single release by Danish song-quintet Malihini-Kvintetten, formerly known as Malihini Hawaiians.

The single was part of my parents' record collection and a single I knew as a kid but never found enjoyful.

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This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Bob Marley and The Wailers "Kaya" (Mar. 1978)

Bob Marley

Kaya (Mar. 1978)

[album rate: 3 / 5]

"Is This Love"
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