JEFFERSON AIRPLANE TAKES OFF LPM 3584 (-66) US MONO

The groups debute LP. Made with different setting than their later, classic albums this had Signe Anderson on vocals and Skip Spence behind the drums. Anderson left -66 after recording this album, due to pregnancy and motherhood and was replaced by Grace Slick, earlier with Great Society (see previous post). The music on this record is mainly folk rock, firstly ispired by acts like Kingston Trio and The Weavers, bur also influenced by later groups as Beatles and Byrds . The album has been described as "folk psych", but the the psych element is miniscule. First issue was withdrawn and corrected - "Running Round the World" was removed and "Let Me In" and "Run Around" censured - as the record company saw improper references to sex and drugs. These first press copies are worth a lot today. First released in UK 1971 as stereo only (RCA SF8195). This US issue is a true mono mix and sounds great. (YZÄ*) (ÖXCÅ*) (JÄF*)

JOHN MAYALL/A HARD ROAD LK 4853 (-67) UK MONO

Mayalls follow-up to the highly successful -66 "Bluesbreakers" album. By now Clapton had gone to "Cream", replaced by Peter Green and Ansley Dunbar superseded Hughie Flint on drums. Of fourteen tracks only four are covers, the rest written by Mayall or Green - the track "Supernatural" pointing forward to Greens later "Black Magic Woman" hit with Fleetwood Mac. I don't like this as much as the "Bluebreakers" album. On that Claptons guitar dominates and steers the whole process into something very special. It seems Green, though also a very skilled guitarist, acts too careful here and just becomes a cog in the Mayall machinery. I wish he had taken more place. This is clearly a different mix than the stereo, but haven't had one of those for ages so I can't compare for now. Also issued as mono in US (LONDON LL3502). (Mayall himself designed the cover for this and painted the pic printed on the front cover.)First UK press had ridged label, the one shown here is somewhat later. (MÄH*)(FXÄC*)

SHADES OF DEEP PURPLE PMC 7055 (-68) UK MONO

One of the worlds greatest rock groups. Have existed through many settings and fashions - all dissected and written about in books, magazines and on the net. Very little new I can add here - started in Hertford, England -67 as "Roundabout", but soon changed name to "Deep Purple" after a favorite song of Richie Blackmores grandmother. Got an early US hit with a cover of Joe Souths "Hush" - #4 on Billboard and #2 in Canada. This first LP is different from anything they did later - considerably influenced by Vanilla Fudge and using heavy organ and bombastic arrangements. Nice in its way, but far from settings and innovations of later success. The '45 tracks "Hush" and "One More Rainy Day" could be the mono versions here, but for the rest I can't say yet if it's a fold down or true mono. Tried for a long time to find a UK 1st stereo to compare and settle the matter once and for all...and after doing that I can conclude that the mono isn't a cold fold from the stereo but had some kind of separate treatment - for details on that check this https://monolover.blogspot.com/2019/09/deep-purpleshades-of-deep-purple-uk.html. In any case this mono sounds just fine, balanced with enough power to get through. Released in US July -68, two months before UK, in stereo only (Tetragrammaton T-102). First UK with label as shown here and laminated flip/back cover. (YMÖ*) (PÖX*) (DHÄ*)

HEP STARS/WE AND OUR CADILLAC LPO 01 (-65) MONO SWEDEN

After releasing five singles -64/-65, of wich the two latest became hits, they got to make their debute LP. At this time in Sweden most groups and artist tried to copy Beatles, Hollies, Gary and the Pacemakers and other successful UK acts, but not this group. All their early recordings are covers of American rock songs and, as shown by the cover of this record, that's the life-style they imitated - big cars, sunglasses and tough attitudes, far from the perky and polite British mid-sixties approach. This record is a garage gem. A very straight on mix of up-tempo and ballads with few overdubs. Lots of flowing organ and Svenne Hedlunds Elvis type voice makes it very appealing. The sound quality is amazing, but also very revealing, clearly showing the lack of perfection. On this is also one of Benny Anderssons first compositions "No Response", a fast melodic track reminding of the US rock covers filling the rest of the album. Early had red/white/blue label as shown here (later blue/yellow)and fully laninated cover. (SCÄ*)(ÖGÄ*) (HÄH*)(CCÖ*)(ÄBBÖ*)

HAPSHASH AND THE COLOURED COAT/THE WESTERN FLIER LBL 83212 (-69) UK MONO

This was mainly a partnership for avant-garde design between artists Michael English and Nigel Waymouth. Mostly famous for silk screen posters advertising underground happenings and musical gigs. Their posters were sold at fashionable Carnaby Street shops and helped establish that as an art form. The originals are still popular and sold dearly (the original artwork for a 1967 Jimi Hendrix poster went on auction 2008 for $72.000). They also made two psychedelic albums of wich the first had great influence both on the UK psych scene and later German kraut-rock. This is their second and last and it's impossible to describe - seems like a collection of whims, presented as ordinary songs, but without any normal structure or ground. A french folk song, a childrens tune, high brow declamation, messy instrumental - you get the idea. This mono could be a fold down or a separate mix, in any case it sounds OK. First with label as shown here and thin matt cover. (YMÖ*)(ÄZC*) (XLÄ*)

THE BUDDY HOLLY STORY LVA.9105 (-59) UK MONO

The pop and rock of the English music wonder in the sixties ("British Invation" in US) was to a large extent inspired by American rock, blues and soul artistery. But if we talk pop, light blues and melodic rock'n'roll Buddy Holly was the one with biggest impact - the man who invented modern pop-music. Trough the years members of English groups often mentioned him as an inspiration and role model - Beatles, Rolling Stones, Hollies and lots of others ( Dylan was also an admirer on the US scene). With just a handful of classic songs he managed to change the musical climate for ever. The story about his carrier is short, tragic and well known, but the impact remains. There must be over 1000 different re-issues of his work, all building on the relatively few recordings he made. "The Story Of Buddy Holly" was first released in US February 1959 by Coral records, less than a month after his death. It's a compilation with some of his best songs. This is the UK issue from later the same year. It's fun imagining how young English lads, some of them pop stars to be, listened to this particular issue and was inspired. First had label as shown here and laminated cover with crescent flips. (FÖGÄ*)

DONOVAN/A GIFT FROM A FLOWER TO A GARDEN NPL 20000 (-68) UK MONO

Sessions took place towards the end of -67. It was originally released as a box including two records - one with electric pop "Wear Your Love Like Heaven" and one acoustic with songs for children "For Little Ones". Included was also a folder containing twelve sheets with lyrics and drawings (three exemples shown below). Production is credited to Mickie Most, but Donovan has later said he produced the greater part himself allowing Most credit just to help the sales. This mono is a separate mix and an absolute beauty, almost as specially designed for audiophile pleasures. Issued in US as both mono and stereo (EPIC L2N6071/B2N171). (SYSÖ*) (TÖW*) (PÖY*)

WHAT IS A DIE-CUT MONO?

At the end of -68 Decca UK had stopped preparing separate monos and stereos for new recordings and instead relied on compatible mixes. There was a shrinking demand for mono, but still enough to make the issues lucrative. To save the cost of printing two different covers they made a common one with a die-cut hole top right on the back cover and separating the issues with different inner sleeves - blue stereo and red mono. This was used for most labels distributed by by UK Decca record group (one exception being RCA). I don't know exactly wich was first, but "From Genesis To Revelation" LK/SKL 4990 from january -69 is very early. Last one on Decca was Tom Jones "I Who Have Nothing", and on Deram TYA:s "Cricklewood Green" (see my previous posts on those two). The sleeves were also used for all re-issues between early -69 and late -70. A few exemples of die-cut monos below...

MAIN DECCA LABEL

DECCA/DERAM NOVA SERIE

WORLD OF... SERIE

DERAM

LONDON

MCA

SAM APPLE PIE LK-R 5005 (-69) UK MONO

One of my favotite white blues albums of all times. This was a London group running their own "Bottleneck Blues" club. They had a large live following, but only recorded two albums. The first is their best. With two lead guitars, whereof one slide, and heavy rythm section it has a beautiful attack with uptempo blues numbers and good vocals. It's the kind of record that makes you wanna drink beer and scream. This is a fold down from the stereo, but play it loud and it gives a rawer and dirtier feeling. Blues often sounds better in mono. First released as following - Decca LK-R/SKL-R 5005 (UK), Sire SES 97020 (US), Sire STECLP 94 (France), Decca SLK16-637 (Germany). Also reissued on CD 2003 (Repertoire REPUK 1017) including bonus tracks. Early UK with label as shown here and laminated cover. (YMÖ*)

IRON BUTTERFLY/IN-A-GADDA-DA-VIDA 587116 (-69) UK MONO

The most influential progressive album of the decade. It sold over 20 million copies and stayed on the Billboard charts for over a year. And all has to do with the title track - clocking in at over seventeen minutes, carried by an alluring organ riff and having a non-sense title, it was something totally new to the world of commercial music (they may have been inspired by Zappa, but many were at this time, and he wasn't AM material anyway). It's hard to name all bands influenced, but clearly early Deep Purple and even Led Zeppelin owe a lot to this. (I don't care about all the other myths about how Zeppelin got their name - a million selling forerunner on the other side of the Atlantic whos name is a combination of a heavy metal and something light works for me. There are no such coincidences in that business.) This UK mono sounds like a fold down of the US stereo tapes, or maybe a radio mix. Totally OK, but less dynamic than the original. For this I recommend the US first press stereo. First UK with label as shown here and laminated cover. (YMÖ*) (ÄTHP*) (GÄPPY*)

HERMAN'S HERMITS SGLP532 (-67) MONO SWEDEN

Hermans Hermits never got the same following in England as in America or the rest of the globe. So whlie UK issues with the group were quite sparse, a lot more were released in other parts of the world. This is a Swedish only compilation of tracks not issued on LP in UK, including a few B-sides and EP oddities. All recorded 1965 or earlier this provides a good guide to early Hermits. All tracks in their original mono shape as they were ment to be heard, very enjoyable. This is 2:nd issue (first was on Columbia -65, SSX 1017), but it's the same tracking and same high sound quality. With label as shown here and fully laminated cover. (SWÄU*) (HÄHX*)(CCÖ*)

BYRDS/YOUNGER THAN YESTERDAY BPG 62988 (-67) UK MONO

Great LP with many classic numbers and one of the best they did, but I have to say this UK mono doesn't work for me. Engraved with very high volume it sounds stressed and the base is so prominent at a few tracks it makes the rest sound squeeky. Apparently it uses the US mono tapes (COLUMBIA CL2642). I don't have access to a US original mono, but I wonder if that had the same problem (I know US issue has a strong base, but maybe not this overwhelming). Some is good though - "So You Want To Be a Rock'n'Roll Star" plays fine and a few others, but it would all be so much nicer with a calmer outcome. The original stereo is not a hit either so I guess I'm stuck with this for the time being. First UK had structured label with "33" and laminated cover. (XYGZ*)