BEST OF TRAFFIC ILPS 9112 (-70) UK

Since I dissed the Swedish "Coloured Rain" collection I wanna point to a better way of getting a few early single tracks on stereo LP. There's no use comparing the albums as such because of the difference in tracking, but for "Paper Sun", "Hole In My Shoe", "Coloured Rain" and "Smiling Phases" this is a much better choice - the sound is more natural and with better separation. In fact the whole album has top audio. With a little luck You can also get it a lot cheaper than the Swedish one. First UK issue with structured pink "I" label as shown here and a thin, glossy cover. (ÖSÄP*)(PÖP*)(TXÄW*)

SOUL DIRECTION PR 28 (-69) UK MONO

British mono sampler with twelve tracks from American soul and blues artists. The collection covers a breaking point in mono issues. At this time UK Direction label used US monos if existing, otherwise they just made a fold down from the stereo tapes. So this is a mix of true monos and reductions where some of the tracks sounds authentic and others lo-fi. Luckily most of it comes through as very good or at least OK. I don't have the material to say exactly wich are true mixes, but the ones from Johnny Johnson/Bandwagon, Taj Mahal and Sly & The Family Stone sounds legit to me together with a few others. Anyway it is a fine compilation of American music from back then and recommended as such. (SÄM*) (DÄJ*)

THE TROGGS/CELLOPHANE POLS 003 (-67) UK

This is softer and more melodic than their previous two albums. It didn't do as well commecially and has been seen as the beginning of a downward spiral that eventually led to the group breaking up two years later. I don't think it's bad at all - it has some very good pop and rock tunes, maybe softer in comparison to earlier stuff, still the production is similar and garage feeling is there most of the time. And for once I'm pretty satisfyed with a sixties stereo issue, in this case because the variations hardly differs at all. As far as I can hear this is the mono with a few minor stereo effects. "Little Red Donkey", "Somewhere My girl Is Waiting" and "Love Is All Around" seems to have some kind of light compatible mixes and in a few other places panorama differs - stereo appearing wider and more airy - yet for the most part it's a one-channel mix and pushing the mono button doesn't make even the tiniest difference. So I'm good with this and find it a lot better than most other contemporary two channel issues. The album wasn't originally issued in US, but the -68 compilation "Love Is All Around" (Fontana SRF 67576) has some of the tracks. German -67 release (Page One 77261 IT) came with same tracking as UK in a different cover. Also issued on CD 2004 (Repertoire REPUK 1021). First UK with label as shown here and laminated flip/back cover. (TRÖX*)

TRAFFIC/COLOURED RAIN ILP 800 (-67) SWEDEN

The Swedish version of UK "Mr Fantasy" LP. Tracking is similar to US "Heaven Is In Your Mind" and identical with Canadian "Reaping". The fully laminated cover has pics unique to this issue and pressing is good on thick, unflexible vinyl. Sound quality is totally OK, still the choice of mixes could be better. In England, USA and Canada it had double releases - mono and stereo. But in Sweden it was compatible stereo only - which makes some of the tracks appear slightly different. Even if original stereo mixes were used it comes through as a little too compact, probably from further use of compression. For me the best way listening to it is with mono button pushed although I don't get the original mixes and not the full mono blessings. So counting cover, song choice, pressing and rarity it's perfect, but if You want best possible sound there are better ways to enjoy the songs. (SWÄU*)(ÖSÄP*)(TXÄW*)(CCÖ*)

STEAMHAMMER MK II S 63694 (-69) UK

For background on this also check my post on their self-titled debute. This second LP continues on the same path as treaded on the first - blues/jazz progressive with strong melodies and top class performance. Maybe a little jazzier than the first and somewhat more experimental, but still consistant throughout. Producer credit "Fritz (as it comes) Fryer" says something about how it was made. Very strong tracks - "Supposed To Be Free" and "Passing Through" are among the best they made and the sixteen minute blues suite "Another Travelling Tune" , carried by an alluring riff, is a true killer. Like previous album it didn't do well commercially, but for their next - "Mountains" - they would move more towards rock and higher sales. This album is one of those forgotten gems waiting to be re-discovered by fans of white blues and prog. First UK issue with thin unlaminated cover and "SBPG" prefix on matrixes. Don't know if there was any original US release, but it was issued on Canadian Epic 1969 (BN26552) and Bellaphon in Germany 1976 (BPU 14012).

THE YARDBIRDS' GREATEST HITS LN 24246 (-67) US MONO

(For background on this - check my posts on their other recordings.) With only three '45 tracks unavailable on previous US LP:s - "Happening Ten Years Time Ago", "Shapes Of Things" and " New York City Blues" - this still became the groups highest charting album in America, peaking at #28 on Billboard. Interesting with the new tracks is they all have a very rough playing Jeff Beck with a guitar sound moving towards the hard rock of late sixties. I'm convinced the musical development within this group had a great part in giving birth to that new genre - at least it worked as a cradle for both Jeff Beck and Jimmy Page. "Shapes Of Things" was also re-recorded by Beck and used as opening track on his "Truth" album (see previous post). As far as I can hear most tracks on this are the original monos, but "Over Under Sideways Down" might be a reduction. I have no stereo to compare with, but it sounds different and more lo-fi than the version on the UK mono LP - so either the US mix was different from the beginning, or this is a fold down from the stereo. If anyone here knows - please tell! (YÄB*)(PÖP*)(JÄBÄ*) (YZÄ*) (ÖXCÅ*)

EMERSON LAKE & PALMER ILPS-9132 (-70) UK

One of the most successful progressive art rock bands with a sale of over 40 million. Even if this is their first I wouldn't call it a debute as such. All three members were already part of the English music movement - Carl Palmer came from Atomic Rooster, Greg Lake from King Crimson and Keith Emerson prosperous with art rock band Nice. Record is a mix between rock, jazz and art music. With more than one big ego in the gang it's not as much a group effort as solopieces, each performed with help from the others, which explains it's not coming through as an entity but more a collection of diverse ideas. Listening closely it is for exemple hard to believe Lake's "Lucky Man" and Emerson's classical interventions are from the same gang. Greg Lake is credited for production allthough I suspect engineer Eddy Offord had a lot to do with the final result. He was the foremost progressive rock producer and engineer of the decade, often hailed by the groups he worked with. ELP would also tribute him on their next album "Tarkus" with the song "Are You Ready Eddy?". Today I like Lake's songs best on this. Even if Emerson's arty tunes were most exciting at the time it's the melodies that grabs me today. Early UK issues mostly on pink rim label, first pressed copies on pink "I" as shown here and a thin unlaminated cover. US stock issue on Cotillion -71 (SD 9040), also as white label mono promo with same number. (ÖSÄP*)(ÄPY*)

THE PRETTY THINGS/SINGLES A's & B's SHSM 2022 (-77) UK (MONO + STEREO)

Time to post another good compilation with some very rare tracks. Pretty Things started off as the rawest and raunchiest of all English R&B groups. Signed for Fontana 1964 and had lots of high charters following years in Europe and Australia, but never got a big hit in US. With longest hair, drug charges and provocative attitudes the guys were very good at being bad and had a big following to their outrageous live act. But in 1967 they left Fontana for EMI and everything changed. Appearances tuned down and the music mutated from rude R&B to heavy psychedelia. This can't be explained by the label change only. Probably it has to do with changing of drugs from speed to acid . Nothing odd about that - it happened to a lot of groups at the time, resulting in a common change of musical direction. However the new sound didn't go very well with the public, so non of their first six 45's for Columbia and Harvest charted and most sank without a trace. Therefore this is a very valuble collection. Thirteen heavy psych single tracks, all produced by Norman Smith, with true mixes. Side one has all '45 tracks recorded for Columbia 1967-68 in mono (although label say stereo), and side two contains the Harvest ones from 1970-71 in original stereo. So if you like analog and want their authentic single issues on LP, this is pretty much the only place. Also issued on vinyl in Spain (Harvest C 062-006544). German 1989 CD on SPV (085-89882). Premiere UK had label as shown here and thin laminated cover. (PÖP*)(HÄVL*)

QUINTESSENCE ILPS 9128 (-70) UK

I'm having a very hard time finding a fitting description to this album. It's gotta be one of the most eclectic records of the era. The ground is progressive - with elements of jazz and psychedelic rock, but also hinduist motives (all group members charing that faith). Instruments are classic rock setting with addition of sitar, flute, tabla and assorted sound effects. The different themes - ordinary songs slightly reminding of contemporary Jethro Tull or Steamhammer, Hare Krishna chants and long imporvised heavy psych guitar solos - are woven together as a whole. Clearly it fits allthough I have to admit it don't hit me 100%. The reason I stick with this is the transcendal guitar parts - if you like Jerry Garcia doing good you'll be sure to love those. The group has been described as pioneers in New Age music, spiritual rock or world music. Played hundreds of gigs on rock and jazz festivals in the early seventies, but never toured US and turned down an American record contract, not satisfyed with the money offered. I don't know if this ever had a US issue, but it was released in Canada on Polydor 1970 ( 2310.044). First UK issue had pink, structured label and fully laminated cover with "door" f/o on front. (ÖSÄP*)(ÄZC*)

BEST OF THE TROGGS FOR 001 (-67) UK MONO

Already posted on Best of Troggs vol.2, but can add this is just as good. Has everything a "Best of..." or "Greatest Hits" compilation should have, yet seldom do. It is some of the best they made up to the time this was compiled and all are original mono mixes. Also the sound quality is great - and by that I don´t mean smooth or digital, but exactly as raw and edgy as it was recorded. Troggs is today classed as garage and proto-punk and most of their early hits were made with simple settings and few overdubs on 4-channels. I have heard later album collections using fake stereo, with added reverb, or remastered, and they all miss the point! How can anyone today listening for the first time get an honest opinion about the group if all they hear have been re-made and altered by meddlesome technicians, some of them not even born when these recordings were made. So if You like to hear the true Troggs, as back then, this and vol. 2 is a good start. Not issued in US, but some of the tracks can be found on -68 compilation "Love Is All Around" Fontana (SRF 67576). First UK with laminated flip/back cover. (TRÖX*)

THE KINKS/PERCY NSPL 18365 (-71) UK

This was Kinks last recorded album for Pye label. Originally issued in UK only, also as a 4-track EP. The single "Gods Children" had a world wide release and became a minor hit in Australia and New Zeeland, but failed to chart in England and America. Songs from it also showed up on US albums "Kink Kronikles" and "Great Lost Kinks Album". It's a soundtrack and as such including a few instrumentals only interesting as support to the film plot. But there are also some strong Ray Davies numbers here - "Gods Children", "The Way Love Used To Be", "Animals In The Zoo" and "Dreams" are all very good, and my favorite "Moments" could have placed on any of their classic albums. Sound quality is uneven - some of the tracks seems to have been re-mixed for single or EP, while a few others have kept the versions made directly for the movie and comes through as slightly more unbalanced on record. Produced by Ray Davies with orchestral arrangements from Stanley Myers. First UK issue came with label as shown here, thick unflexible vinyl and a thin structured cover. As you can see there's a stamped hole through the cover and label on this copy. The English did not use the American cut-out system, but I remember seing this and a few other UK issues in the cheap shops selling US cut-outs in the seventies, so probably from the beginning it was a US import that didn't sell and was dumped back to Europe. (KYX*) (PÖY*)

TIME OUT FOR SMOKEY ROBINSON AND THE MIRACLES TML 11129 (-70) UK MONO

First issued in US 1969, this is good stuff from Smokey and the Miracles and it sold very well on release, generating four hit singles and the album itself peaked at #25 on Billboard. It is one of many enjoyable Tamla Motown releases of the period. What makes me tick very loud over this is the UK mono issue. If you check my previos posts on late UK TML monos it's obvious most of them are reductions and more dull than exciting. Not this one. It's big, clear and well balanced with his voice in focus all the way. I can't find anything saying there was a US album mix done. Still their previous issue "Special Occation" was released in mono on US Tamla as late as christmas 1968 (TM-290), remaining the last confirmed mono from the label so far. A number of songs from this album also surafced as mono '45:s, so at least for those tracks mixes were prepared. Then again - maybe the stereo was a perfect comaptible? In any case it sounds great. (TÖMÖ*) (UKÖ*) (SXÖM*)

MOTT THE HOOPLE/MAD SHADOWS ILPS 9119 (-70) UK

The band's second LP and to my taste one of their best. It's been reported Ian Hunter didn´t like the outcome and wasn't pleased with his singing or songwriting. I find that very hard to understand. Hard rockers mixed with long slow ballads, some very strong, overall well performed with a darkish glow. Maybe producer Guy Stevens dictatorial manners in the studio, making the recording a bad experience for the group, is behind the negative feelings. He didn't allow any second takes to right wrongs or smooth thing over, wanted everything to be almost on impulse and for exemple goaded Hunter to make the lyrics up to "When My Mind's Gone" as he sang them. I'm sorry Ian, all the things You didn't like back then, the uncorrected errors - like when the voice cracks, or minor faults in playing - is what makes it so good today. I'm not listening to a glossy, ready-made product tied to the early sevenities - I'm hearing real people still doing good. The mixing is tops and sound quality absolutely superb on this 1:st UK issue. Perhaps Stevens was a dictator in the studio, but it turned out very well. If the group had got everything their way the result may have been smoother and more neat, but also less interesting. Then it would have sunk rather quickly, but now because of the closeness and honesty it's still a classic. (Also worth mentioning Mick Jagger visited the recordings and sings background on "Walking With A Mountain", wich probably is the reason the line "Jumping Jack Flash Is A Gas" is repeated within the song.) US first issue on Atlantic (SD 8272), also as white label mono promo with same number. German 1st on Island (6339006). (ÖSÄP*)(MÖHÖ*) (GÖJ*)