YOKO ONO/FLY SVBB 3380 (-71) US

I've had copies of this from first release and always liked it, but it has been a lonesome road. Most of my friends back then didn't take notice and those who did hated it. I don't think that was all about the music. For many at this time she was seen as the one who kidnapped Lennon and destroyed Beatles. She was older and from another culture, strong and self-sufficient, and created art no one of us could grasp. We wanted The Beatles and we got that instead. But if you forget about Beatles and Lennon and just see it as an album by a an exotic female avant-garde artist, backed by a rock'n'roll band, using a classic Japanese vocal technique reminding of the old Kabuki performances, it's suddenly more interesting and very much ahead of its time. Record two of this 2-LP set consists of sound experiments beyond my understanding, but record one has avant-garde garage rock I find very attractive. Seventeen minute "Mindtrain" is pure krautrock, "Midsummer New York" and "Don't Worry Kyoko" electric garage blues and "Hirake" (earlier as B-side "Open Your Box") has jazzy vocal licks to a rock backing. It's rough and it's cheeky, not like anything else and I love it. Plastic Ono Band did all backing with Ringo and Clapton playing on one track. Produced by Lennon and Ono. First US issue with label as shown here, laminated f/o cover, lyric inner sleeves, gigant poster and order-card for Onos book "Grapefruit". UK release (Apple SAPTU 101/102) came with same inserts. Re-issued on CD by Rykodisc in Japan and US 1997. (BÄ*)(FÄV*)(ÄZC*) (YZÄ*)(JYZÖ*) (ÄPLÄ*)

NOVEMBER/EN NY TID ÄR HÄR SLP 2509 (-70) SWEDEN

Swedish garage/psych/hard rock trio. Formed 1968 and soon gathered a cult following playing club gigs in Stockholm before recording this debute album. If You fancy early hard rock, acid and flower-power mashed together and don't mind the lyrics are in Swedish it's certainly worth a spin or two. Though clearly influenced by Hendrix, Cream and early Leslie West/Mountain they manage to create their very own sound - hard but also melodic and downright exuberant. Produced by Roger Wallis with a clear and natural audio. All very well performed and the guitars absolutely smashing. On their next two albums the music would get heavier and slower, but here it's still fresh, fast and filled with energy. (An exemple : http://www.youtube.com/watch?v=vQ1StBc8PbU ). Originally released in Sweden only, re-issued as CD 1993 by Sonet (SLPCD 2509), on vinly and CD by Universal 2012 (060252797980). Re-issued twice in the seventies on vinyl by Sonet, with different label designs. Very first with label as shown here, thick unflexible vinyl and fully laminated cover. (SCÄ*)(CCÖ*)(SÖNÄ*)

SANDY DENNY/WHO KNOWS WHERE THE TIME GOES? SDSP 100 (-85) UK

Of all retrospective compilation boxes made from artists or groups, living or dead, this is my own personal favorite. First and foremost Sandy Denny (1948-78) was the best British female singer/songwriter ever with a stunningly beautiful voice, attractive melodies and poetic lyrics. She also worked with some great groups and producers in UK. Recordings in here were made 1967-77 and consists of hits, demos, live takes and previously unissued cuts. These kind of collections can be rather unsensitive, made by unattached crews, mainly as a cash-in opportunity for the labels. But this was compiled by her friends - top producers Joe Boyd and Trevor Lucas, the latter also her husband 1973-78. Apart from her solo work it gathers stuff she made with groups Strawbs, Fairport Convention and Fotheringay, and there's not a bad cut. Four LP:s with goodies and top audio all through and you can hear it was made with lots of love. The UK box itself is of thick, glossy, preservable quality and includes a large twenty page booklet with pictures, lyrics and other information. Also originally issued on Island in Germany and Hannibal/Chartage Records in US. Later re-issued as 3-CD set. (BRYF*)(FÄV*) (FÄHZ*)

BRITISH MOTOWN CHARTBUSTERS TML 11055 (-67) UK MONO

The premiere release in the British Motown Chartbuster serie of twelve volumes between 1967-82 (after the two first skipping "British" and named "Motown Chartbusters"only), with first three in both mono and stereo. I already did a post on vol. 2 mono and liked that a lot. This has somewhat earlier tracks - from 1966-67 - but the same high quality in songs and performing by some of the best American artists of the period. Click the song list below and check it out. As far as I can hear all are the '45 mono mixes, without any tampering. Audio shifts a little between tracks, yet most cuts are fine and non is bad. Also issued in stereo with "STML" prefix. This serie was UK only, but US Motown released their own "Motown Chartbusters" of five volumes 1970-71, with different tracking. (SÄM*)(TÖMÖ*)

EMERSON LAKE AND PALMER/TRILOGY ILPS 9186 (-72) UK

This is my favorite ELP album. Although it has classical influences and a progressive touch, the emphasis is on "ordinary" songs with attractive melodies and elaborated lyrics. While apparently Emerson had the lead on most of their albums, it seems like Greg Lake is behind a lot of this. I've always thought the secret behind the groups success was the mix between Emersons adventurous arty experiments and Lakes simple, but beautiful, melodies - and on here the balance is perfect. The mix and audio is top notch - Greg Lake produced, but I suspect studio engineer Eddie Offord had a lot to do with the final result (for more on him check my post on their debute). The title track of the album also brings back a lot of memories to me. When this first hit the shops I was in my late teens and had just been dumped by my first true love. I was depressed and totally stunned, but that song really opened the tear channels. I remember sitting in a folding chair with the cover pressed to my lap, listening and weeping uncontrollably and for a long time I couldn't hear the song without getting my eyes all wet. There has been many lost loves since and many more sad songs, but that is the one that hit me hardest. First US issue on Cotillon (SD 9903). Early UK releases with label as shown here, hard matt f/o cover and blue custom inner. (ÄPY*)

MOTT THE HOOPLE/WILD LIFE ILPS 9144 (-71) UK

Issued between the dark rock masterpieces "Mad Shadows" and "Braincapers" one should expect this to be about the same, but it's not. Nicknamed "Mildlife" by the bandmembers and that's exactly what it sounds like. Four of the tracks, all written by Mick Ralphs, can be discribed as country rock and one of four Hunter ballads is heavily orchestrated. Choice of Melanies "Lay Down" as one of the covers, including a quire, also says a lot. Only true rock number is a ten minute live version of "Keep A Knocking" - recorded at Fairfield Hall in Croydon and saved from a wrecked live album project. The sound quality is not even close to "Mad Shadows" or "Braincapers". While those comes through as big, clear and authentic, this seems tanited by too many overdubs and partly damp or even lo-fi in comparison. Probably that has to do with the main production was handeled by the group, Guy Stevens only did one track - "Wrong Side Of the River". If You've seen my posts on their other albums You know what I like about this gang and that's not on here. Apart from the live track it's not my cup of tea. Also originally released in Germany on Island (6339031) and in US on Atlantic (SD 8284). UK CD issue by Angel Air (SJPCD 159) with bonus tracks. (MÖHÖ*) (GÖJ*)

JANIS JOPLIN/I GOT DEM OL' KOZMIC BLUES AGAIN MAMA S 63546 (-69) UK

This is not about the music. The album is a true classic by one of the biggest artists and has been written about a lot already. Issued in US September -69 (Columbia KCS 9913) first with titles stickered on cover, later pressings had print. Less known is also in UK the first few copies had a cover different to all later pressings. Most recognized original covers with this record are unlaminated and have the seventies style to logo and back-side text, but the ones pressed at the very end of 1969 had a remaining sixties mode. They were made by "West Brothers", are thicker and have laminated front. The text "CBS stereo records can be played..." on back is in a large rectangle and the CBS logo on front and back has the record number on top, all UK CBS pressings from 1970 and later had "stereo" on top. Copies with the later cover, if having the "SBPG" matrix stamp on record, can still be counted as originals, but this is the earliest variation. Since there are many collectors looking for UK first and I often se issues with the seventies cover sold as "absolutely first" or "very first" I thought someone would appreciate the information. Details from the cover below. (FÄV*)

IMMEDIATE LETS YOU IN IMLYIN 1 (-68) UK

A label sampler with lots of good music and some very rare cuts. Three of the tracks are original monos, one compatible and the rest true stereo - as they were first issued on '45 or LP. The rare ones are 1) John Mayall and Bluesbreakers "Telephone Blues" - B-side of "I'm Your Witchdoctor" single produced by Jimmy Page for Decca, but since Mayall at the time briefly lost his contract with the label it was issued on Immediate -65. 2) "Draggin' My Tail" - result of a home recording jam between Eric Clapton and Jimmy Page, with some later studio overdubs. 3) Cyril Davies "Someday Baby" - one of five tracks Davies recorded with his All-Stars for Pye records 1962, but never issued by the label. The rest of the record compiles 1968 cuts by Small Faces, Duncan Browne, Nice, Chris Farlowe and P.P. Arnold. You can get some of those tracks with other compilations on LP or CD, but this is a choice as good as any. (SÄM*) (YDÄ*)

JIMI HENDRIX EXPERIENCE/ELECTRIC LADYLAND 0920 060/61 (-68) FRANCE

Here's another tip for those who want a 1st press good audio original of this legendary LP and don't want to ruin themselves to get it. As far as I can tell the same tapes as UK was used, but to my ears this sounds slightly different. I can only guess why - the French used other limiters or compression during engraving. Anyway it comes out somewhat clearer with slightly different balance at a few places. It's not a big difference and most people wouldn't take notice, but it's there and that makes it a keeper for me. It has a cover exclusive to early releases, later ones had a totally different art work - details from front cover and top pic inside f/o below. I'm not very familiar with French issues, but I take this is one of very the first - with thick, unflexible vinyl and laminated cover (matrixes has stamped record numbers plus A/B/C/D and side one of both records has a "GP" stamp). Even if it is a first press, has top audio and an exclusive cover it's still possible to find high quality copies for under $100 - in comparison to the ten times more you have to pay for a UK 1:st top copy. Highly recommended. (JHÄ*)(MFÄX*)

ALAN PRICE SET/THE PRICE TO PLAY LK 4839 (-66) UK MONO

At the same time The Animals moved from Columbia to Decca in UK, Price left the group and got a separate contract with the label. As I see it he always was the driving force of the group with a musical talent surpassing the others. Yet the break-up appearantly was made in a friendly mood with mutual support (check Burdons liner notes below). You should think this debut to some extent would remind of his work with The Animals, but it is completely different to anything they made. There's no blues or rock here, but twelve keyboard-driven, heavily orchstrated covers of pop numbers. I haven't been able to figure out who produced - cover only says "An Anim Production" - so maybe he did it himself with some help from the Decca crew. The arrangements sounds a lot like contemporary work of Mike Leander or Ivor Raymonde, and since they are co-credited on his follow-up to this it's safe to assume they were involved here too. In any case it's very well done. I really like it and listen to it a lot. He's got a special voice, very warm and cozy and the whole thing is in that mood - a true feel-good album fitting any condition - as background, party music or just for relaxing. This UK issue is a separate mono mix and it sounds great. The earliest US release I can find with any of his work is "The Price Is Right" (Parrot PAS 71018) from 1968 - a compilation of '45 tracks and stuff from first two LP:s. Premiere UK issue with thin, laminated cover and ridged label. (ÄNÄ*)(MÖRS*)

DEEP PURPLE/THE BOOK OF TALIESYN SHVL 751 (-69) UK

After the unexpected US success of "Shades Of Deep Purple" and the single "Hush" the band was rushed into a studio to record a follow-up. At the time they didn't have enough material for a whole album so the originals were stretched and a few covers included. To some extent this reminds of their debute, with organ-driven harsh prog sound. But it's also more diverse - "Listen, Learn, Read On" is psych, a few other tracks has borderline art-rock drama and '45 number "Kentucky Woman" is towards pop. Overall it's heavier than "Shades" - especially the guitars - and in that way carries the seed to later hard rock efforts. I bought my first copy of this at the same time as "Deep Purple In Rock" and I remember liking them both equally. "In Rock" was a party album while this was for relaxed listening with friends. My favorite cuts was "Listen, Learn, Read On" and the mighty "River Deep Mountain High" cover. Back then I also had morning music - songs I played while getting ready for school - and the instrumental "Wring That Neck" was it for a long period. As the predecessor it was produced by Derek Lawrence, but with much better audio - bigger and clearer. (Originally also a  mono version was made, but since the group had moved from Parlophone to Harvest, a UK label that didn't release monos at that time, the tapes were put in the vault and stayed there till 2015 when they finally saw a limited release   https://monolover.blogspot.com/2015/04/deep-purplebook-of-taliesyn-hvl-751-eu.html   ) At first it did not sell as much as the debute in US and in England it was hardly noticed, the sales there picked up first after "In Rock". Released in US late -68 on Tetragammaton (T-107) and in UK June -69. Earliest UK issues with laminated f/o cover and no "EMI" box on left side label, the boxed logo first showed up on the Harvest labels about a year later. (HÄVL*) (DHÄ*)

NICO/DRAMA OF EXILE AUL 715 (-81) SWEDEN

When this album in mentioned it's almost always about Nicos drug abuse at the period or the disappearence of the original master tapes - who stole/mislaid/lost them and why. There are also different stories/legends about how many versions were made, when and where they were issued, and who had the rights to the tapes. This is about the first recorded version and it's great. Her other solo albums were all produced by John Cale with about the same result - slow and depressing with lot's of harmonium and hardly any drums. The premiere recording of this LP was handeled by bassist Philippe Quilichini and has both up-tempo drumming and a middle-eastern rythm section. Production is almost light at parts, wich provides a perfect balance to Nicos songs and her dark tattered voice. Instrumentation is sparse - bass, drums, guitar, keyboard, saxophone, bouzouki and snitra (arabian mandolin). Guitarist Mohammad Hadi is top class with a style much reminding of Robert Fripp, both in riffs and solos. Keyboards are handeled by Andy Clark - former "Clark Hutchinson" and known for his excellent work on Bowies "Scary Monsters". David Payne (from Ian Dury's band) plays sax on a few tracks. I think it's a marvellous album with Nico finally getting the backing her music craves. It's not actual rock'n'roll, but as close as you can get with her songs. The two cover tracks - "Heroes" and "Waiting For the Man" - are absolute magic and to my ears up there with the originals...and just listen to this "One More Chance" https://www.youtube.com/watch?v=4iAjSAjeA_I...giving You Nico in a most fitting surrounding. In all it's very special with a unique sound and some of her best composing. The style reminds a little of Bowie's "Lodger" or "Scary Monsters", but darker and more sincere. Given time I'm sure it will be regarded as a true classic and I recommend it with all my heart. First version only saw release in Sweden and Holland. Later issues on vinyl and CD came with different trackings and/or other mixes and/or added reverb, while this first is as dark and distinct as originally intended. Swedish 1981 vinyl had label as shown here and thin fully laminated cover. (NÖC*)(FÄV*)(CCÖ*)