LEONARD COHEN/SONGS OF LOVE AND HATE S 69004 (-71) UK

Leonard Cohen was a part of my late teens. With his two first LP:s I have memories of long haired girls and beads, red wine and smokes, and long nightly discussions where we solved all the worlds problems. It was a secure life, we were still in school and most of us lived with our parents. Cohen held a piece of that security with his soft melodies and poetic lyrics. Back then we thought his songs were revolutionary, but when I listen to the first two albums today I find same formula as used by many contemporary artists. The songs are great, but it's far from radical. This was his third album and in some ways different. The formula is gone and the composing more free. It's emotional, naked and personal. He also allows his voice to express more feelings - irony, love and hate. "Sing Another Song Boys" was a 1970 live cut from Isle of White, the rest recorded in Nashville and London, with overall production by Bob Johnston. Two of the tracks are special - "Diamonds In the Mine" has very expressive singing and "Avalanche" an absolutely beautiful string arrangement made by Britsh composer Paul Buckmaster (who also did work for BeeGees and Bowie among others). "Avalanche" is my absolute Cohen favorite - five minutes of timeless elegance. The LP wasn't a hit in US, barely made Billboard 150, but a commercial success in many other countries, reaching #4 in UK. In my opinion it's the best he ever done. First US release on Columbia (C 30103) with a small booklet. Early UK issue with label as shown here, thin matt cover and booklet. (SYSÖ*) (LÄK*)

THE WHO/TOMMY 613 013/014 (-69) UK

By many regarded a forerunner and true classic. It 's much rewarded, on about every magazine or net list with best, greatest or most influencial album and has been called "first rock opera". I bought it on arrival and was very impressed. In retrospective not so much by the songs - more from the large project and the hype. We were also told BBC and US radio stations denied air-play because of the partly controversial lyrics and that was exciting to us. Inspiration for the plot came mainly from Meher Baba - Indian mystic, preaching silence and withdrawal. Townshend has also pointed out Pretty Things "SF Sorrow" and Mark Wirtz's "Teenage opera" as structural influences together with songs by Sonny Boy Williamson, Jimi Hendrix, Zombies and Kinks. The set is grand, including overture and conclusion, with a multitude of instruments and overdubs. It did not top any big list at first - Billboard #4 and UK #2 - and nor did any of the singles from it, but since it has sold in excess of 20 million. There's so much information and thoughts about it everywhere and even books written, but let's get down to what matters - the music. I'm not overwhelmed - the set-up is lofty, the cover stunning and the ideas great, but there's not enough good songs. All '45 tracks - "Christmas", "Pinball Wizzard", "I'm Free" and "See Me, Feel Me" and a few more are classics, but I can't help seeing a lot as being there just to enhance the operatic structure, and that's not very exciting today (a year after this "Jesus Christ Superstar" perfected the new genre and set higher standards  https://monolover.blogspot.com/2022/08/jesus-christ-superstar-mkps-201112-70-uk.html ). Kit Lambert made his best production so far and in spite of all re-makes and overdubs the audio is totally OK. First US on Decca DL 75126-27/DXSW 7205). Earliest UK with flat matt label as shown here, laminated triple f/o and numbered booklet. (WÖH*)(TRÄC*)(RÖKÖ*)

FREAKOUT U.S.A. T 5901 (-67) US MONO

A compilation living up to its name. This is freaky American music with lots of fuzzed guitars, farfisa organ and spaced out lyrics. The recordings are straight on with few overdubs and the audio very good - big, clear with fine separation. I don't know much about the groups involved or the label. Mugwumps later evolved into CCR and The Glass Family recorded an LP for Warner, but that's all I got. Hope someone reading this can tell more. However it is filled with killer psych tracks well reflecting the turned on scene back then. It's kind of an older brother to 1972 "Nuggets" compilation, not as comprehensive but all original press and in glorious mono. The stereo version was "douphonic", so I guess this has the primary mixes. I don't care much for Mugwumps Donovan cover, but apart from that it's all so good I can't pick a favorite - they all are. I know some young people with digital ears who find recordings like this too thin and simple, but for us who was there it's right on the spot. (SÄM*) (YZÄ*) (ÖXCÅ*)

THE TURTLES/HAPPY TOGETHER HA-U 8330 (-67) UK MONO

I've had several different issues and pressings of this since I bought my first copy 1968. Music has always been my main mood swinger or enhancer and that's probably both cheaper and healthier than narcotics in the long run. This was one of my earliest "happy" albums. There's a positive feeling all through and the title song is pure joy. For a long time I was rather pleased with a US original stereo, but it was first when I got the mono all pieces fell into place. It's a lot more striking and well balanced, also the base is more prominent at a few tracks wich makes it softer to my ears. I always had problems with the sixties two-channel mixes since they often comes through as constructed and unnatural, so finding a mono made this an even happier album for me. First issued in US (White Wale WW 114/WWS 7114). As far as I know this UK press was made from the US mono tapes. 1:st UK came with laminated cover and ridged label as shown here. If You want to know more facts about the album check this post on Steve Hoffmans Music Forum. http://www.stevehoffman.tv/forums/showthread.php?t=126549

THE FLOCK/DINOSAUR SWAMPS S 64055 (-70) UK

The album has been scolded and belittled by many critics. I think that's unfair. The debute was very good and this follow-up is different in many ways, but far from bad. It's less coherent and more jazzy than the first, partly with a "jam" feeling, yet very well played. "Lighthouse" has nice rock guitar to a jazz backing and the baroque ballad "Mermaid" builds on some bizarre and funny brass treatment. My favorite cut is "Uranian Sircus" - a rock/psych number with some nice rythm changes - the most commercial track on the album, carried by a very alluring guitar riff. It's a seven minute journey well worth taking. The LP didn't sell a lot and the group was forced to break up somewhat later while recording their third album (for more info check my post on the debute). It's sad in a way - with all that talent they could have done great things if handeled differently by the label and given more time to write songs. US 1:st on Columbia (C 30007), Australa CBS (SBP 233911) and also released as mono in a few South American countries. UK 1:st with label as shown here, thick vinyl and matt E.J. Day f/o cover.

SANTANA S 63815 (-69) UK

From the beginning a San Fransisco live jam band, discovered by manager and concert arranger Bill Graham. They were invited to play at Woodstock and at about the same time recorded this debute. It was Graham who persuaded them to drop some of the jamming and start to write regular songs for the album. Co-produced by Carlos Santana and Brent Dangerfield, the latter being responsible for most Santana issues since as producer and engineer. I fancy most of their seventies stuff and I'm not comparing musical quality, but this has the performance and audio I like best. Part of the recordings have some kind of primal live feeling reflecting their early stage acts. (I have been reminded I saw them at a UK concert early seventies, but due to circumstances back then my memories of the act are very vague...I do remember something wild and catching, but no details.) The sound is also simpler and more direct than on later recordings - there seems to be fewer overdubs and and it all comes through more natural and down to earth. Later in the seventies many productions moved towards the blown-up and grandiose, but I still prefer the smaller, intimate ones. First US on Columbia (CS 9781). Originally released as stereo or mono in many countries. I had an Argentine mono for a while - unbalanced fold-down and not very enjoyable. Earliest UK with label as seen here, thick unflexible vinyl and SBPG matrix, laminated cover with rec. no. above logo and large rectangle lower back.

JIMI HENDRIX/BAND OF GYPSYS 2406 002 (-70) UK

Released six months before his death, this was the last album Hendrix authorised. Group was formed after "Experience" break-up and consisted of friends Billy Cox and Buddy Miles. It's a live album recorded new year -69/70 at Fillmore East, where they did four shows on two nights. There was a legal obligation to produce an LP with original tracks for his new US Capitol contract, so while the concerts mostly had old numbers a bunch of new ones were pitched in for the LP. I may be seen as a blasphemer here, but the album doesn't hit me at all. The backing is appropriate and some of the guitars fly , but mostly it's just sounds like another day at work and no magic. It was forced by Capitol and maybe escaping a law-suite wasn't the best motive for a strong performance. 1:st US on Capitol green label (STAO-472) and f/o cover. 1:st UK had "Doll" cover - with Hendrix surronded by Brian Jones, Bob Dylan and John Peel figures. This was withdrawn and replaced with US style pics on wrapping. Earliest Track label is matt and flat as shown here, later ridged matt, and after that glossy. (JHÄ*)(LYBÖ*)(TRÄC*)

RAW BLUES ACL 1220 (-67) UK MONO

I can think of few other blues compilations as rewarding as this. It has the most renowned contemporary English "white blues" artists and also some of the US gigants that inspired them. Lots of rare tracks and all in mono shape. The Otis Spann numbers - from the original recordings to his UK Decca debute - were not included in the -64 "The Blues Of Otis Spann" issue, or Deram -69 release "Cracked Spanner Head", but showed up first much later on the CD issue. The Mayall/Clapton cuts "Lonely Years" and "Bernard Jenkins" were A- and B-sides of an obscure single on Purdah label, and Peter Greens "Evil Woman Blues" a leftover from Mayalls "A Hard Road" sessions. This was also for a very long time the only place where you could find Champion Jack Duprees "Calcutta Blues" recording with Mayall and Clapton. As far as I know it's still the only place analog mono on vinyl. Also issued in US with same tracking, but different cover (London PS 543). UK releases up to 1970 in both mono and stereo, late ones with a die-cut sleeve and smaller label. Early releases with ridged label as shown here. (SÄM*)(MÄH*)(FXÄC*)

COLIN BLUNSTONE/ENNISMORE S EPC 65278 (-72) UK

His second solo album and a pride to any Zombies or Argent collection. In the sixties I was fascinated by his soft breathy voice and always convinced that made the early Zombies hits. Allthough songs were good, he was the one that made them special. He left the music business after Odessey and Oracle recordings, but returned after the late success of the album. Recorded at Abbey Road this was produced by his old Zombies mates Rod Argent and Chris Wood who also co-wrote one of the songs. Rods new "Argent" group provided the backing with addition of some beautiful string arrangements from Christopher Gunning - rewarded British composer of concert works and film music. Studio engineer was Peter Vince, who for years had worked as producer and engineer at Abbey Road, handeling groups like Beatles, Hollies and Shadows, but also artists like Maria Callas and Nino Rota. With so much skill on every level it just couldn't go wrong. Production and arrangements are absolutely stunning and the audio perfect. And it is the most graceful back-groud vocals and quires I have ever heard. If you can listen to the album without being touched you either have no heart or in serious need of a deaf-aid. Most songs are self-penned and those reminds a lot of the tracks made for O&O, only with other arrangements. He sings better than ever before - it's the same familiar voice, but more mature and he allows himself to do more with it. My favs are the happy-go-lucky "I Want Some More" and the Russ Ballard composition "I Don't Believe In Miracles", also chosen as first '45 from the LP. 1:st US issue 1973 on Epic (KE 31994) with same tracking. Early UK with label as shown here and structured Shorepak cover. (ZÖZ*)

PAUL McCARTNEY/ SILLY LOVE SONGS - JET - NO WORDS r62-10367-8 MONO USSR

Russian 3-track 33 rpm mono EP. I don't know much about it. 1983 a vinyl stereo EP with same songs and a picture sleeve was issued in Sovjet on Melodia label. This is probably earlier. It has a thin fold-out paper sleeve and the disc is flexi. The label is Melodia and have info in relief, incuding the mono triangle (sorry I can't scan better than this). The audio is surprisingy fine and it comes through more like some old Beatles recording than contemporary stuff. That's all I have. Maybe it was a record club issue or came with a magazine. If anyone here knows more, please tell! (BÄ*) (BÅC*)(MÄCC*)

PINK FLOYD/UMMAGUMMA SHDW 1/2 (-69) UK

There's a lot of detailed information about it on the net - recordings, cover and circumstances. These are some personal reflections. Never seen this as a regular coherent double LP. It's two separately made records in the same wrapping . A live album recorded spring 1969 and a psychedelic studio album made later same year. The live part has great performances and, considering the equipment used back then, very fine audio. I saw them in England 1970 performing some of the songs on here and can guarantee what you hear from this is very close to what we got from the act...maybe more enjoyable since sitting comfortably at home with a beer is better than being potted and pushed and squeezed by a big crowd while trying to get closer to the stage. The studio LP consists mostly of sound experiments and the feeling is they just did stuff to fill out the space. Interesting games, but nothing structured or tenacious. I really like David Gilmours "The Narrow Way" with its soft acoustic beginning, dark hypnotic mid-section and attractive melody at the end, but apart from that I don't listen to the studio record anymore. It was their most successful so far in US, peaking at #74 on Billboard and reaching #5 in UK. First US issue on Harvest/Capitol (STBB-388, later SKBB-388). Early UK releases with laminated f/o cover and no EMI logo on left side label, as shown here. (LYBÖ*) (PÅX*)(HÄVL*)

COLOSSEUM/THOSE WHO ARE ABOUT TO DIE SALUTE YOU STL 5510 (-69) UK

The first Colosseum LP can be seen as a kind of extraction of the UK jazz/blues scene at the end of the sixties. Members backgrounds with John Mayall, Alexis Korner or other jazz and blues combos led their music to a mix of genres. By many it was seen as something pretty revolutionary at the time and a re-newal of the music scene. It's kind of historical I guess, but in retrospective not very exciting. Traditionally made and musically mostly on the jazzy side it's rather proper and a little too decent for my taste. I'm a big fan of what they did from the next LP and on - that's still revolutionary and sometimes breathtaking, but I have never been able to see the debute as other than preparations for the lift-off. When I got this copy I found some pre-release promo sheets stuffed behind the record inside cover. These were sometimes sent to DJ:s and journalists with information and order form to raise interest for coming groups or issues. Initially the record probably belonged to some media person who ordered it, didn't like and stuffed it after one play. One of the sheets has info unavailable elsewhere, so I'm enclosing that if anyone wants to click and check. 1:st UK with label as shown here, heavy vinyl and laminated fold out cover. Two first US Dunhill issues were totally different from UK in about every aspect, especially "The Grass Is Greener"  https://monolover.blogspot.com/2012/11/colosseumthe-grass-is-greener-ds-50079.html  , which to my taste became one of their best offerings. (CÖL*)(ÖRJ*)