BOW WOW WOW/SEE JUNGLE!SEE JUNGLE!GO JOIN YOUR GANG YEAH,CITY ALL OVER !GO APE CRAZY! RCALP 3000 (-81) UK

English new wave band, from the beginning made up by Sex Pistols manager Malcolm McLaren and clothes designer Vivienne Westwood to promote a new fashion line. McLaren simply stole the drummer, guitarist and base player from Adam & The Ants and teamed them up with 14 year old Annabella Lwin, a girl they found at the local dry cleaning shop. The style initially created for the group was within the lines of that particular fashion promotion, but on this debute album they proved to be a lot more. The sound was unique for it's time and still is. Melodic and catchy pop melodies performed by loads of African drums, rythmic prog base and surf guitars. Annabella's lead vocals have been described as "girlish sqeals", but she could actually sing and has a very nice voice. It all comes together as very odd and powerful, yet almost romantic. Fav tracks "Chihuahua", "King Kong" and "Go Wild In The Country". First press UK cover (shown here) was considered too controversial. Annabella's mother sued McLaren for using a minor for immoral purposes and Scotland Yard was brought in. It was withdrawn and replaced with a less nude one in UK, but still issued issued like this in a couple of other countries. 1:st US (RCA AFL1-4147) came with same tracking in a different sleeve design. Allthough not much mentioned today the group still has some famous followers. The bands Red Hot Chili Peppers and No Doubt are big fans with many references to the group in their songs. It is also known that Sofia Coppola used Annabella Lwin as an inspiration for the main character in her film "Marie Antoinette". For more on the band also check  https://monolover.blogspot.com/2015/08/bow-wow-wowi-want-candy-emc-3416-82-uk.html   (FÄV*)  (FÖP*)

TAKE IT EASY WITH THE WALKER BROTHERS BL 7691 (-65) UK MONO

Los Angeles male trio with moderate US fame in the early sixties. They were persuaded to try their luck in England and got a contract with Philips records 1965. Treated by some of the UK studio gigants - arranger Ivor Raymonde and producer Johnny Franz - a fitting sound was created with heavy orchestration and prominent reverb. Together with the guys good looks and choice of adequate covers it became success. Coming years they had a number of top 20 in UK, a few top 10 and one #1. US sales were also good with a couple of top 20 hits. But as the music scene developed their sound became dated and the group disbanded 1968. Later reunions and solo projects brought further sales, but never topping this first breakthrough. Today the combo would probably fit in the concept "Boy Group". Looks and appearance made them mostly hailed by girls and women, also the style and sound was created by the label and not a product of inner development. And although Scott Engel had a nice baritone the vocals wasn't very impressing. If you peel off the reverb and big orchestras there's not much left. It's easy to compare with Tom Jones since his repertoire had about the same type of covers. In his case the voice was everything no matter what backing, for these guys the backing and looks was a necessary support. Still the package comes through pretty nice - it truly fits and the audio of the mono is enjoyable. This was the debute album. Issued in US as "Introducing The Walker Brothers" with different cover and tracking (Smash MGS 27076). 1:st UK with label as shown here and stiff laminated cover.

JOHN CALE/FEAR ILPS 9301 (-74) UK

One of those perfect LP:s, beyond genres and zeitgeist. It was his 5th solo album after Velvet Underground (counting "Church Of Anthrax" with Terry Riley). Earlier ones had magic but was still trial and error, with this it all fits. Allthough he wrote all tracks, sings lead and plays most instruments it's clearly a gang effort. UK Island at this time had some of the best arists and studio workers and there was a lot of collaborating. The guest list on this is a-ok - Roxy Music's Phil Manzanera, Richard Thompson from Fairport Convention, Brian Eno and the lovely Judy Nylon among others. Co-produced by Cale, Eno and Manzanera. Engineered and mixed by John Wood, who also worked with Fairport Convention, Nico, Pink Floyd and Cat Stevens. There's not a bad track on here - art rock, psych, pop, ballads - simple and catchy melodies with kind of universal lyrics. The production and arrangements are sparse, allowing a clear sound, and the feelings and intentions are always on the suface. A timeless album with honest statements, remaining fresh over the years. US issue on Island with same cover and number. 1:st UK with pink rim label, thin matt Robor cover and custom Island inner. (CÄLX*)

THE BYRDS/FIFTH DIMENSION BPG 62783 (-66) UK MONO

By now a classic LP and not only because because of the "Eight Miles High" track. Although that was noticed for its drug references it seems the lyrics was mainly about a tour to UK 1965 and some of the bad experiences they had there, while the music partly was inspired by John Coltrane and Ravi Shankar - put McGuinn's guitar figures on a sitar and you have a raga. Maybe drugs was involved, but it was more about a trip to England than a trip through the mind. However it's a killer song and, together with Zappa's "Freak Out", one of the first serious attempts to break out of the ordinary pop formula. The rest of the album doesn't strike me as extremely psychedelic today. Foundation is country, ballads and ordinary pop, but production and some of the arrangement points in that direction. At the time it was percieved as something new and seminal and probably became a source of inspiration for the upcoming psych scene. The original mono mix is loud and partly rather messy on this UK, the stereo has better separation but not that powerful. For a long time I thought the mono was it for me and that's what I wrote here first, but after lately getting very intimate with a UK 1st stereo I have to say I dig that a lot and therefore doing this re-write (20181105). For more on that check post on the UK stereo. Premiere issue on US Columbia (CL 2549/CS 9349). First UK with thick unflexible vinyl, structured label with "33" and laminated flip/back cover. (XYGZ*)

DIANA ROSS & THE SUPREMES/REFLECTIONS TML 11073 (-68) UK MONO

At the time for this album there was a lot going on both around and within the group. It was the first LP to be billed as "Diana Ross & The Supremes" and also Florence Ballards final recordings with the gang. She sings background on some of the tracks while the rest has her replacement Cindy Birdsong. It would also be their last collaboration with Holland-Dozier-Holland, who wrote five of the tracks and produced ten. The rest of the songs were written by the Holloway sisters, Burt Bacharach, Bobby Gentry and Smokey Robinson, the latter also producer to two of the tracks. It did very well with #18 on Billboard, #3 on US R&B chart and #30 in UK. The title song '45 went #2 on Billboard and #5 in UK. To my taste maybe not their absolute best album, but with some very good tracks. And although writers and producers differs it sticks together, allowing both up-tempo and warm gentle within the same frame. The separate mono mix is tops and the audio perfect. It was the groups last US commercial issue in both mono and stereo (Motown M/MS 665). UK 1:st with label as shown here, laminated flip/back cover and EMI ad inner. (TÖMÖ*)(FÄV*)(ZYZÖ*)

CABARET NIGHT IN PARIS/PART 1 & 2 33S 1008/33S 1043 (-54) UK

Two records highly recommended to anyone interrested in 20th century music or just high quality composing and performing. All tracks transferred from 78 rpm:s to 33 allowing you to enjoy the warmth and directness of the originals with vinyl quality. Back then there were few adjustments or overdubs, some cuts were made using one microphone and a single take was expected. With that in mind I'm amazed by the skill and discipline they had. Orchestras, vocals, solos, quires - all perfectly conveying feelings and intentions. This is the best from the contemporary French songbook - top artists doing classic songs, of wich some were translated to other languages and became big hits elsewhere. These are the original recordings as close and early as you can get on LP. I love it and frequently use it as background music to get in the mood. My favorite Trenet´s "La Mer" may be one of the most played and covered songs since then, but his original still deliver with the fantastic orchestral arrangement and quire. First UK 10 inch with labels as shown here and fully laminated covers with "crescent" flips. (NYFÖ*) (CLÄZ*) (GZÅ*)

THE WHO/WHO'S ZOO TMQ W556 (-74)

In my opinion the best Who vinyl collection. All songs or versions are rare one way or another. It has non-LP A:s and B:s and EP tracks and each cut has the original mono mix. There's also mid-sixties live takes from UK TV-shows. The audio is good - or at least as good as you can expect from the groups early recordings. It is a bootleg and I'm normally not into that, but simple fact is no official issue even comes close in affluence - just look at the song list! Recording quality shifts a little, most cuts sounds like from original studio tapes but a few may be dubbed from vinyl. What the guys behind this did was simple - taking the original mono mixes without meddling or faking and giving it a good pressing. And since evidently non of the big companies owning the rights to the recordings thought that was a good idea at the time, I'm happy for this. Most of the tracks have been issued later on vinyl or CD (as far as I know this is still the only place you can find "Substitute" US '45 B-side "Walz For A Pig" apart from on the single itself), but if you want it all in one place, analog on vinyl, this is still it. At least two cover variations exist. To my knowledge the one shown here is the first. There's also a multitude of label types - with pictures, different colors, stamped information or just blank. Wich one is original depends on who you ask. (WÖH*)(PÖP*)(ÖRJ*)

MOUNTAIN/AVALANCHE S 80492 (-74) UK

A reunion of the group two years after the first break up. All from the old gang was there except Steve Knight being replaced by David Perry. Later there were four more reunion albums, but this was the last featuring Pappalardi. It didn't do well with critics or public at arrival and quickly found its way to the cheap shops. Listening to it today I have a hard time understanding the negative reactions. Allthough the production differs a bit you still get the same good stuff as before. Catchy tunes with a mix of raw and gentle, heavy top notch guitars and solid backing. It has two covers - "Whole Lotta Shakin' Goin' On" and "Satisfaction" - the latter being the ultimate version, so rude it makes the Stones version sound adapted and well-behaved. Of the eight self-penned tracks non is bad and a couple really good. My favs are "Swamp Boy" and "Thumbsucker". Final song "Last Of The Sunshine Days" is a Pappalardi introspective and a sentimental goodbye to the scene. I guess you can call it an old-school hard rock album - slow and heavy with guitars in focus, but never forgetting its blues or classic rock origins. After suffering decades of poodle cuts, leather pants and reinforced nothings, it feels good returning to stuff like this where things are solid and heart-felt and players comes like friends rather than unattainable fantasy figures. Early US on Columbia/Windfall (KC 33088), 1987 UK CD release on Castle Classics (CLACD 136X). 1:st UK with label as shown here and thin matt Shorewood cover. (MÖU*)

THE BEACH BOYS/20 GOLDEN GREATS EMTV1 (-76) UK

Have to mention this since it is one of the groups best selling albums ever in UK. Sold through EMI:s TV advertising division, it stayed ten weeks at #1 and remained on the list for eightysix weeks in total. It's not my favorite compilation, but to say something positive - it has twenty very good tracks, some originally non-LP including the beautiful "Break Away", and three of the tracks have their prime mono mixes. Still I'm not delighted. Seventeen tracks are fake stereo even though much better sounding mono versions were ready to pick. Also the audio could be a lot better - apparently lots of limiting and compression was used, making the whole thing sound damp and lo-fi. If you're not an audio-freak and just in it for music it's OK, but it provides no pleasure for close listening. Issued in UK only, first with "one EMI box" label as shown here and fully laminated cover. (BÅB*)

JR WALKER AND THE ALL STARS/SHOTGUN TML 11017 (-65) UK MONO

In the mid seventies disco was blooming. An era of glitter, fashion, steady beats and high pitch voices. Dance floors got larger and lights brighter and new methods of production and reproduction allowed a clean sharp audio fitting big arenas. This is from just a decade earlier. The group started in the fifties and their music had been formed by years of playing in small clubs and murky dance joints. It's tight, raw and dirty with roots deep down in the blues tradition - more sweat and smoke than tinsel and Pina Coladas. Their songs were floor fillers back then. I remember when a '45 from the group was sneaked in at a school dance dance, among records from Alma Cogan and tidy pop wonders, it felt exciting and almost dangerous - a reminder of wilder things outside my world. I still like it a lot - mostly live in the studio, with minimal use of limiters and compression and only few overdubs, makes it sound like a club gig and place you there on the dance floor just below the stage. It was their US debute on Motowns "Soul" label (SS/SM 701) reaching Billboard #105, six of the tracks were released as '45:s with title track peaking at #4 and the rest doing well. First UK issue in mono only with label as shown here and laminated flip/back cover. (TÖMÖ*)

ROCK BUSTER PR 48/49 (-70) UK

After the massive success of the 2LP "Fill Your Head With Rock" sampler, CBS UK stressed to release this follow up later the same year. Musically the range is wider - it goes all the way from country pop and ballads, through rock and blues, to modern jazz and hard core psych. There are great numbers on here, some of them from very rare albums, still I don't think it's as good as FYHWR. Maybe it's just me, but there are some subtle differences. Both were compiled by producer, manager and art director David Howell, but while the first was carefully prepared with two main aims - establish the English market for double albums and present CBS as a leading label for contemporary music - this seems reratively hurried. The 1:st press cover has thinner quality, there's no booklet and the audio more compressed. Track choice is still better than most other vinyl compilations, but the overall appearance isn't of the top notch FYHWR caliber. Pics on front and labels are early Arnold Schwarzenegger and his most commercially spread before the net. UK press was domestic only and most of the export made in Holland. In Spain it was called "Rock -71" and in France "Superb Pop Session No 3" with different cover. Not issued in US. 1:st UK had labels as shown here, thin Garrods & Lofthouse f/o cover and custom ad inners with "Rock Buster" logo. (SÄM*)