THE BEST OF THE PRETTY THINGS SWL 1164 (-67) UK EXPORT STEREO

UK stereo version of their 1965 album "Get The Picture", released two years later on Philips budget label Wing for export only. It's rather unknown and I can't find any hard facts about it so this is just what I get from my own copy. As far as I can hear non of the tracks have separate mixes. Some of them appears wider with slightly different balance compared to the mono original, but there's no distinctive signs of true stereo like items appearing in one channel only or drifting between the speakers. On the positive side - as a fake it's not all bad. It retains some of the dense atmosphere of the original mono and also works as a good compatible with the mono button pushed. The audio is just fine and if you don't listen very closely it's totally acceptable. Some copies had a stereo sticker on front, but apart from that there's no "stereo" print on cover or label. It came in a matt flip/back E.J.Day cover. (ÖXÄP*)

MERRY CHRISTMAS!

Wishing you all a cool and relaxed holiday. I'm working over Christmas and New Year on top of all the seasonal stuff so I wont be able to post for a while. Taking a break till next year. See you later/Erik

ELVIS' CHRISTMAS ALBUM LOC-1035-C (-57) MONO GERMANY

Christmas again. Pimped trees and bearded men forcing you to pay a high price for useless merchandise. It's just an illusion so don't get all worked up. Better stay at home and listen to a good LP. Here's one that will put you in the right mood. Of all yuletide albums this is one of the absolutely best. Recordings made to fit certain holidays or events are always overly emotional and seldom sincerely honest. This is not trying to be anything special and that's what makes it great. All songs recorded during two days in September 1957, relaxed with simple backing and Elvis using his voice very freely, sometimes you get the impression he's just kidding around. Most of it sounds like an advanced home recording by the gang with no other aim than having fun. The audio is stunning and the right equipment will put you there for sure. Since there wasn't enough songs to fill out the LP, the previously released EP "Peace In The Valley" was thrown in as the last four cuts on side two. Not actually christmas songs but with some common spirit. Earliest US issue with a 12 page book cover. First German had C-number, glossy "lined" label with "LONG PLAY" as shown here, heavy vinyl and thin fully laminated cover.(FÖGÄ*)(ÄWY*) (GÖXÄ*)(CXÅ*)

THE ORIGINAL FLEETWOOD MAC S 63875 (-71) UK

Most compilations of previously unreleased material contains a lot of crap. There was a reason the cuts didn't make it to final release in the first place. Either they weren't good enough or just couldn't keep up with the artists overall standard at the time. This album is an exception. All recordings made 1967-68 by the group's first settings around the time for thier debute, one - "Rambling Pony #2" - while Bob Brunning was still in the band. Apart from "Leaving Town Blues" sounding slightly unfinished it's crystal early Mike Vernon produced Fleetwood Mac - top guitars, solid backing and Peter Green's sensitive vocals. Virtually all tracks are the same high standard as the debute album. In fact even these originally rejected recordings beat most other sixties white blues releases. That says a lot about how good they were. The audio on this UK press is big, clear and natural. Favorite tracks - "A Fool No More", "Worried Dream" and "First Train Home". Although I've heard about a 1971 US issue on Epic I never seen it and need that confirmed. The first I can find now is the 1977 on Sire (SR 6045). Later CD releases came with four or seven bonus tracks. Early UK had orange label as shown here and thin matt sleeve. (FXÄC*)

BECK, BOGERT, APPICE S EPC 65455 (-73) UK

Supergroup already scheduled and presented to media 1969 as the first Jeff Beck Group split, but after Beck being injured in a hot-rod accident the project was postponed. Bogert and Appice went to Cactus and Beck eventually continued Jeff Beck Group with an alternate setting. When the three teamed up again at the end of 1972 and recorded this album it was long awaited. At least I had looked forward to it since the first reports three years earlier. Never liked the early seventies JBG setting, but as a fan of "Truth" and "Beck-Ola" I expected this to be like the good old days or even better. It wasn't. There's some good heavy rockers and guitars are top notch all trough, but the ballads lacks soul. Non of them were good singers and that shows when things slow down. Even if they stay in tune the vocals has no true feeling or zest. It sold rather well - US #12 and UK #28 - but didn't get the full response they hoped for. It's a pity Rod Stewart wasn't available anymore. With him behind the mike it would have been a smasher and maybe kept the band together a while longer. As it was now the debute also became their last studio album and they broke up about year later. Favorite track - "Black Cat Moan". Permiere US on Epic (KE 32140). First UK had Label as shown here and thin, structured cover. (JÄBÄ*)

PUBLIC ENEMIES/FROM PUBLIC ENEMIES WITHOUT LOVE SLPS 1403 (-66) NORWAY

Norwegian r&b group existing between 1965-67 and then consisting of already cultured jazz musicians. During those years they became one of the leading live acts in their home country, also releasing a couple of '45:s and this album. 1967 guitarist Terje Rypdal and keyboardist Christian Reim pitched in and after the band dissolved bassist Hans Marius Stormoen and Reim went on to join Rypdal in psych/prog combo Dream. However the music here has little to do with the psych, prog or modern jazz some of the members later would get into. This is blue-eyed r&b and soul with a strong garage flavor. Two of the cuts are self-penned, the rest covering black US artists like James Brown, Booker T and Wilson Pickett - the song "Bo Diddley" credited to James Brown on cover and label. The performance is faithful to the originals with a slightly more jazzy feel. What I like best with it is Arild Boman's hammond organ, giving all tracks a nice warm atmosphere. Sounds like recorded more or less live in the studio with few overdubs. Audio is excellent. Released in compatible stereo/mono, but pushing the mono button doesn't make much difference and it sounds good whichever you choose. Also originally issued in Italy on Thunder (FPT-S 104) with other cover design. 1989 CD release from Sonet Norway was limited to 500 copies (KSCD 2). Earliest Norwegian had label as shown here, heavy vinyl, thin glossy cover and inner sleeve with text by keyboard player Arild Boman. Cover of this copy is rather spoiled - black paint on front and red tape on back, impossible to remove without damaging. At least I can show the original label and inner as they were. Personally I don't care much about looks anyway - as long as it sticks together and doesn't affect the music or audio it's fine with me. (SCÄ*)(ÖGÄ*)(CCÖ*)(SÖNÄ*)

IRON BUTTERFLY/METAMORPHOSIS 240 1003 (-70) UK

Today it seems almost everything they did hides in the shadow of "In-A-Gadda-Da-Vida". Even if that was a masterpiece and still stands as an all time classic the band was so much more and did a lot of good on other albums. This is the one I'm into at the moment. Not as psychedelic as "Gadda", but overall more diverse and melodic with far better vocals. The songwriting appears clearer here and there are some really catchy moments. Favorite track is the long "Butterfly Bleu" - a dynamic slow hard rocker with an appealing lead melody surronded by top guitars and various effects. The whole album is so well done, from performance to production, it grabbed me immediately and stayed. Recorded at a time when the band was going through a transition. Eric Brann (1950-2003) had just left and guitar parts were done by four studio musicians, whereof two - Mike Pinera and Larry Reinhardt (1948-2012) - later became members and group credit on this sleeve already says "Iron Butterfly with Pinera & Rhino". Produced by Richard Podolor who'd been in the business since the fifties and earlier worked with acts as Electric Prunes, Steppenwolf and Three dog Night. "In-A-Gadda-Da-Vida" may be iconic and more historically significant, but if I have to choose today I prefer this. Still fresh after all those years...at least to my ears. Premiere US on ATCO (33-339). First UK had label as shown here and thin, structured fold/out cover. (ÄHÅR*)  (GÄPPY*)

M.U. - THE BEST OF JETHRO TULL CHR 1078 (-76) UK

My kind of compilation. Top group doing some its best songs, one track previously unreleased and a few others having different mixes, edits or versions. Most cuts on the 1972 collection Living In The Past was non-LP, on this all regular ones are the same as on the albums. "Aqualung" has the start riff played twice and so re-made by other mixing and use of reverb it becomes a different version and "Locomotive Breath" comes with other balance and more prominent guitars. The previously unreleased "Rainbow Blues" was a leftover from the "War Child" sessions - performed live at a few occations in the seventies, but here was first time on vinyl. There's also exclusive edits of both Thick As A Brick and Passion Play. Today no stone is left unturned and about every existing recording and version from any group worthy of a name is being released on CD. I still prefer issues like this - analog audio on big vinyl. First US on green Chrysalis label had same number and cover design. Premiere UK with silhouette label and cover front having figure and fonts embossed, some with picture/lyric insert. (YÖHT*)

BROTH 6338 032 (-70) UK

Don't know much about this group other than they were from New York and of mixed heritage. Steve Verroca - who later would play drum or base with Link Wray and other combos and work as producer for Kevin Coyne - produced, arranged and stands as writer or co-writer to nine of the ten songs. It's a good guess he was the band leader. As far as I can figure out from listening and searching the net they were an eight piece including big rythm section, multiple guitars, organ and brass. The two sides of the record differs a lot. First is hard rock/prog latino style - in the same vein as Santana, but a lot rawer. Fuzzed organ, hard drum sound and howling guitars backing uninhibited vocals. Wild and beautiful. Unfortunately the full power doesn't remain on side two. Two good cuts - "Here Comes The Man" has an African style reminding of Osibisa and the sloppy hard rock cover of "Louie Louie" is unlike any other version. The remaining three are rather bad pop and more like first outtakes than ready tracks - some unpitched singing to loose backing. Maybe they were out of time or just lacking inspiration, but it just sounds unfinished. Favorite track - "I'm A King" http://www.youtube.com/watch?v=JIrjk5i1eEk . Not issued on CD. Early US on Mercury (SR-61298) came with different cover design. German issue on Mercury hade same number as UK and yet another cover variation. First UK had label as shown here and thin fully laminated sleeve.(ÄHÅR*)(ÄZC*)

CHRIS FARLOWE/THE ART OF CHRIS FARLOWE IMLP 006 (-66) UK MONO

His second Immediate album and a follow-up to the domestically successful "14 Things To Think About". It has been said that since the label was constantly out of money this was rushed to cash in while the hype was on for the first. Maybe so, but it's still a fine LP. Vocals both powerful and personal with flexible arrangements and the audio on this mono impeccable. Recorded at Pye Studios, London, but the rest seems to have been an indoor affair for Andrew Loog Oldham. Four of the songs by Jagger/Richards, two by Skinner/Rose from "Twice As Much" and one written by Farlowe himself. Group backing provided by Farlowe's own band "The Thunderbirds", keyboards and orchestral arrangements by Art Greenslade. Glyn Johns engineered and Mick Jagger co-produced with Oldham. Alltogether it's good blue-eyed soul with Farlowe sounding as black as a white man can get. Maybe they shouldn't have done "Reach Out I'll Be There". Nothing can match Four Tops' version, so packed with emotions and an incredible flow. In comparison the backing here sounds polite and almost sluggish. It sure was a long way to Detroit. Most interesting is the "Paint It Black" arrangements. The handeling here must have been a major inspiration for the Eric Burdon & The Animals version on the 1967 "Winds Of Change" album. It's a similar solo violin in the beginning and both timing and attack corresponds. On German CD 1992 (Repertoire Records REP 4292-WY). Early vinyl issue in UK only with structured label as shown here and matt flip/back cover. (MÖRS*) (YDÄ*)

ELVIS PRESLEY/HIS HAND IN MINE LPM 2328 (-60) MONO GERMANY

There's no denying Elvis had a few downers during his long carreer, some due to misguidance and some the result of bad choices. But when he was at his best he was the best, with a voice virtually unprecidented in popular music up to this day. If you ever doubted his vocal ability this album will set you straight. Recorded during two days in Nashville October 1960 with some of his ordinary gang and produced by Steve Sholes. You can hear these are favorite songs. He's really in there with every emotion yet having the voice in perfect control. Backing is very sparse, mostly just piano, bass and the Jordinaries, all in splendid harmony. Audio is completely natural and you can hear every nuance from both voices and instruments. When listening to records I always want presence and connection and this gives me more than I ever dreamt of. It's been called the greatest gospel album ever. I don't have much to compare with but can certainly say it has to be one of the best recorded. First German issue had glossy label as shown here and thin, glossy cover. (FÖGÄ*)(ÄWY*) (GÖXÄ*)

TEN YEARS AFTER/ROCK'N'ROLL MUSIC TO THE WORLD CHR 1009 (-72) UK

After the short soft inderlude with the previous "A Space In Time" album this is the band getting back to what they did best - heavy blues and rock'n'roll. I've seen reveiws through the years saying this LP lacked new ideas or being the beginning of a downward spiral. I don't get those attitudes. This is Ten Years After - they don't need to change or recuperate. Even if newer tracks reminds of old and it's the same sound, there's still enough skill and energy to make it special. I think it's a very good album. From the slow riff-rocker "You Give Me Loving", over the heavy "Turned Off TV Blues" and melodic "Standing At The Station", to the title track rocker. There's not a bad cut on it and Alvin Lee does some really nice fingerbreaking solos. The audio isn't as dense and dark as on the older Deram issues, but the crisper Chrysalis sound is well balanced by the attitude. Early US on Columbia (KC 31779). First UK had label as shown here and fully laminated fold/out cover. (XYÄ*)

JIMI HENDRIX EXPERIENCE/AXIS:BOLD AS LOVE 613 003 (-67) UK STEREO

When I posted the UK mono earlier   https://monolover.blogspot.com/2012/04/axis-bold-as-love-612003.html   I didn't make any thorough mono-stereo comparision. I wont do all of it here either, just mention a few variations. Stereo has a psych intro to "You Got Me Floating" not appearing on the mono and "EXP" differs in balance and guitar feedback. "Little Wing" almost sounds like separate versions and "One Rainy Wish" endings differ. Also use of phasing and track timing varies. Altoghether the mono appears firmer while the stereo is more laid-back. For a long time mono was it for me, but lately I've come to appreciate this stereo a lot. It' s softer and doesn't hit you the same way, providing a more relaxed listening. Mono is dearer and very sought after today. Just be aware that sold a lot more initially and first press stereo is rarer. The initial two-channel mix was originally released in UK, US and France. The Germans made an alternate mix that was issued in the rest of Europe and also replaced the UK mixes from around 1970. I'll get to that later. A very first UK stereo issue can be identified by following - A ∇ 1 1/B ∇ 1 1 matrixes, thick unflexible vinyl, label as shown here and laminated f/o cover with flips, stereo sticker and orange lyric/picture insert. (JHÄ*)(TRÄC*)