LULU/LOVE LOVES TO LOVE LULU SCX 6201 (-67) UK

Signed to Decca records 1963 at age 15 and got an early breakthrough with a cover of Isley Brothers "Shout" the same year, reaching top ten on the UK list. Succeeding four singles and a debute LP "Something To Shout About"    https://monolover.blogspot.com/2014/12/lulusomething-to-shout-about-lk-4719-65.html  followed the same pattern with standard r&b, rock and pop, performed with a strong earthy voice. 1966 she changed label to EMI/Columbia and producer Mickie Most wich led to a change of style. Still a teen when this second album was recorded, but already comes through a lot more composed and mature. Backing and production sounds taylor made and the John Paul Jones/Peter Knight arrangements fits perfectly - from the up-tempo "Day Tripper" to the string embedded "To Love Somebody". It also includes the title track for her movie debute "To Sir, With Love". In England the song was chosen as B-side for the "Let's Pretend" single (UK #11). In US it was released as an A-side and got to #1 on Billboard. US 1968 album issue as "Lulu Sings To Sir With Love" (Epic BN 26339). Usually I prefer mono for UK recordings before -68 yet the stereo mix here is very good - not too much panning, but very collected with a natural result. First UK had label as shown here and laminated flip/back cover. (FÄV*) (LÅL*)

THE NICE/IN MEMORIAM 2C 054-91.951 (-7?) FRANCE

An alternative Nice compilation with exclusive cover and tracking. I'm having a really hard time finding early genuine collections with the group, not belonging to packrat series or low budget compilation lines. So far the best I've come across is the German "The Best Of The Nice" I posted a while ago - and this. Both have eight tracks and five in common - "America", "The Diamond Hard Blue Apples Of The Moon", "Intermezzo From The Karelia Suite", "Thoughts Of Emerlist Davjack" and "Brandenburger". Exclusive to this is the live version of "Rondo '69", "Azrael Revisited" and "Hang On To A Dream". As far as I can hear all cuts are the common versions with "America" and DTHBAOTM in fake stereo. DTHBAOTM sounds bad as always but the rest have top audio. I'm uncertain what year this first press was issued. Some say 1970 some 1973, but the thick vinyl, thick laminated cover and lilac label sure points towards an earlier date. (YDÄ*)(ÄPY*)(MFÄX*)

DUSTY SPRINGFIELD/A GIRL CALLED DUSTY BL.7594 (-64) UK MONO

Born Mary O'Brien (1939-99). At the time for this debute album already an experienced recording artist and singer as member of vocal trio The Lana Sisters and folk/country group The Springfields. Her first '45 as a solo artist 1963 "I Only Want To Be With You" reached #4 in UK and #12 on Billboard and the next three single releases same year all sold well. So you don't get the nerves and energy of an actual debute here, more the skill and security of an already established artist. All numbers reflects the American music scene at the time - some covers from soul groups like Supremes and Shirelles and some from pop/entertainment artists like Gene Pitney, Dianne Warwick and Barbara Streisand. Handeled by a top notch British studio crew led by producer John Franz and arranger Ivor Raymonde it's clearly inspired by Phil Spector and early Motown yet with a British expression. I love the front cover pic on this and the flirting. Later on you get a settled sucessful artist, but here it's still cheeky and challenging and she never looked better. Not issued in US where the songs instead showed up on two Philips albums 1964 coupled with original '45 A:s and B:s - "Stay Awhile/I Only Want To Be With You" (PHM 200-133/PHS 600-133) and "Dusty" (PHM 200-156/PHS 600-156). Early UK releases with "Recording first Published 1964" on label. Very first had the older design with large "33 1/3" on top as shown here, later "rectangle" label with Philips on top. It came in a thick, laminated flip/back cover without maker credit. (FÄV*) (TÖZ*)

SMALL FACES/THE SINGLES ALBUM - ALL THE DECCA A+B SIDES ROOTS 5 (-76) UK MONO

From the mid-seventies UK Decca "Rock Roots" serie. Eight singles, A&B sides, sixteen tracks straight on mono with amazing sound quality. Of all compilations from sixties groups this is one of the best. It must have been really easy making it - no sweating over dials and switches, faking or re-making the mixes. They just took the original tapes, gave them a fair pressing and it was done. So much good music and you'll get it precisely as we did back then. I wish more would be like this. Favorite cut - "My Minds Eye". The album was re-issued a couple of times, but a few of the later ones don't have the top audio of this first. It's distinguishable by same label design as shown here, laminated cover, thick vinyl and stamped "XARL 14606/7. P-1C" matrixes. (DRÖK*)(PÖP*)(SXÅH*)

WRITER : CAROLE KING AMLS 996 (-70) UK

Her next album "Tapestry" would sell 25+ million copies world wide and lead to a serie of block buster LP:s and singles. However this debute LP wasn't a success initially. Sales started to pick up first after the "Tapestry" triumph and never reached the commercial hights of her other albums. One can only speculate why. There's twelve very strong songs written by her and then husband Gerry Goffin. The backing is good throughout, vocals nice and melodies memorable - everything that constitutes a hit LP. Bad things can happen to good albums because the labels don't push enough or the timing is wrong, but in this case it may be related to the studio work. What I hear from "Tapestry" and on is the smooth and appealing Lou Adler production, making the cuts more even and as it seems targeted for radio. This was produced by John Fischbach who otherwise was a musician, engineer and arranger. It's not bad in any way, but more direct and not so much easy listening. In a way I prefer this over her later big sellers. Sometimes directed production can filter the recognition and create a distance between artist and listener. That's certainly not the case here and I'm feeling close. Premiere US on Ode Records (SP-77006). First UK had label as shown here, thick unflexible vinyl and laminated cover. (FÄV*)(SYSÖ*)

WORLD OF MARIANNE FAITHFULL PA 17 (-69) UK MONO

Mainly a collection of A-sides with a few B:s, some non-LP. The UK double mono/stereo issue was released at the same time as the US stereo compilation "Marianne Faithfull's Greatest Hits"(London PS 547) with different cover but same tracking and track order, the US only '45 "Go Away From My World" included as eleventh and last cut on both. The two compilations are clearly related, though I'm not sure which was the original. Don't have access to an early US press for now, but as the UK has Decca stamped matrix no. only (ARL.8748/9 P-1A) without any other reference it may be the original. This mono sounds like a fold from the corresponding stereo, but enjoyable enough. The UK stereo LP (SPA 17) came with two re-channeled tracks. First common mono/stereo cover had die-cut hole on rear and lilac front as shown here. (WÖF*)(FÄV*)

ERIC BURDON AND WAR/THE BLACK MAN'S BURDON LDS 84003/4 (-70) UK

His second album with US band "War". Although the backing is different here, tighter and more down to earth, it's the same Burdon as in Animals. Record one has re-worked and extended cover versions of "Paint It Black" and "Nights In White Satin" mixed with instrumental parts and poems, while the second is a mix of r&b, funk and soul - all penned by the group. The lyrics moves between social comments and private reflections and the approach is as grand as ever. There's a slight change of focus - less drugs and more sex - shown both by cover design and some of the texts. One exemple is "PC 3" poem where he's talking about the Queen with her nickers down and that he "saw the sight of her burning bush". That showed too much for some of the UK public and Liberty Records at the time and the track was removed from some later pressings. I'm a big fan of the psych albums from "Eric Burdon and The Animals". Even if this is has different backing and partly moves around other genres, some of the magic remains and Burdon's vocals continues to enchant. First US on MGM (SE 4710-2). Premiere UK has label as shown here and matt fold/out cover. (ÄNÄ*)(XLÄ*)

THE ROYAL GUARDSMEN/SNOOPY VS. THE RED BARON SL 10202 (-67) UK MONO

Florida group started as "Posemen", but renamed trying to correspond with the British Invasion to US in the mid-sixties. In a way they can be called a one hit wonder. "Snoopy vs. The Red Baron" became a world wide block buster in 1967, topping lists in a number of countries and selling gold in US. It seems many of the bands efforts after that in some way was connected to the Peanuts hype, trying to recompose the success with singles like "Return Of The Red Baron", "Snoopy's Christmas", "Snoopy For President" and even "Snoopy vs.Osama" 2006. So when I gave this debute album a spin for the first time I didn't expect much. It's all covers embracing a wide range from "Alley Oop" to "Road Runner" and could have been a catastrophe, but it's actually pretty good. They adapt easily between the different styles - light pop, r&b, garage - the vocals are attractive and there's lots of nice organ. Many aspiring groups back then coupled more or less successful singles with cover versions to get an album out for sale. To my ears this is one of the more enjoyable. The US issue (Laurie LLP 2038) reached #44 on Billboard while this English didn't chart. First UK had label as shown here, thick vinyl and laminated flip/back cover.

THE WORLD OF DAVID BOWIE PA 58 (-70) UK MONO

A kind of greatest hits collection from his mildly successful Deram years. Compiled by Bowie himself, having ten tracks from his debute LP, one UK B-side (The London Boys) and three previously unissued recordings (In The Heat Of The Morning, Karma Man, Let Me Sleep Beside You). These latest recorded are the most interesting, reminding of "Space Oddity" album in style and performance. "In The Heat Of The Morning" was his first collaboration with producer Tony Visconti, one that later would prove very successful. Although it seems many of the late "World Of..." monos used fold downs, the cuts here sound like true mixes to me. Bowie himself was in charge of picking the cuts and all tracks were primarily recorded in mono so there is a chance they went with the original tapes. Since there must have been separate mixed formats a fold should have left some audible mark, but there's no such here - all songs comes through beautifully with perfect balance and separation. The cuts only existing in mono by then also sounds natural with the right atmosphere. All the above indicate separate mixes, but there may be another explanation. For more on that check my more recent mono-stereo comparison https://monolover.blogspot.com/2022/09/david-bowiethe-world-of-david-bowie-uk.html . But however it was made, it is a top notch mono LP and probably the only place where you can find mono versions of "Karma Man" and "Let Me Sleep Beside You" on vinyl. The stereo issue (SPA 58) had three re-channeled tracks. Re-released 1973 in stereo only with a "Ziggy" cover. First UK with "curly hair" cover and die-cut hole on rear as shown here. (WÖF*)(UKÖ*)(PÖP*)(YMÖ*)(PKÅ*)

LOVE SCULPTURE/FORMS AND FEELINGS PCS 7090 (-69) UK

(For more on the group check post on their debute "Blues Helping".) This was the groups second and last LP. For most albums of the period you get the impression of an original idea, a theme or something tying the songs together. The only impression I get from this is a random pick of tracks released to follow up on the success of the "Sabre Dance" single. The album has an eleven minute edit of the number plus a version of Bizet's "Farandole". There were also plans to include a part of Holst's "Planets", but that was dropped from the European issues due to legal threats from Holst's family and only appears on the US Parrot release (PAS 71035). It also also has a rock'n'roll cover, two soft ballads and a few psych numbers composed by songwriter duo Finesilver/Kerr. So it could have been one of those hit-single-plus-fillouts albums, but it's a lot more than that. What saves it is the stunning guitar work. Edmunds was a true master, not standing back to any of the more renowed guitar heroes. His finger work and sound on here is so amazing it's hard to find a parallel among his contemporaries. Produced by Edmunds, Finesilver and Kerr. Also Eddie Offord was involved, prior to his work with Yes and ELP. Some of the first UK copies had black/yellow label. Shown here is a very early black/silver, having one EMI box on label, first matrixes with 1R 1R mother/stamper and fully laminated cover. (PÖX*) (DÄWÄ*)

METRO TRAG 340 (-76) UK

The group issued three albums 1976-80, this first was the only one including Duncan Browne (1947-93). Browne was an educated musician and arranger with two solo LP:s behind him, while Peter Godwin and Sean Lyons were rather unknown to the public at the time. As the story goes the band prepared by spending months in Paris, writing songs and grooming ideas for the recording, but also participating among the city's more depraved circuits. Music is inspired by seventies glam acts like Roxy Music and David Bowie, but at the same time both more elegant and progressive. The lyrics has been criticized for being too straightforward decadent, but to my taste they're perfect - providing a perfect balance to the soft production. Produced by the group and Peter Sames with most arrangements done by Browne. I recently found this copy and though I haven't heard it for thirty years it all came back with first spin. There's not a bad track on it, the vocals are beautiful and quire arrangements and whole production so soothing you just wanna stay there. It didn't sell a lot at first. By the time it reached the shops glam was over and the public more interested in punk and new wave. There was some attention in the early eighties when Bowie recorded "Criminal World" for the "Let's Dance" LP , but the album has never really got the recognicion it deserves. Favorite tracks - "Precious" and "Paris". US issue on Sire (SR 6041) came in single cover with inner sleeve. Premiere UK had labels as shown here and glossy fold/out cover.

THE AYNSLEY DUNBAR RETALIATION/DOCTOR DUNBARS PRESCRIPTION LBL 83127 (-68) UK MONO

(For more on Dunbar's other collaborations and the group, check post on their debute.) To my taste one of the better British blues bands, but always in the shadow of major acts like John Mayall and Fleetwood Mac. This was the second of four original LP:s. Although Dunbar was the big name at the time, the whole thing is carried by vocalist and multi-instrumentalist Victor Brox. Both Jimi Hendrix and Tina Turner fancied him as the best white blues singer back then. He worked alongside many big acts like Clapton, Charles Mingus, Mayall, Alexis Korner and Graham Bond and did the voice of Caiaphas in the original recording of Jesus Christ Superstar https://monolover.blogspot.com/2022/08/jesus-christ-superstar-mkps-201112-70-uk.html  . One of the great British blues performers, still sadly unknown to most. His vocals and keyboards makes the whole album - the dark soft voice and melodic flowing organ gives it a gloomy, almost gothic atmosphere wich grabs me every time. Produced by Ian Samwell (1937-2003) who also worked with Cliff Richard, Frank Zappa, Gratetful Dead, Small Faces and Joni Mitchell among others. I don't know anything about how it was made, but this sure sounds like a true mono mix. You get the impression every song is mixed separately and they all sound great. In fact "Till Your Loving Makes Me Blue" is one of the best mono reproductions I've ever heard. Full album below (in stereo).  First US on Blue Thumb (BTS 6) had different back cover pic. US CD release on MCA (MCAD-22102). Premiere UK had label as shown here in a laminated cover. (YMÖ*) ((XLÄ*) 

                                                                               

                                                                                   

                                                                               

 

SAVOY BROWN/RAW SIENNA LK 5043 (-70) UK MONO

Their last album with some kind of original setting. After this keyboardist Bob Hall and singer Chris Youlden quit and left the band as a four-piece. In a way it's the groups most deviant effort - having less hard-core boogie and raw blues, but more melodies and odd song structures. It's lighter and more playful than their previous with fewer overdubs, wich brings it closer. Back then I was more into the groups squirming approach, but with age I've come to appreciate this and it's now my Savoy Brown favorite. Produced by Kim Simmonds and Chris Youlden. The mono may be some kind of tweaked fold down, but sounds so much better than the stereo. It has bigger base all through, clearer and more dynamic with top separation. Very good listening. Early US on Parrot (PAS 71036). First UK - mono and stereo - came with laminated fold/out cover, later matt f/o. (UKÖ*)(YMÖ*)(SÄVX*)