BEST OF JEFF BECK 4E054-92207 (-71) (MONO + STEREO) SWEDEN

There's been a couple of Jeff Beck compilations over the years, some of them including the first single issues made as the group went through its primal settings. If you're like me and want early press LP containing original mixes - mono or stereo - this is a good choice. The sessions for "Hi Ho Silver Lining" included Jimmy Page, John Paul Jones and Keith Moon - Beck himself did lead vocals while Rod Stewart sang background. He also recorded "Love Is Blue" before starting up the first incarnation of "Jeff Beck Group". "Tallyman" had the same setting as later recorded the "Truth" album. Those three tracks are the '45 mono mixes here. "I've Been Drinking" from the beginning B-side to "Love Is Blue", also released as A-side on "RAK Replay" label 1973. The version on here is some kind of "stereomonic", with the original mix appearing somewhat wider in stereo. The rest of the songs are the stereo LP mixes. Same tracking also appeared on seventies compilations from Japan, Holland and Australia and a few other countries. First Swedish had label as shown here and thin matt cover. (PÖP*)(JÄBÄ*)(CCÖ*)

TIGHTEN UP TTL 1 (-69) UK MONO

I'm not a hard core raggae fan, but always appreciated the attitude and groove from a distance. What I find most interesting is the early meeting between Jamaican music and continental pop, eventually leading to the seventies hype and success. On here are a few exemples. A compilation of late sixties Trojan '45 tracks - some originals and some covers of known songs as "Ob La Di, Ob La Da", "Kansas City" and "Spanish Harlem". A lot here is from artists and constellations today long forgotten and the original '45 mono mixes can be hard to find on vinyl elsewhere. Three of the cuts produced by raggae legend Lee Perry. The audio and volume shifts a little between tracks, but it's all good - clear and natural. Even if I'm not totally into the music, the history and audio makes it a keeper. It became the start of a Trojan line of raggae compilations. Not considered the best in the serie, but it's the first and that means something. I've seen a few variations of label design and front cover text. Not 100% which was absolutely first, but guess this is early with -1/-1 matrixes, structured label as shown here, thick unflexible vinyl and laminated cover. (SÄM*)

THE SUPREMES FTM 40.376 (-66) MONO FRANCE

French only issue having unique compiling and layout. All cuts are the original mono versions. A number of non-US compilations from Motown arists were issued around the world during the sixties, some of the best in France. The combination of top audio, good track choices and cover design makes them highly collectable. I'm also very fond of the red/silver label - the most handsome Motown variation I've seen so far. First press on thick vinyl with laminated flip/back cover. (TÖMÖ*)(FÄV*)(MFÄX*) (ZYZÖ*)

TOM ZACHARIAS/BELINDA SBLP-12 (-75) SWEDISH PRIVATE PRESS

Musically a fine garage album with some really good guitars, recorded during a day or so in Stockholm mid-seventies. But the lyrics makes it some of the dirtiest and most appalling stuff ever put on vinyl. At this time funny erotic songs sold well in Sweden, often made with finesse by professional artists. Tom Zacharias (1948-2010) - then actor and singer with his blues/rock group Levende Livet - was asked by some financiers to make a sexy album, sqeezing a few more bucks from the genre. He brought his band to the studio and recorded material for two albums - this being the first. To my ears there's nothing sexy going on here, it's just violent and depressing. They portray a world of heavy BDSM, incest and bodily waste in a way that would make even Lou Reed blush. Every other word is a sexual slur and the atmosphere cruel and dark. Most cuts are in regular form, sung by himself or a female, with long blues/psych guitar parts. There's also four short monologues - three female and one of TZ pleasing himself. With that result no labels or distributors wanted any kind of contact, so it got a private press and sold through porn shops and ads in XXX magazines only. An attempt to hit the American market with lyrics in English - badly translated and slightly softer than the Swedish version - was also cancelled due to lack of distribution. The album had some revival in the nineties Swedish "genital rock" movement and re-issued on CD 2004 together with the follow-up "Belindas Dotter" as "Belindas Sånger" (Subliminal Sounds SUBCD-8), including six tracks from the withdrawn English version. First press had label as shown here and thin glossy cover. (SCÄ*)(FÄV*)(ÖGÄ*)(ÖRJ*) (ÄXÅH*)(CCÖ*)

RINGO STARR/SENTIMENTAL JOURNEY BTL 1012 BRAZIL MONO VS. PCS 7101 UK STEREO

After mono issues were dropped by Apple in UK 1969 some South American countries kept on releasing them up to 1972 - the last one being the Brazil "Wings Wild Life" (BTL 1018). While most of them were folds at least one had totally different mixes - Brazil "Hey Jude" (BTL 1009) https://monolover.blogspot.com/2013/01/beatleshey-jude-btl-1009-70-mono-brazil.html . Others used the same cuts as the stereos but differ so much they can be regarded as separate versions. This is one of those. Comparison made between the mono and a UK first press - mimicking a fold down by pushing the mono button. The reason I'm choosing the UK stereo as a reference is Brazil Apple used same stamped matrix no. system as UK - in this case mono matrix "XEX-771/XEX-772". You don't have to listen many seconds to hear that it isn't a straight reduction, but has been tweaked in some way. The UK press is not 100% compatible - it comes through as rather flat and borderline muddy at parts, lacking separation and spunk. This is something else. From the title track bass intro till the last strings of "Let The Rest Of The World Go By" it's a lot more dynamic, with perfect balance, differing from both the stereo or a fold down. You get every single part - vocals, base, strings, drums - with awesome separation, loud and clear. All cuts seems to have the same timing as UK and apart from improved audio, balance and and more prominent base all through I can hear no signs of a separate mix. Still the audio makes it an alternate version and I don't have a clue how or where it was made. Maybe due to lack of compability a slightly altered version was made for the UK reel-to-reel mono (TA-PMC 7101) and then sent along, or the Brazilians had the tools to make it themselves. I don't know. What I do know is it debunks the stereo or any attempt to fold down. The power and clarity provides a much better listening experience. First Brazil press with label as shown here and wrapping as plastic covered sheets with a glossy black inner. Premiere UK had dark Apple label and fully laminated cover with narrow spine and white "Patents no." inner. (BÄ*)(SÖMI*) (CPYC*) (ÄPLÄ*) (RYNX*)(MÅW*)

TINY TIM/GOD BLESS TINY TIM RSLP 6292 (-68) UK

Either you love it or you hate it, but once it gets to you it's impossible to stay unconcerned. There's many stories about this guy and how the stage character emerged. The one I choose to belive is the tale about the lonely child who grew up by the radio in the thirties, listening and learning both announcements and all the popular songs, thus introjecting both male vocals and high pitch female. At least that saga fits the impression. After attending clubs and talent competitions in the early sixties, singing old vaudeville numbers with a distinct vibrating falsetto accompanying himself on a ukulele, he became a novelty and started to get roles in films and TV-shows. 1968 he got a contract with Reprise records and they obviously decided to go all in and give him the best for this debute. Produced by Richard Perry, who just finished Captain Beefhearts "Safe As Milk", and arranged by legend Artie Butler. It's hard to give a brief description of the album. Most of it is early 20th century vaudeville tied toghether by short monologues/announcements, but there's also country, rock and psychedelia. Vocals ranging from deepest bariton to falsetto. On some of the songs he's singing duettes with himself, doing both male and female parts. Serious and very humoristic at the same time. The arrangement goes from sparse to heavily orchestrated, all elaborated and on the spot. It was odd back then and still is, defying zeitgeist and temporal tastes, and to my ears as fresh today as 1968. Favorite tracks - "Living In The Sunlight, Loving In The Moonlight" and "The Other Side". Premiere US on Reprise (RS 6292), also as mono promo (R 6292). First UK release in stereo only had label as shown here and laminated flip/back cover. (MÖRS*)

RYTHM & BLUES ALL STARS MAL 610 (-66) UK MONO

A record I wanna know more about. UK issue on Pye's Marble Arch budget label having ten of the most renowned US blues artists doing one cut each - Sonny Boy Williamson, Muddy Waters, John Lee Hooker, Bo Diddley, Howlin Wolf, Memphis Slim and a few more. With tracks like "Smokestack Lightning", "Got My Mojo Working" and "Road Runner" it represents the source for the British white blues movement and many rock efforts before and after that. There must have been hundreds of covers done from those songs and thousands copying the licks, rythms and vocal style. Here are the original artists all in one place. The audio shifts a little between tracks, but it's straight on, authentic and in glorious mono - just as God intended. The back cover and labels says "An Aristocrat USA Recording". I haven't been able to figure out if it's a UK issue made from Aristocrat label '45:s or '78:s, or if there was a US original album. I also would like to know if this is the first UK or a re-make. In any case it's top numbers from the best in original shape and that's all that really matters. Early press had label as shown here and laminated flip/back cover. (SÄM*) (PÖY*)

MARVIN GAYE AND HIS GIRLS STML 11123 (-69) UK

Attractive compilation of Gaye's duets - with Mary Wells, Kim Weston and Tammi Terrell doing four cuts each, recorded between 1964-69. The Wells tracks are from the 1964 "Together" album and the Weston ones from the "Take Two" LP. Of the Terrell cuts three were taken from "United" and "You're All I Need" while the song "Good Lovin' Aint Easy To Come By" (actually sang by Valerie Simpson due to Terrell's illness) was a newly recorded '45. It's a lovely blend of romance and up-tempo, well performed and produced, and the audio and stereo mix tops all the way. I'm guessing they re-mixed at least some of the tracks for this issue. Recorded over a period of six years with different producers and engineers the stereo results should have varied more. But the ones on here have about the same type of mixes and audio and sound contemporary. So it's probably not the originals straight on, but a very good re-make and enjoyable listening. Premiere US on Tamla (TS-293). Also as UK mono (TML 11123). First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (FÄV*) (GÖJI*) (MÄWY*)

KING CRIMSON/EARTHBOUND HELP 6 (-72) UK

Reading about it today it's always with emphasis on the inferior sound quality. Recorded live at different locations in US early 1972, using an Ampex stereo cassette, sometimes during bad conditions. For more on recordings, setting and credits - check cover details below. I've had a few European pink rim issues earlier and some of them do sound really bad. This UK first is the best I've heard so far with at least some of the cuts having enjoyable audio. All that aside - counting skill, orginality and presence it's one of the top live albums of the period. Mel Collins plays some awesome sax and Robert Fripp's guitars on "21st Century Schizoid Man" and "Earthbound" are midblowing. The backing is very adaptable through rythm changes and mood swings and Boz Burells vocals on "21CSM" does not stand back to Greg Lake's original. When I forget about the audio and embrace the music I get about the same feeling from this as from "Colloseum Live" - taken on a joyride by some of the best. Not originally released in US. Later CD/LP re-issues on Polydor, EG and Virgin. Premiere UK through Island's budget HELP serie had label as shown here and glossy cover with structured black inner. (KYK*) (HÄLX*)

GEORGE FORMBY/THE INIMITABLE MFP 1182 (-67) UK MONO

This one I keep for sentimental reasons. Part of the radio music I grew up with in the fifties, before pop, blues and rock'n'roll changed my life. Perfect for the toddler - fast, funny and naive. George Formby (1904-61) was one of the most popular 20th century British artists on stage, records and in movies. A comedian at heart - performing perky, positive melodies with humoristic, sometimes suggestive lyrics while playing his ukulele. He remained a big seller up to 1960 when "Happy Go Lucky Me" reached #40 in UK. It may seem something totally different from the following sixties Britpop, but I can hear a remaining influence to some of the groups. Hermans Hermits had a big hit with a cover of "Leaning On A Lamp-post", the muted rythm guitar in "Ms Brown You Got A Lovely Daughter" sounds like a ukulele and the whole impact of that song and many of their others is a lot in the Formby spirit. Freddie & The Dreamers comedy stage act and musical approach wasn't an exact copy of Formby's, but I doubt they would have made it without the inspiration. This is kind of a greatest hits compilation from his prime years, carefully transferred from '78 cuts. The audio shifts a little between tracks, but it's all warm and cozy and sure takes me back. First had label as shown here and laminated flip/back cover. (MÖRS*)(SYSÖ*) (SXS*)

SANDIE SHAW/SANDIE NPL 18110 (-65) UK MONO

Born Sandra Ann Goodrich 1947. After finishing second in a song contest at age sixteen she was discovered by singer Adam Faith, got a contract with Pye Records and her stage name - Sandie Shaw. First single didn't chart in England, but the following five all got to top 6 including two #1. She's had eighteen '45:s on the UK list, the latest 1994. Never made it big in US, but apart from that one of the most successful British female vocalist world wide in the sixties, having big sales downunder, through South America and the European continent - both in west and behind the iron curtain. This was her debute album. As far as I know non of the tracks were released as single in the UK. Four of the numbers were written directly for her by Chris Andrews, the remaining eight are covers. Some of the songs are pop and ballads reminding of the UK forerunners Petula Clark or Alma Coogan, but the main impression is early sixties US type soul, uptempo with instinctive vocals. Only eighteen at the recordings, but she handels it all brilliantly. I especially like the unbridled teen style on some of the fast numbers, like - "Don't Be That Way" and "Talk About Love". Maybe not the most stunning debute ever, but I'm charmed. US release as "Sandie Shaw" on Reprise (R/RS 6166) omitted "Love Letters", "Always" and "You Wont Forget Me", replacing them with "I'll Stop At Nothing", "(There's) Always Something There To Remind Me" and "Girl Don't Come". UK issue in mono only. First had label as shown here with "Recording First Published 1965", laminated flip/back cover and Pye ad inner. (FÄV*) (PÖY*)

DAVID BOWIE/GOLDEN YEARS OF BOW DB 6791 (-80)

Usually I don't buy bootlegs, but there are a few I couldn't resist through the years - like "Who's Zoo" I posted earlier. While that had many rare studio cuts and surprisingly high sound quality, this doesn't reach up in any way. Most of the tracks are live outtakes from seventies concerts in Santa Monica, Uniondale, London and Stockholm - some with acceptable audio and some really bad - and two from a US Christmas TV show. That I could have been without. The one reason I'm having the record is the original '45 mono mix of "Conversation Piece", first issued as B-side of the 1970 "Prettiest Star" single (Mercury MF1135). As far as I know all other vinyl albums with the track uses a stereo mix. It has showed up on CD ("Sound + Vision" Rycodisc RCD 90120/121/122), but this is the only time I've heard the mono on LP. Luckily that is also the best sounding cut - almost legit quality. Don't know anything about other pressings of the record. This looks and feels OK with medium-thick vinyl and glossy gold cover. (ÖRJ*)(PKÅ*)

OSIBISA MDKS 8001 (-71) UK

In retrospective probably the premiere "world music" album, at least the first truly successful one. Group founded in London 1969 by alredy experienced musicians from Ghana, Nigeria, Trinidad, Antigua, Aruba and Grenada. They've released thirtyfour albums up to 1997 through different settings and as far as I understand the band is still active in some form. This debute remains their most sold on release - #11 in UK and #55 on Billboard. Recorded in George Martins Air Studios and produced by Tony Visconti it's not only a blend of African and West Indian, but also a meeting between exotic tunes and well mannered British recording technique. To my ears the merging works well on all levels. Three of the cuts - "The Dawn", "Music For Gong Gong" and "Think About The People" - makes me think of early Santana. Very good but not unique at the time. The rest is more seminal - jazzy prog African style, not by coping or flashing the genre but actually being there. Fav tracks - "Ayiko Bia" and "Phallus C". This issue also tells a lot about how important the audio is. If it'd been bad here I probably wouldn't have listened this much. But the high quality studio and production combined with a top notch pressing makes it sound so good I can almost taste the music. So I spin it a lot, get aquainted and loving it. First US on Decca (DL 75285). MCA UK had a variety of label designs during the early seventies and it's not always easy to distinguish the timeline for an issue. This is probably one of the most confusing with three different designs having the first matrix (-1L/-1L). Two on the "dogbone" label - one pink/orange and one brown/red - plus this black/silver. After checking some mother/stampers I believe pink/orange was absolutely first while the two others came slightly after. The one shown here has thick unflexible vinyl and matt fold/out cover.