NATIONAL'S NEW TOPS JMLP 1030 (-72) MONO MALAYSIA

Malaysian compilation of fourteen hits from the early seventies, issued on domestic JMI/National label. Today a rather attractive oddity if you fancy a mono issue where Black Sabbath "Paranoid", Deep Purple "Strange Kind Of Woman" and Alice Cooper "Eighteen" share vinyl with Jackson 5 "Never Can Say Goodbye", Ringo Starr "It Don't Come Easy" and "Where Do I Begin?" from Love Story. Some would call it bootleg due to unsolved contractuals, but since it was authorized down there and sold in regular shops I'd say it's legit. The sound quality is decent, some tracks a little too compact but I've heard worse from regular UK or US issues. Most of the cuts on it didn't exist in true mono, but as folds made from prepared compatibles they turn out OK. Not all suitable for close listening, more like having the radio on in the background. To me the most interesting track is Malaysian band The Strollers "Just As I Am" - soft pop psych with some fetching organ, showing there were good things going on outside the common European and US markets at the time. Cover pic is George Harrison from the "Let It Be" book. I don't understand the choice since the only former Beatle represented is Ringo (here called "Singo"), but maybe that helped sales. It came on heavy vinyl in thick, fully laminated sleeve. (SÄM*) (ÄZÄ*) (BLÄC*) (ÖRJ*)

THE BEATLES/BEATLES FOR SALE PCS 3062 (-64) UK STEREO

Usually I don't post regular Stones or Beatles issues here. They're all disected enough already and I got nothing new to add. But I've been into this a lot lately and thought I'd share some of my musings. As a rule UK pop/rock issues up to 1967 and some after that sounds better in mono. The two-channel technique wasn't perfected yet and old timer producers participating in the youth boom not fully adapted. Had both issues of this long time and always go for the mono at home - easier if you move around and want balanced audio all over. Lately I've seen lots of good things written about the stereo on the net, some even prefer it over the mono, so I sat myself down in front of the speakers for a comparison. Although tuning differs at a few cuts and there are some other minor differences the main impression is the same. What strikes me is the stereo's amazing audio, better than almost anything I've heard from pre-67 on two channels. Where the mono is compact and striking the stereo is soft and overflowing. Some of the tracks have rather annoying ground mixes with most of the music in one speaker and vocals in the other, but there's enough "spill-over" and focusing to avoid a gap in the middle and you get a full, almost natural picture totally adequate for close listening. I still prefer the mono as background or for socials, but when sitting down and relaxing the stereo actually does better. It took me fifty years to realise that. Copies pressed December -64 had both "SOLD IN UK..." and "RECORDING FIRST PUBLISHED 1964" on label as shown here. From 1965-69 "SOLD IN UK..." only. It came in a thin laminated fold/out cover with inside pocket and flips. (BÄ*) (PÖX*) (LGÅ*)

NICE ENOUGH TO EAT IWPS-6 (-69) UK

When posting good compilations here I keep repeating the same phrases about rare tracks, original audio and exclusive cuts. This doesn't answer to that 100%, but close enough. There's no exclusive cuts as on the surrounding Island "You Can All Join In" and "Bumpers" samplers and the audio isn't totally up there with the original albums, still as good as expected with fiftyfive minutes of engravings squeezed into a single LP. Some of the original albums can be hard to find in original shape today and there's lots of good music from those with Nick Drake, King Crimson, Fairport Convention, Quintessence and more. However the cut that always made this for me was '45 only - Heavy Jelly's "Keep Singing That Same Old Song". It's heavy melodic psych with some awsome guitars, produced by Guy Stevens and clocking in at over eight minutes. Unfortunately that's the one track having mediocre audio. Most of it is mono, but slightly enhanced at parts with tiny stereo effects, coming through compact and lo-fi. Even so the number is great enough to enjoy. Back then I looked eveywhere to find a corresponding album. Little did I know that Heavy Jelly actually was a reformed Skip Bifferty and remained on Island for this single only, later to become backing band for Jackie Lomax. The song has been re-issued on the re-mastered 2CD compilation "The Story Of Skip Bifferty" together with its B-side "Blue". This sampler had contemporary release in Germany (Island 88519 DY). UK reissue on pink rim came with same number and tracking. Early UK press had label as shown here and thin matt cover with "14' 6" sticker. (SÄM*)(ÖSÄP*) (GÖJ*)

THE ROCK MACHINE TURNS YOU ON SPR 22 (-68) UK

The first in a serie of CBS budget samplers issued in Europe up to the late seventies. Initially a marketing strategy by US Columbia, mainly to push for rising American arists, but also including a few English - all for under £1. Back then it sold well, still far from the huge successes of "Fill Your Head With Rock" and "Rock Buster" a few years later. This has fewer cuts - fifteen sqeezed into a single album - and humbler package with less info, but musically as strong as any of those. From today's perspective it's a fantastic blend of well known top numbers and ones from albums that can be very hard to find. All songs are available on re-issues on various CD-compilations, but this was pressed at about the same time as the originals with similar audio and that means something - at least to me. Favorite tracks - Elmer Gantry's Velvet Opera "Flames", Electric Flag "Killing Floor", Spirit "Fresh Garbage", "Blood Sweat & Tears "My Days Are Numbered" and Zombies "Time Of The Season". Original release also in Holland and Germany. Later issues omitted Simon & Garfunkel "Scarborough Fair" due to contractual problems. Columbia 1996 CD came as fourteen track. Castle Communications 1990 2-LP set coupled this with the follow-up "Rock Machine - I Love You" as "The Best Of The Rock Machine Turns You On" (CCSLP 224). Also as UK mono (PR 22). Early UK had label as shown here and fully laminated E.J. Day cover. (SÄM*)

SANDY DENNY AND JOHNNY SILVO/SANDY AND JOHNNY EROS 8041 (-67) UK

There are debutes and there are debutes, some shaky and some star struck from the start. This fits both those tags. Sandy Denny (1947-78) had alredy done some touring and as member of Johnny Silvo's Folk Group participated in "Alex Campbell And His Friends" TV show. Three of her performances there had been on the "Alex Campbell & His Friends" LP (Saga ERO 8021), issued a few months earlier. This however was her first recorded solo effort and even if she shared the vinyl with then more known folk/country/spiritual singer and band mate Johnny Silvo (1936-2011), leading six cuts each, it's her name topping the bill. Today the result is described by some net critics as obsolete. Perspective please! Saga wasn't the most prominent or well-off label and they pretty much had to go with what they got without much studio embroideries, making most recordings "garage" with sometimes inferior audio. Further the support from Silvo's band sounds contemporary acoustic US folk as expected at the time with the UK folk rock boom still a few years ahead. So backing and recording facilities may appear outdated, but you also get a young unpspoiled female singer bursting with beauty and talent. Even this early she had everything that would make her status later on - timbre, phrasing and feeling. Songs are more or less traditional, but she makes them her own by empathy and expression. The back cover notes predicts the future - "...we think she is going to be a big star and we are proud to have her on our label". First re-issued on Saga 1970 coupled with cuts from the Alex Campbell LP as "It's Sandy Denny" (EROS 8153), also as "The Original Sandy Denny" on Mooncrest 1978 (CREST 28). 2005 CD on Castle Music (CMRCD 1181) came with eighteen cuts including alternate takes and and a few from the 1968 Strawbs sessions. Premiere UK had label as shown here, thick unflexible vinyl, laminated cover and "Saga" inner, some with "stereo and mono" sticker. (BRYF*)(FÄV*)(SÄGÖ*) (FÄHZ*)

DAVID ACKLES EKL 4022 (-68) UK MONO

David Ackles (1937-99) was a US singer/songwriter releasing four albums and a couple of '45:s 1968-73. Not a big seller domestically, but liked by other artists and with a traceable impact on more prominent acts as Elton John, Elvis Costello and Bruce Springsteen. Started as a songwriter for Elektra, but although the songs were good they couldn't find any fitting artists so director Jac Holzman suggested Ackles recorded them himself. On this debute he's backed by three future members of the psych band Rhinoceros - Michael Fonfara (also Electric Flag and Lou Reed), David Penrod (also Iron Butterfly) and Doug Hastings (also Buffalo Springfield). Result here is however far from psych. The songs are slow rockers and ballads with mature lyrics and melodies in a kind of vaudeville style, sometimes reminding of Berthold Brecht/Kurt Weill. He has a very engaging voice bringing soft and emotional vocals. The atmosphere is dark and thoughtful, perfect for meditative moods and autumn eves. Premiere US was stereo only (EKS 74022). Don't know if this UK mono is a straigh fold or at least partly true. In any case it sounds OK all the way - clear and balanced. 1969 re-issue was re-titled "Road To Cairo" and came with a totally different sleeve design. German CD 1993 on WEA (7559-61595-2). 2002 US CD on Collectors Choice (CCM 312-29. First UK had structured label as shown here and fully laminated cover. (SYSÖ*)(YMÖ*)

DOORS "LIGHT MY FIRE" 3.00 STEREO EDIT - UPDATE

Still confused about the mix and edit http://monolover.blogspot.se/2014/04/select-elektra-euks-7261-68-uk-doors.html . Haven't been able to find anything about it on the net and got no answers here or on Steve Hoffman's. Since it is an early legit version and at least on one album I find it strange it isn't acknowledged yet. According to a radio producer friend who's been in the business forever there's no way it is a British make. Got to be American and probably originally made for US FM stereo radio which at the time mostly broadcasted album versions since this was before stereo singles, but sometimes used shorter edits different from the radio monos. It may or may not have been used for radio play, but when they needed a true stereo version to fit the sampler this was the one. You can never be 100% sure, but it sounds right to me. Any thoughts? (SÄM*) (DÖÖW*)

IAN HUNTER/YOU'RE NEVER ALONE WITH A SCHIZOPHRENIC CHR 1214 (-79) UK

When I first heard from this on the radio I almost thought Hunter had reunited with Mott The Hoople and they were doing the same thing as five years earlier. The production somewhat lighter than "Mott" or "The Hoople", but it was the same strong songwriting, same mix of melodic catchy rock and haunting ballads and similar right-on backing. I liked his solo debute but wasn't too fond of the following two - "All Alien American Boy" and "Overnight Angels". A few good cuts on each still no turn on. By then I thought he was over for me, but this was back to the old formula and at the same time a reignition. I guess some of that had to do with a backing guaranteed to rock. Not Mott The Hoople this time, but Mick Ronson on guitar and three members of Springsteen's "E Street Band" - Roy Bittan (keyboard), Max Weinberg (drums) and Garry Tallent (bass). Also John Cale was present and plays on one song. It did OK at the time, but today it's one of those forgotten gems you can get for close to nothing at a record flea. If you're a fan of MTH or any of the involved, or just fancy a good rock album it's worth a try. Favorite tracks - "Life After Death" https://www.youtube.com/watch?v=MTWe2vDiZjA and "Standin' In My Light". Contemporary issues on Chrysalis all over the world 1979-80. US 1993 CD on Razor&Tie (RE 2011). 2009 2xCD "Anniversary Edition" came with five studio bonus tracks and one CD of unissued live cuts. First UK had label as shown here and thin glossy cover. (MÖHÖ*)

THE HARVEST BAG SHSS 3 (-71) UK

(This is about the UK premiere press only - other issues may differ in track choice, versions or audio.) It was a blessing back then getting so much good music with top audio for 85p and now this budget sampler has even more going for it. Edgar Broughton Band "Call Me A Liar" is a version originally issued as B-side of the "Hotel Room" '45. It has showed up as live versions on CD:s later, but to my knowledge this is the only LP with the studio original - a slow heavy rocker with big bass and harsh guitars. Roy Harper's "Living Here Alone" originally planned for an album that was cancelled. A cool folky tune developing into soft psych with layers of acoustic guitars and vocals. Jimmy Page appeared on many Harper recordings at this time. The sleeve doesn't say what musicians participated, but the guitars here sounds a lot like what Page did on LZ III or IV so my guess is he was in. As far as I know the song has never been re-issued in any form and this remains one of few places where you can hear it. The other eight tracks are the album versions. For a fan of Move and early ELO it's fun having numbers from both Move's "Message From The Country" and the ELO debute. As the bands had the same core and existed simultaniously at this time it's only logical they appear on the same sampler. First UK had label as shown here, thick vinyl and thin matt cover with "85p" sticker and poly lined Harvest ad inner. (SÄM*)(HÄVL*)

THE BEST OF PAUL JONES SSX 1056 (-68) SWEDEN

After Paul Jones left Manfred Mann 1966 the solo carreer didn't lift off as expected. Sales were rather low in US and although he had a couple of charters in England - where of two top ten - it wasn't a big success there either. His interest in acting started to take more time and from 1967 he has participated in a number of films, theaters and TV-shows hence leaving the music behind with no original solo album or '45 releases between 1972-2009. He did however do well in Sweden primarily with frequent radio play and a number of songs high on the lists. Some of them coincided with UK issues while others were Swedish only. Although UK albums were sold here those didn't contain all the popular single cuts so this compilation was released very early on. The songs have showed up later on various CD collections, but this was the first and still one of very few on vinyl. To my taste it really is the best he made the first two years. Fourteen tracks including A-sides "Privilege", "Ive Been A Bad Bad Boy", "When I was Six Years Old" and "Softly" coupled with B:s like the bluesy gem "Sonny Boy Williamson" including Jack Bruce on double bass - number co-written by Paul Jones and Jack Bruce, also beautifully covered on Al Kooper and Mike Bloomfield's "Live Adventures" album  https://monolover.blogspot.com/2012/04/live-adventures-of-mike-bloomfield-and.html . Most of the cuts produced by John Burgess and arranged by Mike Leander. As far as I can hear WIWSYO is fake stereo and the rest true, all made as compatibles but plays good either way. First press had label as shown here, thick vinyl and fully laminated cover. (MÖRS*)(SWÄU*)(CCÖ*) (MÄNÄ*)

THE SAVAGE RESURRECTION SR 61156 (-68) US

As a collector it's impossible to keep track of every issue, even ones from favorite genres can stay out of focus for decades. After forty years in the game I still get pleasant surprises every now and then. Got this LP as part of a trade a few days ago and it knocked me out from first listen. Since the band and their one off is new to me and I'm still learning about it maybe I should have waited a while and let it ripen before posting, but it hit me so hard I can't wait. Always a fan of garage and acid psych, but today when you see LP:s announced as such they're sometimes only partly that or not at all. It seems everything from Beatles to dub can get those epithets just to find more buyers. This however has it all and even more so. If you haven't heard it in some format already - imagine Hendrix fronting Who at Cafe' au GoGo four in the morning after a night of excessive drugging. Songwriting is simple and some of the licks clearly inspired by more renowned acts, but the energy and boldness of the whole thing makes it almost unique. No second thoughts here, just full speed ahead with lots of ruthless rythms and howling guitars. Sometimes out of tune and partly messy gives the impression of live studio takes with few overdubs. The audio is authentic with lots of presence. One of the best exemples of psych garage I've heard so far. Favorite tracks for now - "Thing In E" and "Expectations" - https://www.youtube.com/watch?v=N6icuTfzLLA . Also issued as US mono (MG 21156). I've seen sellers calling that a separate mix, but the stereo is 100% compatible so I wanna hear it to know for sure. UK release on Mercury in stereo only (SMCL 20123). CD issues on Mod Lang Records (ML-007), See for Miles (SEECD 497) and Progressive Line (PL 532). 2006 vinyl re-issue on Tapestry (TPT 211). Early US had label as shown here and glossy cover. (ÄHÅR*)(ÖGÄ*)(ÄZC*) (YZÄ*)

ROBERT FRIPP/EXPOSURE EGLP 101 (-79) UK

I see many collectors and even King Crimson fans neglecting this record today. It's a pity they miss so much good music. It has been criticized for being too diverse and lacking a common thread. Maybe, but you can also see it as an assorted buffet with many tasty dishes. Two remakes of Peter Gabriel songs - "Exposure" and "Here Comes The Flood". "Urban Landscape and "Water Music" reminds of Eno's Discreet project. There's a furious punk rocker - "You Burn Me Up I'm A Cigarette" - and also a few that would have fitted Crimsons "Red" LP - e.g. "Breathless" sounding exactly like an outtake from the old group. All very well done with tons of smashing guitars. Not something you listen to in a row, more a bouquet of top numbers where you can pick out a favorite every now and then. Apart from John Wetton in a consulting role non of Fripp's former band mates participated. The staff consisted of latter-day collaborators Peter Gabriel, Daryl Hall and Brian Eno plus a star cast including Phil Collins (Genesis), Peter Hammill (Van Der Graf Generator), Terre Roch (The Roches), Barry Andrews (XTC) and session musicians Sid McGinnis, Tony Levin and Jerry Marotta among others. This 1979 issue was the first of three editions. It was remixed in 1983 and re-released as such 1985 having different takes for some of the tracks (EG/Virgin EGLP 41). The 2006 2-disc CD has cuts from both those editions plus a third version (Discipline Global Mobile DMG 0602). First UK had label as shown here, glossy cover and picture/lyric inner. (ÄNÖ*)(KYK*)

SATURDAY NIGHT AT THE UPTOWN 8101 (-64) US MONO

I've never seen this described as a great or indispenable soul album and maybe it isn't in comparison to later efforts by the label's big stars or the Motown blockbusters. But to guys like me who are in love with US sixties soul and always dig deep it's a gem. I get early Atlantic label black music right on, recorded live at the Uptown Theater in Philadelphia just as it was 1964 into my Swedish living room fifty years later. It's a kind of greatest hits sampler with live versions of songs of which some later would be part of the white pop/rock scene when covered by others, but here performed by original artists - Drifters "Under The Boardwalk", Vibrations "My Girl Sloopy", Barbara Lynn "(O Baby) We Got A Good Thing Going" and Wilson Pickett "If You Need Me". You also get the one hit wonder Patty & The Emblems "Mixed Up, Shook Up, Girl" and a former B-side from the today almost forgotten group The Carltons - "Can't You Hear The Beat". Audio isn't very good by today's standard, but revealing enough. The audience participates all through by shouting and handclapping and the atmosphere is loaded. Wish I'd been there. First UK issue on Atlantic purple label (ATL 5018). Japan 2012 CD on Wea. Premiere US mono had matt label as shown here and laminated cover, also as stereo (SD-8101). (SÄM*)(FÄV*)(LYBÖ*) (YZÄ*) (ÖXCÅ*) (ÄTHP*) (PÖC*)