DONOVAN/WHAT'S BIN DID AND WHAT'S BIN HID NPL 18117 (-65) UK MONO

My favorite Donovan period is 1966-71, all albums from "Sunshine Superman" to "Open Road" and songs like "Hurdy Gurdy Man", "Atlantis", "Jennifer Juniper" and "Barabajagal". His early US inspired singer/songwriter period doesn't grab me the same way fifty years later. At the time it seemed important and fresh for us not yet fully aquanited with the American tradition. Today I hear more of the copying in songwriting and style and a lot of respect for the transatlantic forerunners. So from that perspective this debute could be dismissed as dated or uninteresting, but there are other qualities making it a keeper. The basic setting - acoustic guitar, double bass, drums and occational kazoo - which together with the natural audio creates a close and cozy atmosphere. Also the backing crew has a very interesting combination where then former Shadows bassist Brian Locking and drummer Skip Allen - who just after the recordings would replace Viv Prince in Pretty Things - plays together. But the main reason I still cherish it are the vocals. Eventually he developed an inimitable "breathy", very soothing song style. You can hear that here already, not fully fledged but enough to make me close my eyes and relax. First US on Hickory (LPM/LPS 123) as "Catch The Wind". Premiere UK was also issued as "stereo" for export only, which in fact only was an alternative one-channel. Mono had label as shown here with "Recording First Published 1965", thick unflexible vinyl and laminated flip/back cover with Pye ad inner. (SYSÖ*) (TÖW*) (PÖY*)

PERCY SLEDGE/WHEN A MAN LOVES A WOMAN 246 4002 (-70) UK

From mid-sixties to early seventies the king of soul ballads and still the best if you're in the mood. Posted "The Percy Sledge Way" a while ago and now thought it was time for reminder with this UK compilation. What I wrote then more or less goes for this too, so the following presentation is mainly a copy of the old one. * If you're dumped by a true love, drowning in tears and need consolation - Percy Sledge will get the work done. With sixties hits like "When A Man Loves A Woman", "It Tears me Up", "Baby Help Me", "What Am I Living For" and "Just Out Of Reach (Of My Two Empty Arms)" it seems his musical persona was always a helpless victim of love. It's about those lonesome moments and feelings we're not proud of, but need to be whole. Sentimental and covered by salty stains, but so well done it never gets slushy. Slow movers with organ, soft brass and weeping guitars. Not everyday listening still good to have available cause someday you may need it.* This compilation was UK only, issued on Atlantic's "99" budget serie, a year after US "The Best Of Percy Sledge" (Atlantic SD 8210) with four cuts in common - "When A Man Loves A Woman", "Out Of Left Field", "Warm And Tender Love" and "My Special Prayer". It may have been budget, but there's nothing cheap about the issue itself. Twelve very moving, perfectly arranged songs conveyed by top audio, on thick vinyl with plum label and and fully laminated cover. All is good! (ÄTHP*)(PÖCY*)

STEELEYE SPAN/ALL AROUND MY HAT CHR 1091 (-75) UK

A continuation and development of the harder folk-rock style first emerging on the previous "Commoners Crown" album. It was the band's most commercial output so far and also their big breakthrough in Britain - reaching #7 on the UK list. I'ts a good match between folky tradition and up-tempo rock, melodic and simple enough to attract more than the group's regular fans. No second thoughts or even a hint of danger, most of it just straight on with prominent bass, drums and guitar to Maddy Prior's powerful voice. I'm having a hard time grading it among their twentytwo studio albums so far. Back then it was a favorite, but from today's perspective maybe top five. It's certainly a happy one and still a pick-me-up when I'm feeling low. Favorite tracks - "All Around My Hat", "Hard Times Of Old England" and "Dance With Me". First US with same label, number and insert. Premiere UK had label as shown here and matt cover with "Steeleye Span Collection" inner and foldable "pinhole" lyric insert. (BRYF*) (FÄV*)(SÖPX*) 

                                                                              

                                                                                  

                                                                              

                                                                                

                             
                                                                               

                                                                                     

 

THE KINKS GSGL 10357 (-66) UK STEREO

The Kinks 1964 eponymous debute album for Pye was mixed in both stereo and mono initially, but only the mono was sold in UK and the stereo distributed for export. However the first UK stereo release came just fifteen months later with this issue on Pye's buget label Golden Guinea. This sounds a lot like the original export  https://monolover.blogspot.com/2022/08/the-kinkskinks-nspl-83021-64-uk-export.html and even if the matrix numbers differ (this has stamped GSGL 10357-A1*T/-B1*T) I guess they're from the same tapes. It seems unlikely they would do a separate mix for a budget issue. All cuts, except "You Really Got Me", are true stereo. Even if the mono generally provides better listening and original feeling this has better separation and is more revealing for better or worse. For once I actually get more garage feel from a stereo. A few of the cuts comes through somewhat weak, but greater part loud and strong. Considering the few channels it's a pretty eclectic mix. I really like the vocals - shifting speakers or with lead in one and background quire in the other. You can probably get the same mix on later vinyl or CD although I doubt they have the same edge and power. So if you don't wanna spend hundreds of bucks on an original Pye stereo export this is a very good alternative and a bargain in comparison. First had label as shown here with "Recording first published 1964", thick unflexible vinyl and laminated flip/back mono cover with stereo sticker on back. (KYX*) (PÖY*)

HLJÓMAR SG 013 (-67) ICELAND

Icelandic band formed 1963 and the earliest domestic act recording in a pop/beat style. Got a contract with UK Parlophone under the name "Thor's Hammer", releasing one EP and two singles for the label 1966, all in a garage/freakbeat mode with English vocals. This was the first of three original albums as Hljómar (eng. "sounds"). Recorded in Chapell Studios, London, but sung in Icelandic and only issued in their home country. Five of the twelve tracks are self-penned, the rest covers - including standards as "Save The Last Dance For Me", "California Dreaming" and "Love Hurts", but also odder choices like "Nowhere Man" (see lyrics below) and "Rain On The Roof". My favorites of the self-penned tracks are the eclectic "Heyrðu Mig Góða" (eng. "Listen to me my friend" - Góða has a feminine suffix, so maybe "girlfriend" ) and "Miðsumarnótt" (Midsummer night) because of its haunting organ. Albeit softer than the Thor's Hammer efforts it's a fine garage beat album with sometimes advanced vocal harmonies, competently played with lots of charm. (Random facts about the label - "SG" stands for Svavar Gests (1926-96), founder and one of the most prominent names in Icelanic entertainment. "Hljómplötur" means "gramophone record".) Reissued on vinyl 1979 (same number) and CD 1992 (SGCD 013). CD compilations "From Keflavik...With Love" (Big Beat Records CDWIKD 206) and "If You Knew: Icelandic Punk & Beat 65-67" (Ugly Pop Records UP 046) contains cuts from the band's both avatars. First LP release had label as shown here, thick vinyl and glossy flip/back sleeve with lyrics on rear. (SCÄ*) (ÖGÄ*) (CCÖ*)

BEACH BOYS/HOLLAND K 54008 (-73) UK

IMO their last great one. Next original studio album, released over three years later - "15 Big Ones" - consisted mostly of covers and later on further use of synths and growing studio possiblities brought them away from the original sound, giving a different impression altogether. The cuts here are all original compositions basically performed with real instruments and sounds exactly as it should - soft, melodic with beautiful vocals. It's amazing how they could produce such a sympathetic LP in the middle of all unsettlement with member changes, differing locations and more than one fragile psyche in the band. Larger part of the cuts recorded in Holland using a studio sent from Californina for the occation. As the story goes Brian Wilson mainly concentrated on the musical tale "Mount Vernon and Fairway" - issued as a bonus EP with the LP - which left Carl Wilson in charge for the album itself. To be honest I've never cared much about or played MVAF through the years, it has always been about the LP. The Brian Wilson composition "Sail On Sailor" is a gem and the "California Saga" suite reminds of better days. Premiere US on Brother/Reprise (MS 2118) incl. EP. First UK had label as shown here, matt cover and credit/lyric insert. It also had the bonus MVAF EP, but since I can't seem to find my copy there's no scan pic. (BÅB*)

JETHRO TULL/AQUALUNG 6339 035 (-71) GERMANY

It's always fun having odd variations of classic albums. This German first press has about everything as UK - structured fold out sleeve, picture/lyric inner and the same unfortunate stereo mix. I never truly enjoyed any stereo version of the album, the only issue that blows my mind is the Argentine mono - well balanced with lots of smack. All that aside I find this well worth having just because of the pink label. A little quirky I know since I never listen to it and only look at it maybe twice a year, but that's part of being a collector and relishing it for completist reasons or just the aesthetic value. (YÖHT*)(ÖSÄP*) (GÖXÄ*)

SMOKEY ROBINSON & THE MIRACLES/AWAY WE A GO GO TML 11044 (-67) UK MONO

The second LP credited to Smokey Robinson & The Miracles, issued between the highly successful "Going To A Go Go" and the masterpiece "Make It Happen". Title shows it was made as a follow-up to GTAGG, trying to cash in while the hype was still on. While the predecessor almost entirely had Smokey Robinson compositions this mainly consists of numbers written outside the band. It's clearly a sequel and as such not fully reaching up to its prior, lacking some of the novelty and freshness. That said - even an intermediate Smokey Robinson & The Miracles album is better than most others in the genre, at least to my taste. I have a weakness for the setting - the bright almost fragile voice to a sturdy backing always gets me. That kind of contrast may have been used for effect many times during the 20th century and after, but those guys almost perfected it. Here you also get it through a reliable Motown mono mix with very good audio - making it real. Premiere US 1966 on Tamla (TM/S 271). First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (SXÖM*)

14 GREAT ARTISTS LK 4695 (-65) UK MONO

Classic UK sampler with fourteen songs recorded directly for the album in favour of youth cricket in Britain. For a couple of them this was the sole vinyl release while others showed up on '33 or '45 later, sometimes having alternate edits or versions. Mike Leander Orchestra "Sandstorm" and Bachelors "Maureen" only appears here. The Dave Berry, Bern Elliot, Lulu and Unit 4+2 cuts can be found on later LP:s, while the ones from Kathy Kirby, Tom Jones, Johnny Howard and Applejacks went directly to CD. Rolling Stones "Surprise Surprise" did appear on the US "Rolling Stones Now!" album soon after this, but first UK re-issue didn't show up until 1970 as a single B-side. Zombies "Nothing's Changed" is on the 1970 Decca collection "World Of The Zombies", released in stereo and mono, but the mono version there may be some kind of fold down while this is a true mix - in any case they don't sound the same. All that aside it is an excellent mid-sixties sampler with lots of good music well reflecting the UK scene back then. Of the two exclusive tracks Mike Leander's "Sandstorm" is an orchestrated instrumental with eastern theme and Bachelors "Maureen" rather ordinary uptempo pop. Furher Tom Jones does some really good power singing in "Kiss Kiss" and Applejacks "Baby's In Black" a very enjoyable Beatles cover. The audio is top notch. For most label samplers the cuts came out of second hand tapes picked from recordings of various quality, but the ones on here were all made first hand giving a totally fresh impression and I doubt you can get them better elsewhere. For exemple I've never heard "Surprise Surprise" so natural and well separated. US issue as "England's Greatest Hitmakers" (London LL3430). Premiere UK had ridged label as shown here and laminated cover with handling/playing inner. (SÄM*)(RÅ*)(FÖGÄ*)

THE BEST OF URIAH HEEP ILPS 9375 (-75) UK

From 1969 up to now releasing twentyfour original studio albums, eighteen lives and thirtythree singles through a number of different styles and settings. I was an early fan and to me their first four LP:s are the best they made, especially "Salisbury" and "Look At Yourself". Friends nag me that has to do with my musical taste coagulated around 1972 thus made it impossible for me to enjoy most of the new stuff emerging later. Probably so and in this case I simply feel more at home with the early stuff where you can hear echoes from the members past and especially the two eminent psych/prog bands The Gods and Toe Fat (see earlier posts). Six of the ten tracks on this compilation are from that period, including two of my favorites - "Bird Of Prey" and "July Morning" (with some primitive moog play from guesting Manfred Mann). Two of the cuts are single edits - "Gypsy" 2:45 edit in comparison to album version 6.37 and "Stealin" clocks in at 3.17 instead of album 4.49. The rest are album versions. Audio is very good and it's truly recommend to group beginners or those who remains stuck in the band's later hard rock clone. Early releases all over the world, but not in US. Permiere UK had label as shown here with ILPS number and "i" logo, matt cover and glossy ad inner. (ÄHÅR*)(ÖRHÄ*)(PRÖZ*)

T.REX/LIGHT OF LOVE NBLP 7005 (-74) US

After owning the British and European glam market for a few years Marc Bolan went to US with his band aiming for a big breakthrough there. This album was supposed to make way for American success, but instead it started a downward spiral that would last for three years and he never fully recovered before passing away 1977. It was a brave move. Tastes have always differed between Europe and US - many albums and '45:s being mega hits on one side of the Atlantic didn't even chart on the other and the European glam rock Bolan represented so far never really hit it off with the American public. At the time he'd been sacked by Reprise Records in US but signed a contract with newly founded Casablanca instead. Three of the cuts were re-used from UK "Zinc Alloy" album - not yet issued in US - and the remaining eight recorded at Music Recorders Inc. in Hollywood, produced by Bolan himself in the absence of Tony Visconti. However at time for marketing the label went bankrupt and in spite of a grand promo tour and some radio play the album failed to appease the American buyers and became his last US release. The eight new tracks were later used on his next UK LP "Bolan's Zip Gun", but since this actually had sold as export to Europe, fans already had most of the cuts and that failed too. Personally I enjoy most of the stuff he did up to "Zinc Alloy". There's a rascallion attitude and good humor to a point where you forget the flaws and the sometimes shameless commercial output. IMO that had a lot to do with Tony Visconti. His experience and skill lifted the material and could turn even the simplest basic tunes into something bright and joyful. Bolan's own productions comes through a lot more dense and serious which kills most of the joy - for me anyway. So my favorite here is one I already have on "Zinc Alloy" - "Teenage Dream". 1995 UK CD on Edsel (EDCD 413). First US had label as shown here and matt cover. (RÄX*) (YZÄ*)