MIKE BLOOMFIELD-AL KOOPER-STEPHEN STILLS/SUPER SESSION 63396 (-68) UK MONO

Classic album by one of the first US supergroups and a predecessor of the American seventies rock and prog scene. I got nothing to add on the numerous writings about settings and recordings already on the net. This is about the mono only. Found this copy in a used bin a while ago and it is the first one channel version of the album I've seen in r/l or listened to directly from the source. Knew it was a fold which also is confirmed by the US stereo number below the UK one on the label. I've heard quite a few bad UK CBS mono reductions of US Columbia stereos through the years so I didn't expect much, but this must have been from an almost perfect compatible or adjusted in some way cause it sounds just right - clear with fine separation providing a natural feeling. Maybe the balance is a tiny bit off at a few limited places, but it would take a fusspot to notice and I've heard a lot less stable from true mono mixes. In all very good audio, warm and embracing, going right to this old monolover's heart. Premiere US stereo on Columbia (CS 9701). UK first had structured label as shown here, stamped "BPG" matrixes, thick vinyl and laminated cover. (YMÖ*) (ZHÄ*) (ÄLCÖ*)

LECUONA CUBAN BOYS/BENEATH THE CUBAN MOON 33S 1075 (-55) UK

Cuban band existing between 1931-75, during that time issuing a large number of recordings while touring USA, Europe and south america through different settings. With a kind of exotica much appreciated before the big global changes following world war 2 the public fascination started to wane in the fifties, but they remain popular in some circuits as one of the first bands making latino music a common household genre. This album has ten cuts from the thirties and forties, transferred from the original 78:s. Audio shifts depending on initial recordings, but all sounds very warm with a pristine quality. Part of the music is wild and uninhibited showing on African heritage, part reminding of pre-war US schlager. All cuts have vocals, either as chants or lyrics. My two favorite moments both with female guest singers - US actress Gertrude Nielsen doing a comic version of "La Cucaracha" and the operatic vocals to latino rythms in "Mario la O" sung by French artist Elyane Celis (who also worked with Maurice Chevalier and did Snow White's voice in the French version of the movie). Lots of history included and though I'm not usually a big fan of latino music the background and pleasant atmosphere makes this worth while. First UK 10 inch had label as shown here and fully laminated cover with crescent flips. (NYFÖ*) (FÄV*)

JOHN & YOKO - PLASTIC ONO BAND/SOMETIME IN NEW YORK CITY PCS 7161/62 (-72) UK

Though filled with collaborations this is mainly billed as a Lennon album and as such his most hated. Scolded by critics, had comparatively low sales and still today on worst albums ever lists. Strange indeed. Some of the reaction could be explained by a kind of common expectation at the time it would be in the same style as the more PC "Imagine", but instead it came out as an hardcore left-wing statement, ardously embraced by the large public and thus also by anxious critics. Maybe it also had to do with John and Yoko sharing the space instead of releasing separate vinyls. Whatever! Fortythree years later it's time to put all that aside and just listen. Studio record has a couple of excellent Lennon rockers - "New York City", "John Sinclair" and "Attica State". Yoko does some of her best numbers in "Sisters O Sisters" and "We're All Water" and the "Sunday Bloody Sunday" duet works just fine. The live sets are more uneven but certainly intriguing. Side one is from a 1969 concert where they did the "Cold Turkey"/"Don't Worry Kyoko..." '45, backed by Keith Moon and George Harrison among others (at a time Beatles was still on). Side two from John & Yoko guesting a 1971 Zappa/Mothers concert at Fillmore East and collaborating on four cuts. "Jamrag" - a different version of Zappas "King Kong", "Scumbag" - avant-garde rock, "Au" - more or less a sound experiment, and "Well - a song from Lennon's early Liverpool days with a breathtaking Zappa solo. I love it all and today spin it a lot more than "Walls And Bridges" or "Mind Games". Not that those are bad in any way, I just find this a lot more exciting. Premiere US on Apple (SVBB 3392) came with residency petition form, postcard and credit inners. First UK had label as shown here, matt fold/out cover, postcard and credit inners. (BÄ*)(JYZÖ*) (ÄPLÄ*)

QUEEN/II EMA 767 (-74) UK

Though with healthy sales on both sides of the Atlantic at the time and a borderline breakthrough for the band, this is today their most neglected album. Die hard fans often mention the down to earth debute and for the large public it starts with the more commercial "Sheer Heart Attack". This falls somewhere inbetween. The signature multi layer guitars are there and Mercury's ingenious vocals, but songwriting and production less accessible than on later issues. Very hard to put in a genre. Could be described as prog, glam, hard rock or all three, but most of all it sounds Queen and thus unique. Even if I didn't like it right away back then the power and intricacy have grown on me through the years and today I prefer it to much of their later stuff. Going from the popish and beautiful in "Some Day One Day", "Funny How Love Is" and "White Queen" to the stone hard "The Looser In The End" and "Ogre Battle" - it has everything that just a little later would make them a household name, but since a bit more wayward and personal also longer lasting. First US on Elektra (EKS 75082). Premiere UK had label as shown here, fully laminated fold/out cover and lyric inner. (QÄN*)

YES/GOING FOR THE ONE K 50379 (-77) UK

A comeback for the band both melodically and critically. The best songwriting since "Yes Album" with a #1 on the UK list and #8 on Billboard. Though I may have been more into the previous three studio albums as they arrived one after another today I listen a lot more to this. Many bands released prog LP:s in the seventies, most filled with advanced structures and equibrilistic play, but only few succeded to add a truly dulcet quality making it as soothing for the heart as for the intellect. In their best moments Yes was one of those that managed to get it together and make it fly. My two favorites here are the title track and "Wonderous Stories" - each with beautifully catchy tunes to make them stick fast and intricate arrangements to make them last. I can both admire the skillful preformances and be touched by the melodies. A tasty twofer indeed. First US on Atlantic came with similar labels, sleeve and inner (SD 19106). Premiere UK had label as shown here, matt triple fold/out cover and glossy lyric inner. (JÄZ*)

KEEF HARTLEY BAND/THE TIME IS NEAR SML 1071 (-70) UK

The band's third LP and to my taste their best. First - "Halfbreed" - was very much blues rock showing KH:s Mayall heritage, second - "Battle Of NW 6" - rather anonymous jazz rock. This takes yet another direction - towards cool blues with jazzy interludes, much reminding of early Chicago or Blood, Sweat & Tears. Though "Keef Hartley" is the poster name it's most of all Miller Anderson's album - as composer of all songs but one, lead guitarist and vocalist. It's all very well done with some very stimulating brass solos, yet it's his presence that makes it for me. Guitars moving easily between jazz licks and rock'n'roll plus soothing vocals with just the right amount of blues. Favorite tracks - "Morning Rain" and "The Time Is Near". First US on Deram (DES 18047). Premiere UK had label as shown here and thin matt cover, some with booklet. (DÄRR*)

DONOVAN/ESSENCE TO ESSENCE EPC 69050 (-73) UK

After getting back to bigger sales with the "Cozmic Wheels" album Donovan returned to studio just a few months later to record a follow-up - this time using a new exciting backing crew. Produced by Andrew Loog Oldham who also brought Steve Marriot and Peter Frampton (Humble Pie), together with Denny Siewell and Henry McCullough (Wings), Jim Gordon and Bobby Whitlock (Derek & The Dominos), the entire "Grease Band" and Carole King among others. In spite of the new personel this sounds very much like the former. A mix of soft pop, ballads and some up-tempo - melodic with concerned lyrics. Slightly less adventurous and more towards easy listening maybe, but still the Donovan I like with his typical songwriting and breathy vocals. Favorite tracks - the folky "Lazy Daze" and the beautiful "Sailing Homeward". In spite of the similarities it didn't do nearly as well as "Cozmic Wheels - only reaching #174 on Billboard and not charting at all in UK. First US on Epic (KE 32800). Premiere UK had label as shown here and thick matt fold/out cover with lyric/credit insert. (TÖW*)

SPLINTER/THE PLACE I LOVE AMLH 22001 (-74) UK

A pop/rock duo consisting of Bill Elliot and Bob Purvis, much loved by George Harrison who more or less adopted them for his new Dark Horse label and went all in for this debute album. Apart from producing and co-arranging he also contributed guitar, bass, assorted support instruments, background vocals and also gathered a star cast for the rest - including Alvin Lee, Ronnie Wood, Jim Keltner, Billy Preston, Klaus Voorman, Mel Collins (King Crimson), Mike Kelly and Gary Wright (both Spooky Tooth). Though all cuts are self penned by the duo and they handle the lead vocals this most of all sounds like a good George Harrison album. Song structures and all over production coupled with his signature guitars and even vocals partly delivered the same way, make me forget all about Splinter and instead place it somewhere between the "Dark Horse" and "Extra Texture" albums in the GH songbook. I've seen critics saying this beats both those albums, but I'm not that sure. It's certainly more elaborated with safer play and pleasant to the ear, but lacks the playfulness and personality you get from his own songs this period. A good album without any outstanding tracks and to me more fitting as a nice background than close listening. First US on Dark Horse (SP 22001). Never legally re-issued on CD - unofficially on Plum Records (PLUM 001). Premiere UK had label as shown here, matt "front-fold" cover, lyric sheet and Dark Horse custom inner. (BÄ*) (GÄÖ*)

YES/PRIMERAS GRABACIONES 500-51/52 (-73) SPAIN

Spanish version of the European compilation "2 Originals Of Yes". A re-release of their first eponymous and "Time And A Word". On deep ridged plum label in a thick laminated cover without the title on front, instead an "Especial 500" sticker showing it was part of the domestic budget serie. Song titles in Spanish and English on label and cover. I have friends who avoid issues like this since they're afraid to get bad pressings or inferior audio. No need for worry here. The audio is excellent - strong, clear and natural - and doesn't in any way stand back to the UK first issues. Cut at a slightly lower volume, giving a less intense impact but more relaxed listening. Probably interesting mainly to die-hard Yes collectors, but with enough beauty to make it attractive for vinyl lovers in general. (JÄZ*) (ÄTHP*) (SXÖX*)