onsdag 29 april 2015
FOUR TOPS/ON TOP MT 647 (-66) US MONO
The second of three successful original studio LP:s from the combo - in time surrounded by "Second Album" and "Reach Out". The period 1965-67 - also including a big selling live album and a Greatest Hits - was their most victorious in US and at the same time made them the second Motown act (after The Supremes) with a household breakthrough in Europe. When the hit machine Holland-Dozier-Holland left the label 1967 and they were assigned to other producers/songwriters their popularity started to decline, but they've continued to perform and record as "Four Tops" through a number of member and label changes up to today. This however is from the hight of their carreer and ability. The two sides seems to have different aims. First has a lot of what I love with Motown - a combination of catchy melodies, emotional performance and firm up-tempo - while the second contains more ordinarily produced covers. Though all those are well sung and played I stick with the true H-D-H magic on side one which also has two of my favorites - "I Got A Feeling" and "Loving You Is Sweeter Than Ever". The mono mix is as expected from Motown this period - clear,steady and dynamic. Also issued as stereo (MS 647). UK first on Tamla Motown (STML/TML 11037). Premiere US had label as shown here and glossy cover. (YZÄ*) (TÖMÖ*) (ÖXCÅ*) (FÖRH*)
måndag 27 april 2015
AYNSLEY DUNBAR BLUE WHALE BYG 529015 (-71) FRANCE
Combo only existing a few months between Dunbar's Retaliation band and him being drafted as a member to Zappa's Mothers. Recordings for this album made spring 1970, but issue postponed till about a year later. Prior to the sessions Dunbar had already met and played with Zappa at a BYG records festival in Belgium. It's a good guess the change of direction here was inspired by that meeting. While Retaliation concentrated on white blues this is a lot more towards psych and prog. Still having a bluesy feel, but songwriting slightly more jazzy combined with jam episodes. Apart from Dunbar's obvious skills there's some outstanding guitars from Ivan Zagni (Patto, Louis Cennamo) and Roger Sutton (Nucleus, Brian Auger). Entire musical performance top notch - at the same time secure and adventurous, beautiful and outrageous. Co-produced by Dunbar and Colin Caldwell (who also worked with Curved Air, Catapillar and Chris Barber). That said - to me this is very much vocalist Paul Williams' album as he was co-writer or writer of all tracks but WTP and part arranger. It's also his strained and personal voice that gives needed balance to the music and makes it emotional. So rather than just witnessing a show by very skilled musicians (one of many at the time) you're invited and connected. Not a bad track here with the psyched "Willy The Pimp" cover adding a lot to the Zappa/Beefheart original. US on Warner Bros. (WS 3010), German on Metronome (MLP 15395). As I understand early UK sales was a US import and first actual UK press came with the 1978 Charly issue (CR 30142). 1994 French CD on Spalax (CD 14814). Premiere French had label as shown here and thin, fully laminated cover. (MFÄX*)
lördag 25 april 2015
EVERY MOTHER'S SON'S BACK E-4504 (-67) US MONO
Shortlived NYC rock band (1967-68), often referred to as a one hit wonder due to their Billboard #6 hit "Come On Down To My Boat". Of the following four singles one made top 50, two just managed top hundred and the last didn't chart at all. Here's the second of two albums, issued late 1967. While the first can be described as for the time rather ordinary summer rock, this is more elaborated moving towards psychedelic pop. Most of the songwriting is still on the kind clean cut side and the multi layer vocals pleasant while the production and arrangements goes all in for a trip. You get varispeed, backward instrument loops, and fuzz guitars. Not all at once, but in small portions spread all over the place as parts of the big picture. I hear inspiration from Beach Boys, Beatles, Monkees and US bubblegum pop, but can't seem to find the band's own identity. Maybe unfair, but to me most of it sounds like one of those studio projects where hired muscians poses as a group to cash in on flavor of the year. No hit feeling and nothing really touching, but very well done all the way and a fitting background to any "summer of love" theme party. Also issued on MGM in UK (CS 8061). No clue if this mono is a separate mix or a very good fold. Premiere US had glossy label as shown here, thick vinyl and gimmick cover with a fold out pic on front. (ÖXCÅ*) (YZÄ*)
fredag 24 april 2015
DEEP PURPLE/BOOK OF TALIESYN HVL 751 EU MONO VS. SHVL 751 UK STEREO
For info on first UK release check http://monolover.blogspot.se/2012/08/deep-purplethe-book-of-taliesyn-shvl.html . When the album was recorded in 1968 both a mono and a stereo tape were prepared for the UK market, but by the time it was released there - june 1969 - the band had moved from Parlophone to Harvest - a label that didn't do mono at all. As the story goes the tapes were "trashed" or at least forgotten till a few years ago when tracks started to show up on CD. Now, in connection to "Record Store Day", the lost tapes has been issued on vinyl. After comparing with a first press UK stereo I'd like to say edits or even versions differ, but I don't hear it. Still the balance is different with sturdier bass and more prominent guitars, making it sound like a good old powerful UK mono. So even if not all a separate mix, since the stereo isn't a perfect compatible all the way they'd probably pitched in for adjustments here and there to get an evenly good result - a rather common procedure in those last days of mono. In any case the audio on this is beautiful - big, strong with perfect separation - making it the best version of the album I've heard so far. The packaging is very 1969 - laminated fold/out cover with classic EMI mono fonts and contemporary label design, made as if it actually was released back then. Not 100% exact, but good enough. I'm usually not much for late reissues with newly rediscovered stuff, but the history here makes it a must for this old monolover. Issued on Warner Brothers in North America and Japan and Harvest in the rest of the world. Label shown has BIEM and NCB, which would mean a EU press for the Scandinavian market (?) and it's pressed on thick quality white vinyl. (HÄVL*) (DHÄ*) (CPYC*)(MÅW*)
onsdag 22 april 2015
A MONUMENT TO BRITISH ROCK - VOL. 1 EMTV 17 (-79) UK
Issue part of an EMI serie sold through ads in British television during the seventies and eighties. The tracking and mix of artists on this particular one is stunning. Beatles sharing vinyl with Procol Harum, ELO, Status Quo, Humble Pie, Small Faces, Deep Purple and thirteen others, among them solo efforts from John Lennon and George Harrison. As far as I understand most cuts are made from original single versions - i.e. both Beatles "Get Back" and ELO "Roll Over Beethoven" have the UK '45 edits. Some are remakes - for exemple Them "Here Comes The Night" and Humble Pie "Natural Born Bugie" are true stereo mixes and the ones marked Ø on the track list below supposed to be "electronically reproduced" monos. But clearly they did very little other than widening the picture and most of those just come through as very good mono. Apart from Troggs "Wild Thing" and Swinging Blue Jeans "Hippy Hippy Shake" appearing a little weaker than the original versions it's all tophole. Don't think I've ever heard Johnny Kidd & The Pirates "Shakin' All Over" with better audio. One of the most intriguing vinyl compilations I've seen so far - not only beacuse of the very odd artist assembly on a major label, but also the high musical quality. First (only?) had label as shown here and fully laminated Garrods & Lofthouse cover. (SÄM*) (BÄ*)(HÄVL*)
måndag 20 april 2015
SMALL FACES/OGDENS' NUT GONE FLAKE IMSP 012 UK STEREO (1st matrix) VS. IMLP 012 MONO
Posted the mono here over a year ago and then pretty convinced that was a fold, but after finding a first press stereo and thus able to make a throrough comparison it appears I was wrong. Initial impression remains they sound rather similar, but mimicking a fold by pushing the mono button on the stereo shows on deviations. Balance differs at a few places in a way that could only be the result of separate mixes. Thanks to a post by "Tristero" on Steve Hoffman's I was also made aware the track "Rene" has diverging drum parts - a fact that confirms it once and for all. Another interesting thing with this is the matrix swap. Very first issue has "IMSP 012 1Y/IMSP 012 2Y", but those were withdrawn rather quickly and replaced by ones ending with "1Y-2/2Y-2", which became the standard version. I've seen claims on the net the two differ in audio as well as some of the edits. Unfortunately I lack means to dig deeper into that for now so I'll save it for a future post... (SXÅH*) (YDÄ*) (CPYC*)(MÅW*)
lördag 18 april 2015
THE MOST COLLECTION MFP 50015 (-71) US>UK EXPORT
An album you can find for a buck or two in the used bins and most likely pass by. But if you forget about the budget label and cheapish cover, check the track list and just listen it's a gem, filled with rare cuts and edits. For exemple The Animals "House Of The Rising Sun" and "We Gotta Get Out Of This Place" in true stereo, Jeff Beck's "Hi Ho Silver Lining" and Yardbirds "Little Games" in mono (cover say those two are "enhanced for stereo effect", but there's hardly any difference). Yardbirds "Ten Little Indians" (not very common on early vinyl) either unpanned stereo or a very good fake, still very enjoyable listening. It was a long time since I had anything by Terry Reid, but his cuts here make me wanna connect again. The two picks from Jeff Beck Group's Cosa Nostra album are billed as by Rod Stewart only though it's the same JBG takes. This copy has UK label design and Garrods & Lofthouse cover, but label also say "Made In USA", back cover has a "manufactured in USA" stamp and the matrixes are American. With all certainty an export for the European market since many of the used tapes only existed in US at the time. Audio shifts a little between tracks, non is bad and a couple excellent. Issues with same label, number and track list, but different cover designs showed up in a number of European countries at about the same time. Hard to say which was first. My vote is on this due to the tape origins. (YÄB*) (ÄNÄ*) (SÄM*) (SXS*)
fredag 17 april 2015
PAUL McCARTNEY/FLOWERS IN THE DIRT PCSDX 106 (-89) UK WORLD TOUR PACK
In the seventies I kept buying and enjoying all fab four solo albums thus holding on to the Beatles magic. But after Lennon's death and a couple of dubious efforts from the remaining three in the eighties I lost interest and let it go. Seriously not much through that decade made it for me so I escaped more and more into my collection, concentrating on music from the sixties and seventies. However this album became a reconnection and almost twenty years after the big split I could hear melodies, vocals and turns that reminded of Beatles golden years. Synths and posher studio equipments leading to a more glossy audio takes away some of the presence and connection so important for the sixties stuff, still the songwriting and performance are so strong it breaks through and may give goosebumps. McCartney has said much of the result was due to the Elvis Costello collaboration - EC not being owerwhelmed, but daring to critizise and putting in his own ideas, like Lennon in the old days. Two of the co-writings are superb - "My Brave Face" and "You Want Her Too" - especially the latter with Costello sharing the vocals, but also some of his own tracks sounds great - "We Got Married", "Put It There", "This One" and "Figure Of Eight". Still love it and at the moment it's on my McCartney top five together with the debute, Ram, Band On The Run and Venus & Mars. The single added to this "World Tour" package isn't one of his proudest moments, sounding like a reject from the "McCartney II" sessions, but the rest very generous - first press vinyl in laminated cover, yellow inner and picture/lyric insert surronded by two giant posters (one with member family tree), bumper sticker, six post cards and tour schedule. Exclusive in a way, but apparently sold a lot and still can be found at decent prices. (BÄ*) (PÖX*)(MÄCC*)
onsdag 15 april 2015
LAURA NYRO/ELI AND THE THIRTEENTH CONFESSION S 63348 (-68) UK
Laura Nyro (1947-97) was a US singer/songwriter who's compositions were and still are hits when recorded by other artists, but never truly successful by own performance. Early carreer included being booed off stage at some occations and not being properly backed up by her first label Verve Forecast. She got a new chance with Columbia and when allowed more artistic freedom for this second album the offspring became quite remarkable resulting in critical acclaim and eventual cult following, but far from big sales halting at #189 on Billboard. After three more unprofitable LP:s she retired from music business 1971 and didn't record again until 1976. This is still good listening. She seems to have a total contempt for genres or musical departments, blending jazz, soul, pop, gospel with rock and keeping it together by a very personal vocal style - uninhibited but secure and beautiful in its own way (can't help thinking she must have been a great inspiration to Kate Bush). Though it takes an open mind to get into, it's rewarding once you're there. Favorite tracks - "Luckie" and "Stoned Soul Picnic". I don't like the stereo mix here - many of the cuts sounds unbalanced thus harming the total impact. Fortunately it's a perfect compatible so pushing the mono button gives accurate balance and very enjoyable listening. Never heard the UK mono or US mono promo, but my guess is they're both folds. Premiere US (Columbia CS 9626) came with a perfumed lyric sheet. Later re-issues all over the world on vinyl and CD from 1990 and on with or without bonus tracks. First UK had label as shown here on thick vinyl with both US and UK stamped matrix numbers (XSM 135814-1A/815-1A and CBS 63346 A/B). Cover laminated with lyrics on rear. (FÄV*) (SYSÖ*)
måndag 13 april 2015
JETHRO TULL/THIS WAS ILPS 9085 (-68) UK STEREO
Reading comments on the Jethro Tull debute it's almost always about the mono, which also is considered rarer and sells for bigger bucks. But this first stereo variation, issued on pink "eye" label only, was withdrawn at about the same time and can be even harder to find. The band wasn't pleased with the outcome so they had it remade for subsequent issues while the initial one was deleted. The new stereo version first showed up on the pink "i" label and became the only official from UK for a very long time. The two sound very dissimilar to me and I've always regarded them as separate mixes, but also seen claims at Steve Hoffman's and other places it's the same ground mix, only differences are they narrowed it and used further EQ for the new one. Be that as it may, but to me the discrepancy is so big it is a true remake one way or another. In a way it reflects the all over change in audio from the label happening about this time. Most early issues - both mono and stereo - used very little of sound altering appliances as compression, limiting or EQ, resulting in wide picture with prominent separation and natural feel. Later on the sound became narrower and more compressed for better total balance and easier listening. This first stereo is still of the old type - very wide giving each performance lots of space and presence. The lack of balance and seemingly more prominent reverb at a few places may disturb some listeners, but to me that's just necessary parts of an otherwise very clear and captivating picture. First US on Reprise tri-color label (RS 6336). Premiere UK had structured label as shown here and laminated fold/out cover with wide spine and flips. (YÖHT*) (ÖSÄP*)
lördag 11 april 2015
MUNGO JERRY DNLS 3008 (-70) UK
For more on the band check post on their second album "Electronically Tested". Listening as I write I don't think this debute is as good as that follow-up, which also included the million selling singles "In The Summer Time" and "Baby Jump". Though with the same positive feeling and charmingly sloppy performance it's less striking. Most of the songs drone on with similar chord changes and vocal treatment and there are few if any outstanding moments. I do like the warm atmosphere, the carefree attitude and Ray Dorset's friendly voice. Judging from the music alone these are guys you wanna hang out and drink beer with and if they ever visited to perform live in your home it would probably sound exactly like this record. First US on Janus (JXS 7000) had "In The Summertime" instead of "Daddie's Brew" and came with other cover design. Premiere UK had label as shown here and structured fold out "3D concept" cover with glasses included. (DÖNL*)
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