PROCOL HARUM DES 18008 (-67) US STEREO

For more background check post on the UK mono. First mixed in mono only and no true stereo makes of the originally released versions are known to exist. Usually not much for rechanneled cuts, but since this US is on Deram instead of Regal Zonophone with different tracking - "Whiter Shade Of Pale" instead of "Good Captain Clark" - and "rechanneling" sometimes just means enhanced mono I thought there'd be enough reason for love anyway and giving it a fair chance. Does it pass with approval? It depends on where I am. As for now, sitting in an adjacent room writing, I get the songs all right and can still dig it. But in the listening chair, concentrating with my eyes closed it's pretty disturbing. Apart from altered and sometimes unnatural balance I get a lot more treble which at places gives a sharp or "whooshing" nuance shattering the full picture. And though pushing the mono button makes it a little better it's still far from the true mono. So if you just want an original pressing providing a nice background to daily chores it's OK, but if you're in for audiophile pleasures - a definitive no! Also as US mono with brown label (DE 16008). First US stereo had label as shown here and thick matt cover. (YZÄ*) (PRÖX*)

MOODY BLUES/SEVENTH SOJOURN THS 7 (-72) UK

Though with two years and one album - "Every Good Boy Deserves Favour" - inbetween, this sounds like the natural follow up to "A Question Of Balance". No apparent themes or bridges, just a collection of very good songs. After six years of releasing one melodic gem after another it's amazing they could keep up the high quality. On this I prefer the calmer numbers and get the same warm heartfelt atmosphere as on QOB. The apparent placidity in "New Horizons" and "When You're A Free Man" hides great melodies and the guitar counterpointing the vocals in "Isn't Life Strange" still gives me goosebumps. For me this was the last Moody Blues album to which I got an immediate connection. The 1978 comeback with "Octave" and following albums didn't do it for me the same way and I lost contact. Good thing a couple of their intermediate solo works came with at least some of the original feeling. Issued and reissued world wide on vinyl, 8-track, cassette and CD through the years, some with bonus cuts. First US on London/Threshold (THS 7). Premiere UK had label as shown here, heavy vinyl and matt fold/out cover with picture/lyric insert. (MBÅL*) (DÄRR*)

CHARLES TRENET/CHANSONS CLAIRES - 10 CHANSONS NOUVELLES FS 1053 (-56) FRANCE

One of those early pressings with songs I remember hearing from the living room valve radio late fifties long before rock, blues and merseybeat came in to my life. Charles Trenet's (1913-2001) carreer stretched from 1933-2000 and though he's still not fully recognized outside the french speaking world the melodies remain and are still covered in different languages. The song "La Mer" alone has become a standard in various genres and had up to his death been recorded more than 4000 times with over 70 million sold copies. That's the one I liked most as a kid together with the bouncy "Boum!". Non of those are on this record, but a few others I recall - e.g. "Paie Tes Dettes". This 10 inch has the exact right atmosphere for reminiscing. Sleeve design, label, the unflexible vinyl and the warm cozy audio. Don't know of any other releases, but guess all songs have been issued and reissued on multiple compilations in different formats through the years. (MFÄX*) (SYSÖ*) (GZÅ*)

THE IRON MUSE - A PANORAMA OF INDUSTRIAL FOLK SONGS 12T86 (-63) UK MONO

A collection of folk songs with themes connected to working and craftsmanship. Recorded at a set up ad hoc studio in a London pub 1962 by a mix of renowned folk singers and debutants. By many regarded the most important or at least a classic album in the Topic catalogue in that it helped a previously very narrow genre to get more attention and presenting a couple of long time struggling artists to a wider public. In a way also one of the first signs of a movement that a decade later would result in the highly commercial British folk rock boom - not as much the style or preformance as an inspiration to upcoming artists. Big fan of later seventies folk rock myself and even if I don't feel 100% in with the more traditional performances here I do get my money's worth, especially through the vocals by the 18 y.o. Anne Briggs in her two very first recordings - an a-capella version of "The Recruited Collier" and "The Doffing Mistress" supported by background quires only. Sheer female beauty conveyed by full direct audio make me wanna listen again and again. US first 1964 on Elektra (EKL 279) used different sequence and omitted "The Colliers Daughter". The CD version kept seven of the original cuts adding nineteen more from other preiod Topic albums. Due to label design I guess the UK shown here is not the very first, but a later press. It came with matt label, laminated cover and a six page fold-out lyric/info/picture insert. (BRYF*) (FÄV*) (SÄM*) (QÖP*)

THE BEST OF THE BEACH BOYS/VOL. 2 ST 20956 (-67) DENMARK

This Danish issue was made from the UK matrixes and hosted in a UK Garrods & Lofthouse sleeve. Only difference I can spot is the Danes used the older rainbow label design with the logo to the left insted of on top. While the American 12 track version of Vol. 2 concentrated on earlier stuff recorded 1962-65 the British chosed to do a 14 track with a lot more up to date cuts, making it a much better album for its time which also showed in the sales - US barely reaching top 50 on Billboard while the UK got to #3 in England. I'm not going into the Capitol sixties stereo mess - true, duophonic or rechanneled - and how that shows on each song here. Just saying larger part of the cuts are true stereo and non of the others sounds bad or disturbing. On the contrary - the audio is great, big and clear, and I can enjoy some of the best from one of the best US bands in all its beauty. So even if not all true mixes - still very good. First US on Capitol/Starline (T/DT 2706). Premiere Danish had label as shown here and laminated flip/back cover. (BÅB*) (CCÖ*)

MOTT THE HOOPLE/MOTT S 69038 (-73) UK

True rock'n'roll band all the way, through differing productions and genre changes the emphasis was firmly on - rock'n'roll. Personally I prefer their earlier stuff, led by "let-go" producer Guy Stevens, where most of the takes were recorded live in the studio without re-makes or further embellishments - as shown on "Mad Shadows" and "Braincapers". The David Bowie treated "All The Young Dudes" came through a little more elaborated and this self-produced album goes further on that road. The advantage with that here is - while the earlier recordings often developed in the spur of the moment this has place for actual songwriting, which makes it immediately catchy in another way. So maybe less direct connection, but more hit feeling. Larger part of the lyrics seems to deal with the labour and pressure of touring and being a rock star in general (no surprise the band was on the edge of breaking up at the time - Verden Allen left after "All The Young Dudes" and Mick Ralphs would move to Free just after this). The album has been labeled "glam rock". Maybe because of the stage dresses and make-up they were forced to wear at the time, cause the record itself is raw rather than glossy and a lot more rock than glam. Favorite tracks - "Honaloochie Boogie", "Violence" and "I Wish I Was Your Mother". Issued and reissud on vinyl, 8-track, cassette and CD all over the world through the years, some with bonus tracks. First US on Columbia (KC 32425) came with totally different sleeve design. Premiere UK had label as shown here, stickered die-cut gimmick cover with plastic face inside and lyric inner. (MÖHÖ*)

MICHIO MYAGI/MASTERPIECES OF KOTO JL-7 (-56) MONO JAPAN

Michio Myagi (1894-1956) was a highly ranked performer of the old Japanese string instrument koto, both as keeper and renewer of the ancient musical tradition. Apart from performing traditional pieces domestically he also worked with French violinist Renee Chemet in the thirties, released records in US and Europe and gained recognition in circuits outside Japan. This particular album was released just after his death and as I understand it's a compilation of assorted earlier recordings. When I first found it decades ago I took it for the art and sensuality - the pictures, calligraphy, label design and heavy vinyl - but didn't listen much. It seemed too strange for my ears. I still have problems with going all in, but on the other hand the music itself is not very far from Eno's ambient trials or other electronically based modern pieces, only the instruments differ. Sounds like the same quest for serenity and connection beyond wordly patterns - though in this case it's not a search anymore, cause he's already there. I do enjoy the stillness and simplicity of the tunes more and more and maybe one day I'll be able to connect 100%. Released in Japan only, reissued a couple of years later on Victor (JL-21) with totally different sleeve design. First had label as shown here, plastic covered sleeve, white stiff specially cut inner and fourteen page picture/info booklet. (ÄZÄ*)

KATE & ANNA McGARRIGLE/FRENCH RECORD HNBL 1302 (-80) UK

Though French Canadian sibling dou Kate (1946-2010) and Anna McGarrigle may not be fully recognized by all music lovers today they're still held high by most folk and country aficionados. First and foremost hailed as songwriters - covered by artists as Nana Mouskouri, Linda Ronstadt, Emmylou Harris, Pet Shop Boys and Judy Collins - while their own recordings never hit the big time. Maybe unfair cause most of ten original albums issued 1975-2005 are well composed and performed with the sisters' personal, sometimes girlish and sometimes sexy, vocals on top. Together with the 1982 follow-up "Love Over And Over" this is my favorite. Originally titled "Entre La Jeunesse Et La Sagesse" in Canada, but renamed "French Record" for issues in other countries. It's a kind of semi-sampler having a collection of older songs combined with a couple of new ones. As all lyrics are in French, a language I'm not fully aquainted with, my connection is almost entirely with the melodies and vocals. And in this case that's enough to fall in love. To my taste not a bad moment on it - talent and beauty nicely combined. Favorite tracks - "Complainte Pour Ste-Catherine" is magic, so special and timeless with perfect vocals it still tickles me after all those years plus "Avant La Guerre" and "Entre La Jeunesse Et La Sagesse" both with beautiful memorable melodies. Premiere Canadian as "Entre La Jeunesse Et La Sagesse" on Kebéc-disc (KD 990) with totally different sleeve design. US on Hannibal (HNBL 1302). 1992 CD on Polydor (314 513 554-2). First UK had label as shown here and thin matt cover. (FÄV*)(GZÅ*)

THAT'S SOUL SMLP 008 (-68) GERMANY

Another European variation of the US "This Is Soul" sampler. For more background check post on the UK 12 track mono version https://monolover.blogspot.com/2013/03/this-is-soul-643-301-68-uk-mono.html . The British used different tracking where just a couple coincided with the US original and most cuts had original mono mixes. When it comes to sixties recordings I prefer mono and therefore hold that very high in this context, but the German shown here also has many things going for it. You get fourteen cuts - same as UK + two - all are true stereo and the audio beautiful. The label is "plum" design on thick vinyl and the laminated fold/out cover has four sheets inside, giving in total ten pages with pictures and info (in English). Something for all senses. I've seen claims very first issue had a common single sleeve and this fold/out was somewhat later. That may be but due to label design I'm confident this is early too (comes with a no-swap guarantee). Vinyl reissues 1973 in Germany and Holland on Atlantic (ATL 20 023) and CD in the nineties (7567-80336-2). (SÄM*) (GÖXÄ*) (ÄTHP*)

JOHN CALE/SLOW DAZZLE ILPS 9317 (-75) UK

Follow-up to the dark, cool and considerate "Fear" album   https://monolover.blogspot.com/2012/10/john-calefear-ilps-9301-74.html   . As with the former made by an Island label crew connection - including Brian Eno, Phil Manzanera, Chris Spedding and Gerry Conway among others - produced and arranged by Cale himself. Here a little more diverse with some brighter strokes, but enough pain to make it real and the lyrics have true substance . "Mr Wilson" brings a homage to Brian Wilson and "Guts" is about Kevin Ayers doing Cale's wife before the "June 1, 1974" recording. The cover of "Heartbreak Hotel" almost makes Elvis' version sound happy-go-lucky. Here it's a slower and darker hard rock rendition, like a soundtrack to a chronic depression with no hope of getting out. If it weren't for the lyrics I wouldn't have recognized the song. All well played with his signature vocals and a couple of catchy moments - like the piano lick in "Dirty-Ass Rock'n'roll". To me not earthmoving or mindboggling in the same way as "Fear", but very good listen all the way through - both close and as background. First US in Island (same number and sleeve design). Premiere UK had label as shown here and glossy cover with a stiff glossy inner. (CÄLX*)

RUSS SAINTY WITH THE JOHNNY ARTHEY SOUND/THE GENIUS OF LENNON & McCARTNEY STSOC 1035 (-67) UK

Russ Sainty (born 1936 as Alfred Charles Sainty) may not be much remebered by music fans today, but back in the days he was a prominent figure on the early British rock scene, doing numerous shows for BBC together with cabaret performances and recording singles for Decca, HMV and Columbia, either solo or backed by his band "The Nu-Notes". Never a big record seller though and as merseybeat, white blues and psych started to dominate the British scene the style he represented became obsolete and he eventually vanished from focus. This was his only original album, probably an attempt to adjust to a more modern sound by doing stuff from the biggest sellers at the time. And it's the clash between the Beatles songs and the old style that makes it so charming. If you can imagine Lennon/McCartney compositions played by a simple but competent dance band at a hotel bar late night 1957. All songs performed exactly the same way, apparently live in the studio with lots of reverb on the vocals. Never outbursting or even close to adventurous, just neat and well behaved. Saga label wasn't exactly known for their great audio, but this is surprisingly good giving a being-there feeling. Maybe not a record for wild parties or mind trips, but with tons of atmosphere reminding of more innocent times. This first release in UK only. Reissued 1971 as ""Million Copy Sellers Made By The Beatles" on UK Boulevard (4064) and in New Zeeland on Music For Leasure (191). Premiere UK had label as shown here, thick vinyl and laminated cover with "Saga" inner. (FÖGÄ*) (SÄGÖ*) (MÖRS*)