THE BEATLES/ABBEY ROAD PCS 7088 (-69) UK - "MISALIGNED"

A few thoughts on the "misaligned apple" subject. Have to admit I do not understand the concept since the whole covers on some of the earliest presses are differently aligned and the apple just a small part of that. Compare pics below - the apple is under the "A" in Abbey on both. The only thing that's on about the same place vis-a-vis the edges is the tracklist which creates the illusion that the apple is situated wrongly. Should be called "differently aligned sleeve" instead. Then I'd like to add to the confusion concerning the first UK issues. I have two reasonably early copies. (1) having the differently aligned sleeve, very thin spine and dark label without "Her Majesty". (2) with the "correct" sleeve, slightly thicker spine and brighter label with "Her Majesty". Both with the first -2/-1 matrixes. Since (1) by all means is regarded as the first you should think that it must have the earliest mother/stampers and that's true for side one where it's 3/MMM against (2) 6/PLG, but on side two (1) have 10/ALG and (2) the much earlier 1/MDG (all checked with magnifier under strong light to be absolutely sure). So in this case what is commonly seen as the later issue seems to have a former mother/stamper for side two. Don't have a clue why, but guess with the enormous stress a new Beatles album meant there must have been more than one pressing plant involved with different issues overlapping and stampers put together almost randomly. Not trying to make sense here, just saying on this level it's not an exact science. (BÄ*) (ÄPLÄ*) (LGÅ*)

PROCOL HARUM/SOMETHING MAGIC CHR 1130 (-77) UK

The band's tenth and last album before the 1991 "Progical Stranger" reunion. Recorded in Miami and though they had enough songs for an album, most were rejected by producers Ron and Howie Albert. To fill out Brooker proposed a long time project he and Keith Reid had been working on earlier - an epic called "The Worm And The Tree" - which was approved. The LP set-up reminds of "Shine On Brightly" with one theme side and one with regular songs. I've even seem claims "The Worm And The Tree" has a lot in common with "In Held Twas In I", but I don't get that at all. While "In Held..." is a string of separate regularely performed songs and ideas molded together this is more a narrative supported by orchestral parts, beautiful in its way yet almost prosaic in comparison and not the same ear-catcher. It occupies the entire B-side and to be honest I haven't given that much attention. To me this LP is all about three tracks on side A, showing the band was still in good shape. "Something Magic" and "Skating On Thin Ice" both intriguingly built with catchy piano parts and "Wizard Man" a good melodic rocker. As I'm informed the first fold/out cover release didn't include "Wizard Man" but only had four songs on side A, while the second, single cover issue, had all five tracks. If that's true the one here must be a transition copy, since the record has full tracking and the fold/out cover a sticker intruducing the "additional track". First US on WB/Chrysalis (CHR 1130). 2009 CD on Salvo (SALVOCD 029) came with three bonus cuts. Early UK had label as shown here and fully laminated fold/out cover with lyric/picture inner. (PRÖX*)

JOHN CALE/WORDS FOR THE DYING LAND 09 (-89) UK

Three different projects recorded through a longer preiod of time in London; New York, Moscow and Suffolk. Main part - "The Falkland Suite" - written as reaction to the Falkland war 1982 and preformed by Orchestra Of Symphonic And Popular Music Of Gosteleradio - USSR, is an orchestral suite with musical setting by Cale to a couple of Dylan Thomas poems. Not his catchiest work, but beautiful in a seriously concerned way. There are also two short piano parts composed by Cale and the album ends with an Eno-Cale collaboration - "The Soul Of Carmen Miranda" - having more regular songwriting with ambient backing and pointing forwards to their mutual 1990 "Wrong Way Up" album. I've seen this getting about equal portions love and hate through the years. The haters get hooked up on that the symphonic or piano parts don't measure up to the old masters. That's just mean, like comparing Jimmy Page's acoustic licks with Segovia or the strings in "A Day In The Life" with Stravinsky's "The Rite Of Spring". Better listen without prejudice. US vinyl on Opal (1-26024), also cassette (4-26024) and CD (9-26024). UK CD on Land Records (LANDCD 09). Premiere UK vinyl had label as shown here and thin glossy cover with picture/lyric/info insert. (CÄLX*) (ÄNÖ*)

QUEEN EMC 3006 (-73) UK

A major rock act of the seventies and eighties, early on moving through the rock subgenres with trials in prog, hard rock, pop and glam before they found their own formula. But when hearing this debute I'm amazed how much of what later made them big is here already. The melodic songwriting, whining guitars, lead vocals and background quires. It's like they had all ingredients from the start, just needing some further molding to make the pieces fit. A little more hard rock than the following albums and with less hit feeling, still totally recognizable. It's a grower not a shower. Can be harder to get into in comparison to their bigger sellers but once you're there it's very good listening. Favorite tracks - "Great King Rat" and "Liar". Apparently the earliest pressings came from either of two separate plants - regular EMI and Fontana (?) . The former has a "U" after the matrix number (- 2U) while the latter just has the number (A//2) followed by three or four digits. There are also messages etched into the matrixes depending on number or order (more of that here http://www.queenmuseum.com/?p=1458). This copy has A//2 (message "HUGGY POO KISSY KISSY") and B//2 (message "KATHY PAT SUE KIP JOHN RAY") Don't know if it's the very first, but should be early. It came with label as shown here and thin matt cover. (QÄN*)

RÉCITAL CHARLES TRENET AU THÉATRE DE L'ÉTOILE - PARIS 1952 FS 1004 (-52) FRANCE

An LP I feel connected to, even if I don't get the lyrics or click with the genre itself. An early fifties live performance by then much popular French artist Charles Trenet, consisting of chansons with spoken intros accompanied by piano only. Right on and apparently taken by one mike directly to a tape recorder. Audio loud and rather damp, but good considering the circumstances. For me a travel sixtyfour years back in time to a theatre in Paris, where not only the artist and pianist but also most of the appauding and laughing audience are long gone by now. A kind of audible adventure ready whenever I want. And the 78 rpm shape package makes it even better - 10 inch with old design label on thick, heavy and unflexible vinyl. The cover is glossy flip/back having slightly submerged fonts and picture lines. It came as part one of a double issue, part two (FS 1005) released at about the same time. (MFÄX*) (SYSÖ*) (NYFÖ*) (LYBÖ*) (GZÅ*)

THE BEST OF SHANES 4E 054-34001 (-69) SWEDEN

The only early sixties recording band emanating above the arctic circle, here from the northern Swedish mining districts. As a northlander myself I embraced their debute album (see earlier post) with its raw untuned outcome perfectly reflecting life in those icy parts. When they after some personel changes moved to Stockholm and made success by playing softer pop I saw that as a betrayal and put them away. For a long time their second album from 1965 "Shanegang" was the last one on my mind and I didn't care about any later efforts. Today when less provincial I do enjoy some beyond that, especially as compiled here. A collection issued after the band broke up 1969, containing twelve cuts recorded 1965-68 - one each from the albums "Shanegang", "IV" and "Shanes Again, three from "SSSS Shanes" and six previously 45 only. I can still do without the cuter tunes like "Cara Mia", "Hi-Lili Hi-Lo" and "Love Me Please Love Me", but the rest is just fine. The rock covers of "Blue Feeling" and "Save The Last Dance For Me" shows they still had it and a couple of the others really good psych tainted pop, e.g. "Faces Faces", "Bound For Nowhere", "Friday Kind Of Monday" and "Chris Craft No.9". To my knowledge this compatible stereo was the only issue, but all tracks can be found on the 1983 vinyl/CD compilation "Shanes 1963-68!". First came with label as shown here, heavy vinyl and thin matt cover. (SCÄ*) (XHÄ*) (CCÖ*)

SHADOWS OF KNIGHT SKS 6002 (-68) US

A band often regarded as a one hit wonder, due to their celebrated 1965 cover of "Gloria" - reaching #10 on Billboard and high on many other lists - but by many also held to be one of the best mid-sixties US bands and seen as forerunners in the psych, hard rock and punk genres. However two albums 1966 - "Gloria" and "Back Door Men"- plus a couple of more 45:s failed big sales and the lack of further success led to bad economy and group starting to disintergrate. By the time this third album was recorded only vocalist Jim Sohns remained from the original setting. He put a new band together and got a contract with Super-K label, then ruled by "bubblegum" producers Kasernetz and Katz who at about the same time handeled Ohio Express and 1910 Fruitgum Company. So with this you could expect the tracks to be unholy clashes between soft bouncy pop and dirty garage psych, but I don't get that at all. Larger part very good hard garage psych with lots of fuzz, howling guitars and a fair share of cheeky organ. There are orchestral overdubs to some of the songs and even an attempt to melody sometimes, drowning in the overall raw energy. I've seen it criticized for being aimless and too diverse, but that's not what I hear. The aim is crude and the whole thing well put together. If you're really hard-core and want it all dirty you can jump the three short slightly mellower numbers starting side one, but the rest is rude enough. Originally released in US only. 2013 UK vinyl reissue on Cherry Red (CRP 202). US 1994 CD on One Way Records (OW 30331) came with four bonus tracks. First US had label as shown here and glossy cover. (YZÄ*) (ÖGÄ*)

MOTT THE HOOPLE/THE HOOPLE S 69062 (-74) UK

Sounds like a natural follow-up to the "Mott" album (see earlier post). The last full-length by the old gang (though Mick Ralphs had already left and been replaced by Ariel Bender) and a strong swan song it was. I know most hold the former "Mott" higher, but to my taste this has four tracks that almost makes it better . "The Golden Age Of Rock'n'roll" and "Roll Away The Stone" are two obvious hit songs, "Crash Street Kids" a heavy, chaotic cut with great guitars, and my absolute favorite "Marionette" - Hunter's hardest attack against the rock business and one of his best compositions so far. Rude and melodic at the same time, complex and catchy with inbuilt rythmic misfits adding an extra touch. Non of the other tracks are bad, but these are the ones that makes the album fly for me. Issued and reissued on vinyl, 8-track, cassette and CD through the years, some with bonus tracks. First US on Columbia (PC 32871). Premiere UK had label as shown here and matt stickered cover with lyric/pictute insert. (MÖHÖ*)

PROCOL HARUM/PROCOL'S NINTH CHR 1080 (-75) UK

After two brilliantly composed, arranged and performed albums - "Grand Hotel" and "Exotic Birds And Fruit" - the band teamed up with renowned songwriters and producers Jerry Lieber and Mike Stoller for something different. As it seems the aim was getting it simpler and more direct, but also a retrospection as it includes a remake of an early Brooker/Reid composition "Pandora's Box" plus covers of Lieber/Stoller's " I Keep Forgetting" and Beatles' "Eight Days A Week". The result didn't please all critics and apparently put down some former fans as it only got to #41 in UK and #52 on Billboard. The "Pandora Box" 45 did a lot better and became their last hit single. Big fan of the band myself and I don't see it as that disappointing. Could do without the rather bland covers, but some of the rest are as good as ever. "Pandoras Box" is pure magic, "Without A Doubt" intriguing with its raggaeish refrain and "Fool's Gold" a bouncy rocker reminding of the best moments on the "Broken Barricades" album. Always liked Gary Brooker's vocals and I get a lot of that here too. So even if slightly uneven, to me still a very good Procol Harum album. Issued and reissued world wide on vinyl, cassette and CD through the years, some with bonus tracks. First US on Chrysalis with same number and sleeve design. Premiere UK had label as shown here, glossy stickered cover and picture/lyric insert. (PRÖX*)

JUSTIN HAYWARD AND JOHN LODGE/BLUE JAYS THS 12 (-75) UK

After the successful "Question Of Balance" and "Seventh Sojourn" albums the band was under great pressure from Decca to make a follow-up. But the only ones still interested in continuing together at the time were Hayward, Lodge and producer Tony Clarke, so the planned Moody Blues comeback turned out as a double solo project instead. Not that it's much difference except billing - the songwriting, atmosphere, vocals and guitars sounds "Seventh Sojourn". All rather slow, melodic and beautifully arranged and produced. Personally I would have prefered it with a couple of up-tempo cuts for the sake of balance and variation, but as it is now perfect for heartfelt romance or mourning lost loves. Released world wide on vinyl, cassette, reel and CD through the years, some with bonus track. First US on London/Threshold with same sleeve design and number. Premiere UK had label as shown here, matt fold/out cover and picture/lyric insert. (MBÅL*) (DÄRR*)