BRIAN ENO/MORE BLANK THAN FRANK EGLP 65 (-86) UK

Collection of tracks recorded 1973-77, part of a project with separately issued items. A book - "More Dark Than Shark" - containing Russell Mills litographs inspired by Eno's compositions and three compilations with differing musical choices - 10 track vinyl, 12 track cassette and an 11 track CD named "Desert Island Selection". This is about the vinyl. All ten cuts straight from the albums "Here Come The Warm Jets", "Taking Tiger Mountain", "Another Green World" and "Before And After Science" so if you already have those there's nothing new here. To my taste inclusion by a couple of his earlier non-LP 45 tracks would have made it a lot better, but that probably would have clashed with the overall arty prerequisite. Still worth having because of the top audio and package. US vinyl with same number, inner, label and insert as UK. Cassette no. EGMC 65 and the "Desert Island Selection CD no. EGCD 65. Premiere UK vinyl had label as shown here, matt sleeve and inner with tracklist, credits and words about his albums by "More Dark Than Shark" collaborator Rick Paynor. Some also with sticker on sleeve and one of Mills' litographs from the book as insert. (ÄNÖ*)(FÖF*)

CREEDENCE CLEARWATER REVIVAL/COSMO'S FACTORY LBS 83388 (-70) UK

Their fifth original LP in two years and third in just a little more than one. From today's perspective, when many major acts only issue new albums every second or third year, the pace back then was very high. And if you also consider the much more compilcated analogue factoring in comparison to modern computerized handling it's amazing how artists and studio personel were able to deliver top music with a remaining high quality time after time. This is a good exemple. One should think that their fifth full-length in two years would sound a little more tired or uninspired than any of the former. But this is as good or sometimes even better. Same positive garage feeling and energetic performance and most of the songs with a true hit feeling. In fact it spawned so many successful 45 cuts it could as well be called a "greatest hits" - "Travelin' Band", "Who'll Stop The Rain", "Run Through The Jungle", "Up Around The Bend", "Lookin' Out My Back Door"...and that was just in the US. Of the rest "Ramble Tamble" has a borderline psych/garage character and the eleven minute "I Heard It Through The Grapewine" cover comes with a rock jam feeling. The audio is great and it sounds as lovely today as it did fortysix years ago, simple and direct still giving me the same amount of pleasure. Premiere US on Fantasy (8402). Frequently issued and reissued on vinyl, cassette, 8-track, reel and CD through the years, some with bonus tracks. First UK had label as shown here, thick vinyl and laminated cover. (XLÄ*) (CÖR*)

LED ZEPPELIN/II UK STEREO 588198 VS. BRAZIL MONO ALP 685031

After finally finding a UK 1st press within my price range I can now check the Brazil mono against an original stereo (by using the mono button to mimic a fold). Always thought this mono was some kind of fold, but it doesn't come out exactly the same. There are some miniscule variations in fade outs and time gaps between the songs differ. A few exemples - on the stereo "Ramble On " starts directly after the last echo in "Living Loving Maid", on the mono there's a three second gap. Between "Ramble On" and "Moby Dick" stereo has one second of silence, the mono three. Futher on the stereo "Thank You" starts directly after "The Lemon Song" while the mono again has a three second gap. The mono is clearer and much louder than what you'd get from a straight fold which makes it hard to do a thorough comparison since some mono fade outs may appear longer just because of the higher volume. The differing gaps can be explained by the use of "lead tape" (a procedure where the ready tape sometimes was cut and spliced with an additional piece to avoid band echo) and variations in balance by alternative use of EQ. But even if it's the same ground mix I'd call this mono separate. Sounds a lot better than a fold would - bigger, clearer and bouncier - making it something else and pretty good listening too. Band pic below from the Brazil cover. (LÖZ*) (SÖMI*) (CPYC*) (ÄTHP*) (MÅW*)

SPARKS/KIMONO MY HOUSE ILPS 9272 (-74) UK

An LP I liked from first spin. Not unconditionally, but with the same kind of feelings you have for a friend who always seems to be off path yet in some way stays beautiful. Album background story not uncommon - talented and free-spirited Americans who couldn't make success on home soil moving to England and getting a new start, supported by an ad-hoc domestic band and experienced UK studio personel (in this case Muff Winwood and Bill Price). The result gets me every time I listen - intelligent and funny lyrics sung with very high pitched voices, carried by simple yet adventurous melodies with lots of unexpected twists and turns. Impudent and embracing at the same time and as such one of a kind. Split impression enhanced by the "naughty geisha" front sleeve and the brothers looking like a girl in men's clothing besides a gay Hitler on the rear and inner. A package confusing in more than one way. Favorite tracks - "In My Family", "Talent Is An Asset" and "Amateur Hour". Issued and reissued on vinyl, cassette, 8-track and CD through the years, some with bonus tracks. First US on Island (ILPS 9272). Premiere UK had label as shown here, fully laminated cover and stiff lyric/picture/credit inner.

MALCOLM McLAREN/DUCK ROCK MMLP1 (-83) UK

Much can be said about manager, impressario, designer and artist Malcolm McLaren (1946-2010). Some see him as a ruthless predator, using aritsts and social trends for his own benefit. Others say he wasn't greedier or more speculative than many other in the business, just more honest about it. However that may be there's no denying the music scene would have been a lot different without him. By more or less creating Sex Pistols he became one of the main forces of British Punk Rock and through groups as BowWowWow and Adam And The Ants remained influential within New Wave. This album represents the third phase of his public whereabouts - an, as it seems, random mix of african music, square dance, hip hop, latin and disco. Some of it reminding of Talking Heads or Eno, other just weird and unintelligible. Inconsistant and maybe aimless, but still a success in UK and parts of Europe where it among other things helped spreading hip hop to a broader audience. For me a superficially fun and various trip that could bring a smile, but without any deeper connection. Released on vinyl, cassette and CD all over the world through the years. First US on Island (90068-1). Premiere UK had label as shown here, glossy cover, picture/credit/lyric innsert and "illegal hometaping" inner. (CÄX*)

THE BEST OF THE DOORS EQ-5035 (-73) US QUAD

Without doubt the most wide spread of all quad albums as it only was sold as a four-channel mix the first time after release. And since the large public still craved Doors albums and this was compatible down to regular stereo, most people bought and used it as such. Not an expert on Doors original mixes and don't know how these were made, but suppose the album stereo versions were used for the re-mix. Listening to it in two-channel I get the same uplifting feeling as from a good mono mix after just hearing the stereo for a long time, or vice versa. The same favorite songs, but from a different angle - with shifting dynamics, clarity or balance - brings a reignition and make me fall in love again. Issued and reissued as quad or folded to regular stereo on vinyl, cassette, 8-track, reel-to-reel and CD. As I understand four different masters have been used through the years - this 1973, one from 1985, one from 2000 and the final so far 2015. Add to that the vinyl alone exists with at least 6 diverging label designs. So don't have a clue of any time line or what's on which. In this case I just listen and enjoy. I'm having a hard time figuring out exactly what the fonts on the matrixes means, but if anyone knows - this copy have EQ 5035 A-1 PRG MY -I -II/EQ 5035 B PRG MY -I -II. It came with label as shown here, glossy cover and "Quadradisc" inner. (YZÄ*) (DÖÖW*)

MORE STARS OF '68 MALS 794 (-68) UK

Follow up to the Marble Arch "Stars Of '68" sampler. As with the former a collection of Pye cuts, most of them non-LP at time of release. Val Doonican seems a little misplaced stylewise, the rest nice representatives of British pop in the late sixties. Good music from renowned names as Kinks, Dave Davies, Status Quo and Foundations mixed with lesser known acts like Paper Dolls, David Garrick and Precious Few. Even if all tracks aren't exactly to my taste it's still good listening because of the contemporary sound and atmosphere. A couple of the tracks appears like more or less enhanced mono, but luckily both Kinks' "Wonderboy" and Dave Davies' "Susannah's Still Alive" comes as true stereo. It was the first time you could get them as legit two-channel mixes and to me they sound a lot better here than when appearing on later compilations. That alone makes this album a keeper. Also as UK mono (MAL 794). Australian issue on Astor (GGS 933), Canadian on Marble Arch (MALS 794). First UK had label as shown here, thick vinyl and laminated flip/back cover. (SÄM*) (KYX*) (PÖY*)

JOHN LENNON/IMAGINE PASJ 10004 (-71) SOUTH AFRICA

A variation I didn't even know existed before I found it in a used bin a while ago. Always fun to get classic LP:s on odd labels and since I could never afford the UK exports of Apple albums on Parlophone or Odeon, finding originals from countries where Apple wasn't an item yet feels more than sufficient. In some cases these pressings don't hold up to the UK or US originals, but this sounds surprisingly good - in comparison to the partly rather muddy UK first even clearer and sturdier. Very good listening all through. Matrixes are hand etched - PASJ 1004 YEX 865/PASJ 1004 YEX 866 - and vinyl medium thick with bulkier edge. This copy with thin matt sleeve and UK style inner (imported?). Can't say if it's absolutely first or complete, but likely some kind of early press. (BÄ*) (JYZÖ*) (PÖX*)

BEGGARS OPERA/WATERS OF CHANGE 6360 054 (-71) UK

Scottish progressive combo formed 1969 by guitarist Ricky Gardiner and former members of local Glasgow bands The Kingbees and The System. They soon got a contract with newly started Vertigo label and released their debut LP "Act One" 1970 - today often referred to as symphonic proto-prog, as it includes traces and/or remakes of classical pieces much in the same vein as late Nice or early ELP. My first aquaintance with the group was through their third LP "Pathfinder", which wasn't much prog, yet exciting with its blend of well perfomed catchy songs, alluring production and top audio. This second album appears to be somewhere inbetween - I get memorable soft melodic turns, but also more adventurous escapades including long solos, rythm changes and classical episodes. Keybordist Alan Park so influenced by Keith Emerson he sometimes sounds like an alias, but doing it well...and one could have a lot worse role models. Favorite tracks - "Time Machine" and "Silver Peacock". First issued in a couple of European countries and Canada (same number), but as far as I know not in US. German 1989 CD on Line Records (LICD 9.00724) and UK 2006 on Repertoire (REP 5056). Premiere UK had labels as shown here and fold/out cover with "0671" dated swirl inner. (WLÖ*)