THE BEATLES/THE WORLD'S BEST -THE BEATLES 12 PAL 4159-SM (-67) GERMANY

One of many non-UK Beatles compilations issued through the world in the sixties. This German has a lot making it worth while even if you have access to all cuts on various medias before - the track choice, exclusive sleeve design, odd label, top audio and inclusion of the "hi-hat" cut of "All My Loving". First issued on the S*R International label apparently with a large number of minor variations on cover and label appearing already within the first year of release. Thought it would be nice to get some kind of time line so I jumped on the net to find out once and for all, but what I got was a mess. Not only totally conflicting messages from different sources at large, wherever I turn it seems this copy both fits as a first press and not. However comparing with former S*R issues it fits as early - label has record number above GEMA and rim text with capital fonts, sleeve has laminated front with "aus dem Repertoire Odeon..." under logo on front and cat. no. on top right rear. Still don't know if it's the very first, but positively somewhere near. Also as export presss for Austria and Holland (same sleeves and numbers). German 1981 reissue on EMI/Electrola (27 408-4) replaced "All My Loving" with "Don't Bother Me", though keeping the original tracklist on sleeve. (BÄ*) (GÖXÄ*) (LGÅ*)

WHERE'S JACK?/ORIGINAL MOTION PICTURE SOUNDTRACK SPFL 254 (-69) UK

Original score to a British movie about the adventures of 18th century burglar Jack Sheppard, starring Tommy Steele in the title role. Though the film itself wasn't much appreciated, flunked at the box office and soon forgotten, this soundtrack has a remaining high quality making it worthwhile for both collectors and music lovers in general. Written by awarded American composer Elmer Bernstein and performed by his orchestra the pieces chosen here can be typed as somewhere between classic baroque and baroque pop - smooth yet emotional with drama involved. Eleven instrumentals coupled with four vocal - two sang by Mary Hopkin ("courtesy of Apple Records") and two by Irish folk singer Danny Doyle ("courtesy of Tribune Records"). I don't usually go for soundtracks, the reason I bought it is I try to collect Mary Hopkin and this is the only place where you can find these particular numbers of hers on vinyl. Counted as two separate tracks - "Where's Jack" and "Last Moments" - it's actually more of a long suite cut into two, starting and ending the album. Her voice is as beautiful as ever with its irrestistible blend of natural beauty and control, here nicely supported by baroque pop arrangements. That alone makes it an album well worth having. Reissued on CD 1998 (Trickertape Records TT 3008) , then coupled with the soundtrack to another movie - "Kidnapped". To my knowledge this was the only vinyl release. It came with label as shown here and laminated flip/back cover. (FÄV*) (ZÖNT*) (GJÅ*)

THE ORIGINALS/GREEN GROW THE LILACS STML 11116 (-69) UK

Combo sometimes called "Motown's best-kept secret". Founded 1966 by former members of Detroit Spinners, Glass House and The Voice Masters. Their first two singles failed to sell and up to this debute album reaching Billboard #174 and the 45 pick from it "Baby I'm For Real" managing #14, they were mostly known as background singers for other Motown acts. Here they got some help from Marvin Gaye, who co-wrote the hit single and assisted with inspiration and production, getting them out in the open to at least moderate fame. For me this is very good Motown, stylewise sometimes reminding of Four Tops, Miracles or Temptations, but with enough personality and spirit to make it something else and valuable by own means. Vocals and harmonies tophole all through. Both cover versions and self-penned songs treated with same sensitivity and intensity, conveyed by compliant backing and arrangements. For me, who's been listening to the more major label acts for decades, this comes as a high quality alternative where I can get the familiar Motown feeling in yet another pleasant package. Favorite tracks - "We've Got A Way Out Love", "I've Never Begged Before" and "Why When Love Is Gone". Premiere US on Soul label (SS-716). First UK, also as mono (TML 11116), had label as hown here and laminated flip/back cover. (TÖMÖ*)

THE ROCK MACHINE TURNS YOU ON PR 22 (-68) UK MONO

For more on the issue at large please check post on the stereo version. As this mono variation is from about the time when UK CBS went from releasing separate monos to use folds only I thought it would be interesting to check if this is a fold, or at least partly true. Since most of the tracks first came on US releases and I'm not 100% familiar with the relations between all US and UK mono albums at the time - for some the US were true while the UK issued as folds - I'm taking the easy way out and just compare by using the mono button on the stereo. And as far as I can hear this whole mono sampler is a straight fold - the corresponding cuts have the exact same intros, outros, balance and volume. As assumed, but I needed to know for sure. Interesting as an oddity with nice audio, just don't expect to find any rare one-channel mixes on it. First had structured label as shown here, fully laminated stickered cover and CBS ad inner. (SÄM*) (CPYC*)

THE BEE GEES/THE BEE GEES GOLDEN ALBUM SMP 2037 (-68) MONO + STEREO JAPAN

Japanese only collection including tracks recorded for UK Polydor 1967- early 1968. Side one has seven album picks - four from "1st" and three from "Horizon" - all true stereo. For side two they obviously chosed the existing single cuts since six are mono and "Close Another Door" for some reason fake stereo. It's lovely to hear the previous 45 only "Words", "Jumbo", "The Singer Sang His Song" and "Sinking Ships" in original shape on such an early LP instead of the fakes or remakes which seems to have been the common treatment for most later vinyl compilations. Audio is stunning throughout - wide, clear and almost overwhelming at parts. All the above makes it a lot more than just a commonly compiled complement and it's become one of my favorite Bee Gees LP:s. Don't know of any other issues. It came with label as shown here, thick hard laminated fold/out cover with lyric/picture sheets inside and "obi" (sadly missing on this copy). I'm also guessing the white polylined inner seen below with text in Japanese, German and English is original. (BÅXÅ*) (ÄZÄ*) (PÖP*)

THE HOLLIES/WRITE ON 2442-141 (-76) UK

For me their previous "Another Night" LP ( https://monolover.blogspot.com/2016/07/the-holliesanother-night-2442-128-75-uk.html ) was a kind of come-back after a couple of rather uninteresting albums. Most of the tracks self-penned with enjoyable melodies and tophole vocals. This is almost as good - all cuts but one composed by the band with quite a few catchy moments, the vocals as fine as ever and you get some really nice Tony Hicks guitars. All presented with a large portion confidence and a feeling that takes me back ten years or so. Listening closely you can hear a multitude of contemporary styles - rock, sweet ballads, country pop and even some minor psych interludes - but in the end it's all signature Hollies. Only downer is the audio. While "Another Night" had dream sound - loud and big yet natural - this comes through a lot more confined, never muddy but certainly less separated. Don't know if that had to do with Ron Richards was gone and they produced it themselves, or new ways of engraving. Disturbes me a little as I know a bigger more separated outcome would have made it more enjoyable. Favorite tracks - "I Wont Move Over" and "Stranger". Contemporary issues in Germany, Holland and downunder. French 1999 CD on Magic Records (5244142) came with five bunus tracks. For some reason not released in US though some of the tracks showed up on the 1977 Epic album "Clarke, Hicks, Sylvester, Calvert & Elliot". Premiere UK had label as shown here, thin glossy cover with guilded fonts on front and picture/lyric inner. (HÖLY*)

JOE COCKER SP-4368 (-72) US

His third studio LP. As I've seen often reveiwed as a transition album between the earlier pop/rock period and the bigger breakthrough with the soul filled "I Can Stand A Little Rain", but not much good things said elsewise. To my ears it's an enjoyable album, well worth to be positively judged by own means. Cocker was usually a cover artist, but six of nine tracks here are co-written by him - where of five together with Chris Stainton and one with Peter Nichols. Music is a blend of soul, funk and jazz, ballads and up-tempo, showing on his amazing ability to move between styles without getting lost. Those very special vocals, by then getting even more soared, could obviously tame any genre making each his own territory. To my taste maybe not up there with his two first and commercially far from the success of the next, but with enough quality to make it a lot more than just an intermediate phase. Favorite tracks - "Woman To Woman", "High Time We Went" and "St. James Infirmary". Produced by Denny Cordell and Nigel Thomas, mostly backed by The Grease Band with addition of Jim Keltner and Alan White on drums. Special kudos to the quire ladies - including Bolan g/f Gloria Jones - doing some prominent parts that really adds beauty to the full picture. Issued and reissued all over the world as "Joe Cocker" or "Something To Say" on vinyl and CD through the years. Premiere UK, released as "Something To Say" on Cube (HIFLY 13), came with alternate sleeve design. Early US had label as shown here, matt fold/out cover and custom A&M inner. (MÖRS*) (JÖC*) (YZÄ*)

THE ROLLING STONES/AFTERMATH LK 4786 (-66) UK MONO

This is one of the older copies in my collection and a true love of mine. Bought close to release and stayed with me since, through thick and thin. Back then it was a revelation, at least for us Stones fans. 50+ minutes playing time with one song - "Goin' Home" - beyond eleven minutes and an abundance of good music in various styles, all penned by the band. Today one might say it's an even split between classics and at best interesting fillers, but I remain with my original impression where every track is a gem. I can even put "Mother's Little Helper", "Lady Jane", "Under My Thumb", "Out Of Time" and "Stupid Girl" aside as I feel equally at home with some of the less famed cuts. "Think" is a psych killer with the bombastic fuzz in the background. "Doncha Bother Me", "Filght 505" and "Goin' Home" very transparent garage beauties. "High And Dry", "I Am Waiting" and "What To Do" may have been received as trifles now and then, but to my ears very cool catchy pieces not far from what's on "Between The Buttons". Of the around eighty albums - counting studio, live and compilations - from the band so far, this will always place somewhere on my top ten...and I keep on listening and enjoying. First US on London (LL 3476/PS 476) came with other sleeve design as an eleven track, omitting "Out Of Time", What To Do", "Take It Or Leave It" and "Mother's Little Helper", but adding "Paint It Black". Frequently issued and reissued in every possible format through the years with various track choices. Early UK had ridged label as shown here, thick vinyl, laminated cover (a few with shadowed fonts on front) and "handeling/playing" inner. (RÅ*)