SMALL FACES/THE AUTUMN STONE IMAL 01/02 (-69) UK

An album today widely considered a classic and as the originals getting rarer also often sold dearly by dealers and at auctions. At first glance it's good - a double LP with lots of odd cuts hosted in a nicely designed cover. But how about the music and audio, is it really that good listening? Not entirely, not to my ears anyway. I get five outtakes from the recordings of the planned but deleted "1862" album - two instrumentals and three vocal - non very impressing and certainy far from the genius pervading their previous Immediate albums. Five live recordings of ok bootleg quality - interesting from an historical perspective but not much more. An alternate mix of "Wam Bam Thank You Mam" which in this case means the vocals are tuned down so they're hardly audible. A couple of Decca A-sides with some kind of faked re-mixes - don't know if to call it re-channeling or enhanced mono, a little of both I guess. (If you want all Decca A:s and B:s on vinyl original mono with beautiful audio I truly recommend an early press of the 1976 Decca budget compilation "The Singles Album - All The Decca A + B-sides" instead   https://monolover.blogspot.com/2013/06/small-facesthe-singles-album-all-decca.html  ) Now to the better stuff. An alternative version of "Afterglow" - not as good as the first chosen, but ok in its own way. "Tin Soldier", "Itchycoo Park" and "Here Come The Nice" in true stereo, using about the same mixes as on the US 1967 "There Are But Four Small Faces"   https://monolover.blogspot.com/2016/10/small-facesthere-are-but-four-small.html    . My own favorite track is the last single approved by the band - "The Universal". Great song with top audio and not that easy to get on early LP. To my taste as a whole unsatisfying. A few good moments, but also lots of half-baked stuff that as well could have stayed in the vaults. Original Immediate releases in Germany, Holland, Australia and New Zeeland. Canadian on Daffodil Records (SBAB 16023) with alternate "silver" cover. Japan 2009 CD (Immediate VICP 70109) came with one bonus track. Premiere UK had label as shown here and matt fold/out cover. (SXÅH*)(YDÄ*)

FLEETWOOD MAC/BLACK MAGIC WOMAN - 3LP SET 9043/3 (-85?) GERMANY

German budget label 3-LP set with live performances from the Peter Green years - records separtely titled as "Rattlesnake Shake", "Oh Well" and "Madison Blues". Not sure about release date, what concert or concerts were involved or how it corresponds to other period live albums with the group. But listening through makes me totally forget about the missing facts. This is good quality all over. Performance is stunning, shifting between soft numbers and raw blues rock including lots of tophole guitars. Tracklist a combination of their own best songs and covers they never did on studio albums. Everything on it appears direct and untainted as it was and the pressing and audio allow me to be there as part of the audience. Sometimes a little unbalanced and sometimes almost bursting the mikes, but still natural giving a "being there" feeling. Checking the song timeline I guess it also involves some of Green's last performances with the band. So if you attended any Fleetwood Mac gig at the time and want to reminisce or just wish to take part of their action as it was back then, this is a very good alternative. It came with label as shown here and records in a structured black box. (FXÄC*) (GÖXÄ*) (LYBÖ*)

ALL STAR FESTIVAL 99500 DL (-63) MONO SWEDEN

When I earlier assigned "Aftermath" as the oldest copy in my collection I totally forgot about this. The first charity sampler, issued through UN with major artists donating tracks and all profits from the release serving the good cause. Bought by my parents 1963. They played it a lot and though I was ten and just got interested in pop and rock I sponged it all up and learned to love the songs. Thinking about it now I'm pretty sure it was this record that started my interest for female vocals and in a way also reinforced my love for well written melodies and elaborate arrangements. Regardless of genres or origins there are so many killer songs here. And though it's gone fiftythree years I'm touched - as then by Doris Day "Everlasting Arms" so unbridedly sentimental it can still get my cheeks wet if I'm in that special mood, or Nana Mouskouri "Ximeroni" also affectionate and sung in a way likely to cause goosebumps. Of the male acts I liked Nat King Cole "When You Belong To Me" and Luis Alberto Del Parana "Donde Vas Niño" best. As I remembered my father always chosed Bing Crosby & Louis Armstrong "Lazy River" and Mahalia Jackson "Nobody but You, Lord" while mother prefered Caterina Valente. So it was a family album, something to gather around. Today connected to a bundle of memories of places and people long gone. This was probably the worlds best selling record back then and originals still show up at low prices, most in much better condition than mine. But that's not the same and I will probably hang on to this old tattered copy till I finally join Doris Day in those everlasting arms - https://www.youtube.com/watch?v=fw1p2DCJ-o8 . (Eighteen months later...finally found that top copy that will follow me till the end of time. Happy happy!) (SÄM*) (CCÖ*) (GZÅ*)

DONOVAN/WHAT'S BEEN DID AND WHATS BEEN HID NSPL 18117 (-65) UK EXPORT STEREO

For more about the album itself check post on the UK mono. Don't know much about the background to this stereo. It was pressed in small quantities aimed at export only. Matrix numbers are stamped NSPL 18117 A-1 *T/NSPL 18117 B-1 *T. The T indicates cutting was made by Tony Bridge and the * that a Scully lathe and Westrex cutting amp was used for the procedure (more on that here http://www.aardvarkmastering.com/history.htm or http://forums.stevehoffman.tv/threads/lathes-mono-stereo.304423/ ). As these recordings never saw a proper stereo mix you'd expect it to be more or less rechanneled, but it's not. Instead an alternative mono all through (my conclusion since pushing the mono button to and from while listening doesn't cause any difference at all in balance, frequency, volume or ambience). In comparison to the regular mono brighter with bass tuned down, making the picture slightly wider and clearer. Could it be that since it was made in very limited numbers for abroad only they didn't care to replace the mono head on the lathe but used that for the "stereo" too and just altered the frequency? Anyway it sounds ok, maybe less warm than the ordinary mono but well balanced with fine separation...and certainly better than a two-channel fake would have been. So if you want any kind of stereo this is not it, but still a quite enjoyable alternative mono and that's worth something. First had ridged label as shown here on thick unflexible vinyl, laminated flip back cover with stereo stickers on front and back (missing on this copy) and Pye ad inner. (TÖW*) (PÖY*) (CPYC*) (ÖXÄP*)

THE BEST OF THE BIG ONES 2345.023 (-72) MONO + STEREO NORWAY

Norwegian variation of the UK 1970 "Flyback 1 - Big Ones" compilation (see earlier post). Apparently made from the same tapes with same track order and same three mono cuts - Move "Blackberry Way" and "Fire Brigade" plus Richard Henry's "Oh Girl". Audio is somewhat brighter, but still very good. Even if the UK on Fly label was the original I kind of like this too, not least beacuse of the front cover images - among the others not too common ones of Tucker Zimmerman, Richard Henry and Junior's Eyes. So if you just want it for the music, audio and rare cuts and don't care about origin, timline or label this is also a good choice with at least some exclusive features. Also issued in Holland (Stateside 5C 048.92456) and Germany (Ariola 85 073 IT), each with separate exclusive cover designs. First Norwegian had label as shown here, heavy vinyl and fully laminated cover. (SÄM*) (CCÖ*)

ROY WOOD WIZZO BAND/SUPER ACTIVE WIZZO K 56388 (-77) UK

I love Roy Wood, but this one-off Wizzo Band album is one of my least favorites by the man. Through Move, ELO, Wizzard and solo up to this there'd always been well written songs with sincere melodies, odd instrumentations and more or less funny and/or unexpected quirks in a friendly atmosphere, inviting me to have a good time. Here I'm suddenly on the outside looking in. With its long numbers it's almost like a prog version of "Wizzard's Brew", but lighter with a jazzier output having less emphasis on melody and instead concentrating on rythms and long instrumental sections. I guess it offers good things for die-hard prog fans, but I need something to hold on to - catchy themes and melodies making it stick - and there's not much of that here. Some of the songs have promising parts, but I have a hard time making myself sit put through all instrumental interventions. Well played and produced for sure, but I'd wished for more. Also released in US (Warner Bros. BS 3065). 2007 CD reissue on Wounded Bird Records (WOU 3065). Premiere UK had label as shown here and thin matt cover. (RÖWS*)

PINK FLOYD/MEDDLE SHVL 795 (-71) UK

When checking the net for thoughts and reviews on this with a few exceptions there seems to be some kind of consensus it was a preparation for, or a not as good forrunner to, the band's more crowdpleasing phase with "Dark Side Of The Moon" and the three following albums. Not in my world. For me all the trials (and errors), the experimenting and sometimes be-that-as-it-may recordings from the debute up to "Obscured By Clouds" is far more rewarding than their later glossier productions. Though less chaotic than for exemple "Ummagumma" this is still old style where the impression is a couple of guys starting off with very little, but slowly braiding thoughts, ideas and impressions toghether as they go along. Elaboratedly planned recordings are not seldom stamped by the time in which they were made and can easlly get dated. This is more like cool snapshots of situations where the common texture is as important as the melodies or sound experiments and therefore in its way timeless. To me it hasn't aged at all in fortyfive years and I still use it as background to meditative moods, but also close listening for cozy moments. Frequently issued and reissued on vinyl, 8-track, cassette, CD and DVD through the years. First US on Harvest (SMAS-832). Premiere UK had label as shown here with "THE GRAMOPHONE CO. LTD." top left, "MADE IN GT. BRITAIN" inside rim below and structured fold/out cover. (PÅX*) (HÄVL*)

KEVIN AYERS/ODD DITTIES SHSM 2005 (-78) UK

One of my favorite Kevin Ayers LP:s. I'm amazed how a budget compilation only consisting of rejected cuts and obscure A:s and B:s can be so rewarding. Would have liked it solely just for the rarity of it all, but there's much more going on here. Fourteen tracks ranging over psych, art music, rock and ballads with a latin accent, all in that familiar Ayers atmosphere aiming to put you in a warm and cozy mood. In fact his musical identity in the early seventies was so consistant that even if these recordings were spread between 1969-73 they could as well have been from the same session. So whatever differing backgrounds I don't get the impression listening to a collection of randomly picked cuts, more like an orignal album where all pieces have a common background and almost identical audio (which btw is really good). So don't feel put off by the budget label and cheapish cover - get it for the music and just enjoy. My favorite tracks - "Soon, Soon, Soon" a 1969 recording planned as an A-side, but unissued - odd piece of psych, melodic with assorted twists and effects...and "Stranger In Blue Suede Shoes" - 1971 A-side only, starting somewhat Lou Reed inspired backed by untuned (?) guitars then moving over to a bar piano piece with distorted vocals. Originally issued also in France and Holland. Japan 2014 CD came with three bonus tracks, including the single version of "Star". Premiere UK had label as shown here and thin matt cover. (HÄVL*) (PÖP*) (SÄSÄ*) (ÖYÄL*)

TAMLA MOTOWN IS HOT, HOT, HOT/VOLUME 2 4E 048-91457 (-71) SWEDEN

An exemple how you can get lots of good music with top audio from one of the best labels for almost nothing. Samplers like this show up regularly in the cheapest bins and some of them are true gems. The one shown here was the second in a serie of four Motown samplers, all released with same tracklist and cover art in a couple of European countries 1969-72, only label designs differed with country of origin. This is the Swedish black/silver version. As with the first in the serie (see earlier post) it's a good mix of list toppers and then less successful trials. All having the same familiar Motown feeling - melodic and positive with lots of energy. Apart from superhits like Edwin Starr "War", Stevie Wonder "Signed, Sealed and Delivered" and The Miracles "Tears Of A Clown", you get today less known top numbers as Originals "The Bells", Spinners "It's A Shame", Supremes last top ten "Stoned Love" and a lot more. It's also fun hearing some early results of The Supremes split - hits from Diana Ross & The Supremes, Supremes without Diana Ross and Diana Ross solo - all in one place. To me enjoyable listening all through, working both as background and for close encounters. So for us Motown fans having a hard time getting all 45:s or LP.s involved this is a highly recommended shortcut. First Swedish had label as shown here and fully laminated fold/out cover. (TÖMÖ*) (SÄM*) (CCÖ*)

ALAN PRICE/METROPOLITAN MAN 2442-133 (-75) UK

I was a fan in the sixties of his participation in the early Animals and even more the somewhat later solo stuff. His voice, the melodic jazz/blues connection, but also the cozy and friendly atmosphere of the recordings. Into the seventies, as prog and hard rock started to compete for attention, I stopped buying his new albums. Still played and enjoyed the old ones, but for some reason I can't remember imagined for myself that he'd fallen in the then common synth trap which caused the death of so many fine sixties acts as their natural habitat changed from organic to artificial. I needn't have worried. This 1975 LP is very good pop/rock with songwriting, ideas and arrangements almost in a sixties manner. The warm personal vocals are still there and most of the songs melodic and memorable. All cuts self-penned in his own mode, but you can sometimes hear vibes from solo McCartney and George Harrison or Procol Harum. Favorite tracks - the uptempo pop "Papers" - a very catchy tune that no doubt would have been a hit 1968 or so. "Fools Gold" has a long organ intro to an intriguing ballad and "Nobody Can" an eastern theme rocker with tophole guitars. All together a very good album well worth getting in to - especially for us who liked his early days. Originally also released in France, Germany and Australia, but for some reason never issued in US. UK 2000 CD on Edsel (EDCD 660). First UK had label as shown here and matt fold/out cover. (ÄNÄ*)