THE BEATLES/ROCK'N'ROLL MUSIC PCSP 719 (-76) UK

As the story goes - when Capitol boss Bhaskar Menon asked George Martin to listen and approve the US tapes for this Martin was "appalled" by the outcome, among other things because many of the early cuts used fake stereo, so instead he confiscated the tapes and reworked every track for the US release (I will get back to that later). No such problems in Britain, where EMI refused Martin's remakes and instead included all original UK recordings. Among them five - I'm Down", "Long Tall Sally", "I Call Your Name", "Slow Down" and "Matchbox" - for the first time with true stereo mixes on home soil...and to my knowledge only time analogue on vinyl there as the UK "Rarities" only had the mono versions and the stereos appearing on the "Past Masters" album were digitized. That's what makes this unique and valuable to me. It is a fine compilation and the audio is smashing all through, but without these five stereo versions it'd be just another fine compilation made years after the fact. I would have liked it even better if including the exisitng US '45 stereo cut of "Get Back" instead of the album version, but as they went for an all British variation that was probably out of the question. This 2LP issue was the only time UK tapes were used there. The British single album re-issues (as Rock'n'Roll Music Vol. 1/Vol. 2 on MFP 50506/50507) came with the US Capitol version. Premiere UK had label as shown here, fully laminated fold/out cover and "Important Notice" inners. (BÄ*) PÖP*) (PÖX*) (LGÅ*)

DEEP PURPLE/MACHINE HEAD TPSA 7504 (-72) UK

It is a great LP, but during a long time ruined for me because of one lousy song - "Smoke On The Water". True story to an almost non-existing melody and the all carrying riff constrained and dull. I loved the album to pieces back then, though always skipping that particular track. Then starting soon after release and going on up this day the rest of the world has constantly tried to prove me wrong, calling the song a hard rock masterpiece and the riff flowering as the most cherished and played since big bang. For some reason all that affected my relation with the album at large and I didn't play it for a generation or so. Now back again and I haven't changed my mind about it a bit. Still don't like that track, but the rest is a happy punch right to my gut. Beautifully simple, performed by a classic rock setting with few overdubs, incredibly fulfilling and hard-hitting. And what SOTW lacks in melody and catchiness the other songs have in abundance. So if I could just change one thing...the pleasant B-side to the "Never Before" 45 - "When A Blind Man Cries" - recorded during the same sessions, should have been here instead and the polluted liquid dumped somewhere else. That would have made this album perfect for me. Favorite tracks - "Space Truckin", "Pictures Of Home", "Never Before", "Maybe I'm A Leo", "Highway Star" and "Lazy". Issued and reissued all over the world on all possible medias through the years. First US on Warner Bros. green label (BS 2607). Premiere UK had label as shown here with "Grammophone Co. Ltd." top left and no EMI box. Cover is Garrods & Lofthouse laminated fold/out dated 7204 with a glossy lyric poster insert. (DHÄ*) (HÄVL*)

CILLA BLACK/SWEET INSPIRATION PCS 7103 (-70) UK

(For background check posts on her debute "Cilla" and the 1968 "Sher-ooo" album.) Cilla Black (1943-2015) may not have carried Britains most beautiful voice in the sixties, but compensated that through vocal energy, good looks and by surrounding herself with aces. However with the previous, in UK non-charting, "Surround Yourself With Cilla" 1969 it seemed her singing carreer was decelerating. It sold OK downunder, but failed in other parts of the world. I guess this was meant as a comeback cause they sure went all in with the handeling. Produced by George Martin (1926-2016) and including him using six different conductors/arrangers for the orchestral backings (most by Mike Vickers - earlier with Manfred Mann and the one who conducted the orcherstra for Beatles "All You Need Is Love" TV broadcast). Don't know what inspiration was sweeter - the session support or the fact that she was pregnant during the recordings - but this comes out a lot cooler and more intimate than any of her previous albums. Her voice more naked, for better or worse, which brings it closer and me enjoying it a lot more than anything else she'd done so far. I'm also slightly intrigued by some of the track choices. Rather unexpectedly she does a song by Swedish singer/songwriter Olle Adolphson (1934-2004) - "Det Gåtfulla Folket" - here translated by Hal Sharper to "Mysterious People". With "I Can't Go On Living Without You" she became the first artist covering an Elton John song and she was by far the first covering Beatles "Across The Universe". Bed may have been made by George Martin and the boys, but it's comfortable and she seems to enjoy every minute in it. Favorite tracks - "April Fools", "Mysterious People" and "Sweet Inspiration". To my knowledge only originally released in UK and Australia (World Record Club S/5490). EMI also did a special edition of the album for download 2009, including a digital booklet and three bonus tracks. Premiere UK had label as shown here and matt flip/back cover. (FÄV*) (PÖX*) (CÄLÄ*)

STEPHEN STILLS/2 2401.013 (-71) BRAZIL

In my world his 1970 debute remains as one of the better albums released that period  https://monolover.blogspot.com/2013/10/stephen-stills-2401004-70-uk.html  . The songwriting, performance and stunning guest list together created something that reached beyond the vinyl surface and turned it into a concept, an all time classic. With that in mind this follow-up, released seven months later, was a small disappoinment. Not bad by any means, but lacking some of the magic I got from the former. Not sure why. The songwriting mostly high quality, the guest list may be shorter but still including names as David Crosby, Eric Clapton, Nils Lofgren and Billy Preston and the performances are great. Mayhaps my expectations were so high after his former masterpiece there was no chance matching them whatever he'd done. However that may be I do get a bunch of very enjoyable songs - "Change Partners", "Sugar Baby", "Singin' Call" and "Marianne" - and even if the rest doesn't turn me on that much it's still more than sufficiant. As a modern cognizant vinyl collector I should probably struggle to find a first press Atlantic US (SD 7206) or UK plum (240 1013) copy, but this Brazil one has such good audio I see no immediate need for update. Though having stereo label, "estereo" on rear sleeve and a stereo sticker on front there's not much stereo to it, most of the time mono with just occational tiny two-channel effects, but it's still big, bouncy, balanced and wide and very enjoyable listening. First had label as shown here, heavy vinyl and thin fully laminated cover. (ZHÄ*) (SÖMI*)

OTIS REDDING/PAIN IN MY HEART 33-161 (-64) US MONO

 In my world one of the best debute albums and also one of the best soul albums ever. Amazing how a record consisting of cuts recorded 1962-64 can sound so fresh and intriguing over fifty years later. All backing simple and heartfelt on the spot, vocals so sincere they go all the way from caressing you to sleep to make your heart beat fast and sweet, and the audio so welcoming it's like a visit. I've had different pressings of it from the late sixties and on but been without copy the last couple of years. Now when I found this US a while ago it was like meeting a dear old friend again, or maybe more like getting back a long lost love. At first spin I knew every part of every song and was back in that warm embrace I missed for so long. No need to pick out favorites or jump tracks on this one - it's all beautiful and now that we're back together again I know we'll never part. Recorded in mono only, all stereo issues are re-channeled. 1964 releases in US and Canada. Further issued 1967 in Germany (ATCO 33-161), UK (Atlantic 587042) and a couple of other countries. Also frequently reissued on vinyl and CD later years. First US had label as shown here, heavy vinyl and glossy cover. (YZÄ*) (ÖXCÅ*) (ÖRÖ*) (TÄX*)

YOKO ONO/PLASTIC ONO BAND SW 3373 (-70) US

This must have been the most publicly hated album that period. At the time much of the negative emotions were related to the whole Yoko trauma - Beatles divider having a different cultural background and performing art and music not fitting common sense. Maybe understandable then from a narrow chauvinist point of view, but I do not get why some of those feelings still remain. Since then we've had spacerock, krautrock, avant garde and a garage rock revival. To my ears it fits all those genres and can also be seen as very early exemples of the former three. Leaving the "Aos" cut behind - a free form jazz rehersal tape from an Ornette Coleman session which I can't seem to grasp - the rest is ravishing. "Why" with Yoko moaning, sighing and screaming accompanied by Lennons hard-core psych guitar licks to a foundation of Klaus Voorman's pumping bass and a hard working Ringo behind the drums - any kraut band from then to now would be proud of such frenzy. "Why Not?" a kind of slow semi-blues with big bass, experimental guitars, sturdy drums and whining vocals. Finally "Touch Me", "Paper shoes" and "Greenfield Morning I Pushed An Empty Baby Carriage All Over The City" can all be tagged avant garde - filled with trials and whims mostly to some kind of rock backing. The audio on this US press shifts a little, still most of it tophole with prominent bass/drums and clear direct sound. For conformist listeners it probably comes out like an ugly visit from the forbidden zone, but to me it's honest, exciting and very enjoyable. Original vinyl releases also in Canada, Japan, UK plus a couple of European and South American countries. 2016 japan CD (Sony SICX-73) came with four bonus tracks. Premiere US had label as shown here and glossy cover with track list/info inner. (YZÄ*) (BÄ*) (ÄPLÄ*) (JYZÖ*) (FÄV*)

THE SUPREMES/RIGHT ON STML 11157 (-70) UK

I wasn't all in with any of the fractions after the split. I wanted The Supremes as they were and never really embraced Diana Ross solo or the reformed group as it turned out in the long run. Only reason her first solo album works for me is it still has a lot of the same atmosphere I got from the original setting and this first Supremes effort with Jean Terrell as substitute is even more so. In fact Mary Wilson and Cindy Birdsong still toured with Ross when recordings started summer 1969 so all was set for a smooth transition. Today my only reservation against it would be that Jean Terrell isn't Diana Ross. She has a similar and very nice voice and do good, but still needs some reciever adjustment from this old-time fan. Apart from that I get a Supremes album that could as well have been from two or three years earlier. Track choice, backing, hit-feeling and atmosphere - all fit the classic setting. Later on the agenda would change both for band and label, but this is still my Motown and almost my Supremes. Favorite tracks - "Up The Ladder To The Roof", "You Move Me", "Baby Baby" and "The Loving Country". Premiere US on Motown (MS 705) came in a fold/out sleeve with large group pic inside. First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (ZYZÖ*)(FÄV*)

SLAM CREEPERS/BUBBLES BTLP 11 (-67) SWEDEN

For background check post on the combo's second and final album "Sweet Ruth". By then their music had become slower and heavier, stylewise owing a lot to Vanilla Fudge. This debute comes through somewhat lighter. Pop-soul and r&b slightly tainted by psych and jazzy interludes, performed by rock setting with pleasant vocals and lots of flowing hammond. Sometimes reminding of UK acts Alan Price or Georgie Fame, yet more inspired than copied. A mix of self-penned and covers ending with a ten minute dance medley, going through most of the then here popular disco numbers with added public noise. I could have been without that, but the rest feels good - direct and cozy at the same time. Favorite tracks - the happy catchy "Joe's Got The Right" and the folky jazz instrumental "Vansbro Memories". As a whole in an international perspective maybe not top ten in its kind but with enough good moments to satisfy most collectors of odd soul or r&b. This was the only vinyl issue though all tracks can be found on the 2-CD compilation "Vansbro Memories" (Gazell/Bill GAFDD 1005). First had label as shown here and thin fully laminated cover. (SCÄ*) (CCÖ*)

P.J. PROBY LBY 1280 (-65) MONO DENMARK/SWEDEN

American singer, songwriter and actor - born James Marcus Smith in Houston 1938. After releasing a few unsuccessful 45:s in US early sixties he moved to Britain and got a breakthrough there, managing five top ten singles and a couple of big-selling EP:s 1964-65. But his controversial live show, including him splitting his tight pants on stage, scandalized the British press and public and following media bans lowered the sales considerably. However the English reacted, pants-split wasn't a problem in Scandinavia where he stayed on the lists and toured through the sixties and in to the seventies. While here he also dated the outrageous Swedish female vocalist Lena Junoff (thought I'd mention that since I've posted her story earlier - check Johnny Bode's album "Bordellmammas Dotter"). This Scandinavian only issue (Danish vinyl/Swedish sleeve) is a compilation of previous UK non-LP single and EP cuts, recorded 1964-65. Some of the production and song choices are common mid-sixties male vocal, reminding of Tom Jones or Elvis, while others sound contemporary British pop-band like Dave Clark Five or Swinging Blue Jeans. Listening from a modern point of view he may have lacked some of the deepest vocal emotions, but compensated that with partly almost unbridled energy. Surprising for such early recordings is the appearence of psych guitar on three of the tracks - "Answer Me", "Together" and "Stagger Lee" - as I understand played by studio musician Jimmy Page. Further the version here of the Lennon/McCartney song "That Means A Lot, given to him by Brian Epstein, was arranged by George Martin. So either way you look at this album - rare tracks, people involved or music history - it's interesting and you get some really exciting listening too. This was the only vinyl issue, but all tracks have shown up later on various CD compilations. First had label as shown here and thin fully laminated cover. (SWÄU*) (CCÖ*) (MÖRS*)

JOHN MAYALL WITH ERIC CLAPTON/BLUESBREAKERS SKL 4804 (-66/-69) UK STEREO

Had UK mono version copies of this ever since first release and always cherished that as the best format to enjoy this all time classic. Tried a couple of stereos along the way (can't remember the exact origins or pressings now), but always thought them too weak and bleak in comparison so I stopped actively looking for a two-channel partner to the mono long time ago. The British original came in mono only but a stereo mix, originally made Sept.1966 for the US issue, was released in UK mid-1969. I've sometimes thought about getting it, but as the first "unboxed" press in fine nick always been too rich for my wallet and I didn't expect much from audio or power I just let it be. Now after finally finding one fitting my economy and playing it non-stop for days I regret it took me so long. (Be aware this is about the -1W/-1W matrix, don't know how any of the later ones come through in comparison.) There's nothing weak or bleak here, on the contrary it's very raw and offensive. I get the guitars better most of the time and also hear some of the details clearer. Maybe I'm just seduced by the grace of novelty, but for this for now I actually prefer an original mid-sixties stereo mix over a mono. As I grew up with the mono that will always be closest to my heart and soul though I can't deny this is more fun to listen to. Premiere UK stereo had label as shown here, heavy vinyl, laminated cover with die-cut mono/stereo hole on rear and blue rim stereo inner. (MÄH*) (CPYC*)