DR. JOHN, THE NIGHT TRIPPER/GRIS-GRIS 33-234 (-68) US MONO

Now regarded as a classic album, hailed by critics and situated on "best albums ever" lists, but at the time merely an oddity with some cult following. In 1965 Dr. John (born Malcolm John Rebenack 1940), just out of a New Orleans prison sentenced for selling drugs, moved to Los Angeles, where he soon became a popular session musician - among other things backing Sony & Cher, Canned Heath and participating in Frank Zappa's "Freak Out" recordings. With the notion of doing a woodoo album, rooted in his experiences from the religion while growing up, he had problems getting studio booking as it didn't fit the ideas and atmosphere in L.A. at the time. When he finally got it and made the recordings with his southern crew, Atlantic boss Ahmet Ertegun thought it was crap and didn't want to release it at first. And when they did it failed to sell and didn't chart at all. Hard to describe by modern genre attributes, but why not "zydeco psych", or maybe "woodoo prog". Black magic made softer and more catchy without losing its roots. Even if it didn't go well with the large public at first it must be seen as forerunner to much of the darker rock that took off a couple of years later. Maybe not directly copied, but certainly an inspiration. Favorite tracks - "Danse Calinda Ba Doom" and "Crocker Courtbullion" - both with pristine elements as from African or Haitian sources. This mono sounds great and I've seen it been called both true and fold without any definitive proofs for either. As it happens I've just found a 1st press US stereo and compared the two and can guarantee this mono is a separate mix (  https://monolover.blogspot.com/2017/05/dr-john-night-trippergris-gris-sd-33.html  )  Originally also released in Canada, Germany, Australia and UK, yet to my knowledge this was the only time these mono tapes were used. Japan 1991 CD on ATCO (AMCY-229). Premiere US had label as shown here and glossy cover with ATCO ad inner. (YZÄ*) (ÖXCÅ*)

JAMES BROWN AND HIS FAMOUS FLAMES/JAMES BROWN'S GREATEST HITS 623017 (-66) GERMANY

Labeled a "Greatest Hits" but could as well be called a German version of the "Papa's Got a Brand New Bag" album (see earlier post). They have six of the twelve tracks in common, the remaining here coupled with six 45 cuts. When I see a sleeve statement like this - "Enhanced For Stereo" - I usually avoid as such in many cases imply getting unnatural listening far from any original intention. But here luckily that declaration is almost wrong. Should have said "Enhanced Mono" instead, cause there's not much fake stereo going on here. The orignal mono mixes are there and for most of the tracks connecting the channels make no difference at all, while a couple get marginally altered balance. In fact it sounds great - big and strong - and if not getting in too close it's like enjoying a very good mono record all the way. So if you're not a total anorak when it comes to mixes and just wanna drag in some good old dirty soul it's recommended. Originally only released in Germany. Seventies issues in a couple of other European countries and Japan. Don't know of any CD issues. First had label as shown here and fully laminated cover. (GÖXÄ*)

THE CATS/CATS SALI 8017 (-68) HOLLAND

Didn't know anything about The Cats when I found this the band's second album a while ago, but apparently during their existence 1964-79 they were one of the most successful groups emanating from the European continent, with at least one million selling single - "One Way Wind" - issued in 38 countries and topping lists in many of those. As I'm still learning I got nothing to add on the exhaustive Wikipedia article about the band's whereabouts, so if you wanna know more go there and see. This is just about the record. Judging from the colorful sleeve design you'd expect some Dutch pot-smoking psych pop, but this is far from it. Instead you get heavily orchestrated pop and ballads in the vein of Walker Brothers or Engelbert Humperdinck. Very well produced and arranged with pleasant vocals carrying a British idiom. In fact all of it sounds so typical contemporary UK mainsteam pop they could have fooled me. Good if you want romance or just a soothing background, but too much close listening can cause restless legs. Favorite track - "Rainbow Tree" - positive uptempo pop and the only cut close to psych. As I get from the net this album was originally only released on vinyl in Holland and Germany (Marcato 79363). Dutch 2003 CD (EMI 7243 5822802 1) came with two bonus tracks. First had label as shown here and thin laminated cover. (HÖLX*)

THE HOLLIES/EVOLUTION PCS 7057 (-67) UK STEREO

For albums recorded up to around 1968 mono obdurately became my first pick back then. I didn't even compare formats, just bought out of habit. Lately been trying to find some corresponding stereos to see if I was right at first or missed something important. It's clear in some cases I have and the two-channel versions even that early could capture something extra, not effected within the mono sphere. This is not one of those. To my ears one of the better British psych albums, with a perfect blend of catchy melodic and experimental, and the mono nails it (see earlier post). Listening to this now it's obvious that was first hand and stereo made as an afterthought. All tracks here are mixed exactly the same way - vocals to the right and most of the instruments to the left with hardly any overlapping. For a psych album you'd expect some kind of additional stereo effects to enhance the feeling, but there's non such here, just that even split between instruments and vocals all the way, making it harder to listen and the album as a whole less magic. So no competition at all - if you want a UK original, mono is the best way to enjoy this masterpiece to the fullest. Issued all over the world 1967 in both mono and stereo. US and Canadian ten track on Epic (LN 24315/BN 26315) omitted "Water On The Brain", "When Your Light's Turned" and "Leave Me", replacing them with "Carrie-Anne". Most CD reissues came with both stereo and mono versions. Premiere UK had label as shown here and laminated flip/back cover. (HÖLY*) (PÖX*)

THE TROGGS/ TROGGLODYNAMITE POLS 001 (-67) UK STEREO

After their world-wide hit with "Wild Thing" and debute LP "From Nowhere...The Troggs" with follow-up promotion gigs it seems little energy was left for recording this second album. Though having the same kind of signature vocals and backing there's no immediate hit feeling and even if I wouldn't call it uninspired it comes through rather tired at parts, as if they were pushed rather than doing it for joy. It wasn't favoured by crtics at the time and even if fans bought it then there seems to be less love for it now. Haven't heard it for a while and my mind for this post was initially set on negative, but when listening while writing I'm feeling a lot more supportive. If I skip the comparisons and just open up it's really good garage if nothing else. Most of it apparently recorded direct by basic setting with few overdubs. I get lots of hard pumping bass and drums with a fair share of rattling guitars with or without fuzz. Not entirely enthralled by some of the softer invites, but the faster cuts are really endearing in a simplistic kind of way - e.g. "I Can Only Give You Everything" with a prominent fuzz guitar all through, "Mona" a very dirty semi-chaotic cover version, "I Want You To Come Into My Life" catchy up-tempo. So high time for revaluation. Why they bothered to release this "stereo" alternative to the mono I don't know. There's no real stereo on it and hardly any fake stereo either. All cuts are either true mono, enhanced mono or just minutely rechanneled. Listening with the mono button pushed hardly makes any difference at all. Good news is if you have one you really don't need the other other than for completist reasons. Originally released in Europe, downunder, South Africa and South America, but not in US. 2004 UK CD on Repertoire Records (REPUK 1020) came with eight bonus tracks. Premiere UK had label as shown here and laminated flip/back cover. (TRÖX*)

DUSTY SPRINGFIELD/YOU DON'T HAVE TO SAY YOU LOVE ME PHM 200-210 (-66) US MONO

For background check post on her UK debute - "A Girl Called Dusty". This was the US version of her second UK album - "Ev'rything's Coming Up Dusty". Here "Doodlin", "Packin' Up" and "That's How Heartaches Are Made" were omitted and replaced with the 45 A-sides "You Don't Have To Say You Love Me" and "Little By Little". Before a choice between the two you could argue the UK was the original and the US version just another exemple of "butchering". But on the other hand it is nice to get two top numbers from about the same sessions in the same place...and all five numbers showed up later on other albums anyway, so no harm done. Important is you get a stack of songs from the most sensual white soul voice ever. I know some don't agree, but to me the blend of foxy lady and girlish vulnerability luring under that soft surface is downright sexy. And this is good Dusty all the way, if you like her you'll like this selection too. Audio on this mono is brighter and wider than on the corresponding UK tracks. Personally I'd prefer her a little tighter and darker, but she could pull off any drag so it's still magic. Favorite track - "If It Don't Work Out". Originally issued in US and Canada only, also as stereo (PHS 600-210). 1999 US CD (Mercury 314 538 911-2) came with the three missing UK cuts as bonus tracks. First had label as shown here and glossy cover. (TÖZ*) (YZÄ*) (ÖXCÅ*) (FÄV*)

BLOOD SWEAT & TEARS/GREATEST HITS S 64803 (-72) UK

A truly fine compilation well worth to be called "greatest hits". Seven high charting single A-sides coupled with two cuts from the band's debute and two from their second album. A chance for the late born to get a piece of the action from a time when jazzy prog could be turned into something commercially viable and top the most prominent lists. And for us who was there an opportunity to return and reminisce. There are no rare tracks making it collectible for completist reasons. Only oddity is the former A-sides have the 45 edits, which was changed to album versions on later CD issues. So what's special with this vinyl is you get nothing but the true hit versions as many of us heard them on stereo radio back then - here a concentrated mix of arty and catchy conveyed by top analog audio. Maybe not the most commonly sought after record today, but if you don't care too much about rarity level and just want good listening to good music it's highly recommended. Released all over the world through the years on vinyl, 8-track, reel, cassette and CD. Premiere US on Columbia (KC 31170). First UK had label as shown here and glossy cover with "The Music People" inner. (PÖP*)

THE SUPREMES/AT THE COPA STML 11026 (-65) UK STEREO

There are many reasons for nominating this as a classic live LP. Supremes was the first soul-pop act performing at Cobacabana night club in New York and though not the first black artists, certainly the first black group. The performance and album cleared the way for other Motown artists - as Temptations, Miracles and Vandellas - to play at the location, but also opened up for Supremes to do any stage of their choice and reach further into the traditional "white" record market. It was the band's first live album, including their most famed line-up - Diana Ross, Florence Ballard and Mary Wilson. Listening today it does not sound classic sixties Supremes. The vocals are there, but the surrounding backing way more elegant - elaboratedly orchestrated towards jazz and swing, more reminding of Sinatra or Matt Monro than Motown. Song choice with all certainty adjusted to the occation - apart from a couple of their own hits and a Sam Cooke medley they also try stuff like "Queen Of The House" (King Of The Road), "The Boy From Ipanema" (The Girl From Ipanema), "Put On A Happy Face" and "You're Nobody 'Til Somebody Loves You". For a 1965 live recording both the audio and stereo mix are superb, conveying a very natural feeling allowing you to participate. I like it, my only reservation would be I can't find the real girls anywhere. The surface so posh and glossy it's hard to get beneath. Maybe it's just me, but I prefer studio recordings with the old reliable Motown gang - hard hitting and transparent enough to let their souls out. Issued and reissued all over the world on vinyl, reel, cassette and CD through the years. Premiere US on Motown (M/S 636). 2012 Motown 2xCD came with both mono and stereo versions of the originals + one expanded with the full original show. First UK had label as shown here and laminated flip/back cover. (TÖMÖ*) (LYBÖ*) (ZYZÖ*) (FÄV*)

THE MOVE/MOVE LRZ 1002 (-68) UK MONO

By modern listeners probably most known as the band that transformed into Electric Light Orchestra in the early seventies, then a couple of years after Roy Wood and Bev Bevan as only remaining original members had teamed up with Jeff Lynne from Idle Race. I'm not the biggest ELO fan. I really like their first two albums and tolerate a couple of the others, but a lot of their later stuff sounds too posh for me. The Move on the other hand has been a true love of mine all the way from the "Night Of Fear" debute up to "California Man"/"Do Ya" 1972. Through various styles as pop, hard rock, psych and prog they always had great melodies with tons of catchy parts involved, often performed with a large portion good humour. Most of it sung by the inimitable Roy Wood who also wrote a majority of the songs. Between 1966-72 they managed seven top ten 45:s in UK, where of "Blackberry Way" #1, two further top 12 and one #23. The albums however didn't do as well and this was their only charter at #15. Containing three covers - "Weekend", "Hey Grandma" and "Zing Went The Strings Of My Heart". The rest written by Roy Wood, including A:s and B:s of two hit singles - "Flowers In The Rain"/"(Here We Go Round) The Lemon Tree" and "Fire Brigade"/"Walk Upon The Water". Described by current genre attributes it'd be called a psych rock/pop album. Rather uneven - split between old style rockers, pop and innovative outbursts - with the mixing/audio partly unbalanced and track succession seemingly unplanned. Yet so special it's worth attention and love also outside the persisting fan circuit. "Yellow Rainbow", "Kilroy Was Here", "Lemon Tree", "Flowers In The Rain", "Useless Information" and "Fire Brigade" are all British pop at its best. "Cherry Blossom Clinic" good psych with odd lyric theme and "Mist On A Monday Morning" string driven baroque not far from what later showed up on ELO:s debute. Taken together that's more than enough to make it a classic album, at least in my book. Originally issued on vinyl all over the world, though first US didn't show up until 1974 as part of the 2-LP set "The Best Of The Move" on A&M (SP-3625). Japan 2001 CD on Cube (VICP-61313) came with sixteen bonus tracks. Premiere UK had label as shown here and fully laminated flip/back cover. (RÄZ*) (RÖWS*)

PINK FAIRIES 2384-071 (-75) UK

A band of rebels with a very interesting early history filled by famed names and close relations to other historically important groups. Way too much to get into here. If you want the full background I recommend the very exhaustive Wikipedia article. This compilation was issued through UK Polydor's Flashback serie. Two previous non-LP 45 cuts - "The Snake" and "Well Well Well" - coupled with four from "Never - Neverland" and three each from "What A Bunch Of Sweeties" and "Kings Of Oblivion". Listening while writing I totally forget it's a collection and just enjoy a very good psych rock album. Haven't had any of the originals for a very long time so I can't grade the compiling, but doubt it could have been much better. Heavy stuff with great guitars and enough odd strokes to make it special. Audio shifting but totally ok throughout. Favorite tracks - "The Snake" raw garage rock, "Do It" with a hard pumping theme and howling guitars reminding of early Hawkwind and "Well Well Well" a wild uptempo rocker. The band's original albums and 45:s can be very hard and dear to find these days. As this was the only reasonably early compilation it's also pretty much the one if you want it close to the source without paying a lot. To my knowledge there were no other vinyl issues. Japan 1991 CD as part of Polydor's "British Rock Relics" serie (POCP-2086). Premiere UK had label as shown here and thin matt cover. (PÖP*)