tisdag 25 april 2017


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*)

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