ROXY MUSIC ILPS 9200 (-72) UK - GERMAN LICENCE PRESS VS. UK DOMESTIC PRESS

A subject maybe just interesting to me and a very limited number of vinyl anoraks, but I can't resist doing it anyway. For more on the album itself check earlier post. All UK 1:st came with label as shown here and laminated Robor f/o cover, but have different matrix no. settings - one kind is same as record no. the other starting with a "C". This has been a mystery for a long time, but maybe it can be explained. UK Island didn't have a pressing plant so most of their records were pressed by EMI. At the same time this was made EMI changed facilities and moved to a bigger plant. The moving affected the whole market and due to low capacity lots of pressings were leased out, not only in England but also to other European countries. As I understand the one used here with matrixes C 586259 A-1/B-1 is a German press, while the one having the ILPS number ending with a -u is made in England. As they look and feel the same and both recognized as UK I thought it would be fun to compare the audio and see if there's any difference at all. And there is some. The German is a little more compressed, making it somewhat smoother with less edge. Not by much but it's there. To my ears the UK sounds better separated and more natural. I guess it takes big ears and a meticolous mind to notice or even care, but now I have and it feels good. (ÄNÖ*) (CPYC*)

EMERSON, LAKE & PALMER/BRAIN SALAD SURGERY SD 19124 (-73) US

The band's fourth studio effort. When I bought it at first release I was still all in with "Pictures..." and "Trilogy", basing in the melodic warmth of those two albums. In comparison I thought this sounded aloof and less inviting and since not getting a direct connection I put it aside. Had a number of copies through the years and though I've tried still can't get aboard 100%. Always liked Greg Lake's vocals so "Jerusalem", "Still...You Turn Me On", "Benny The Bouncer" and parts of "Karn Evil 2" gets to me, but I can't feel most of the rest. Very intellectual, progressive and well played indeed, still not grasping and I'm sure I've heard many of those keyboard licks before. Maybe some of my hesitation has to do with the audio. In comparison to their previous albums it's colder, sometimes squeekyish, and that doesn't help the acquainting. To my ears this US press works a little better than a UK 1st, but not by much. Most US copies I've come across was on Manticore. Don't know how this Atlantic press relates, probably an early reissue (both matrixes ends with -M, no number). It came with label as shown here, glossy gimmic fold/out cover and fold/out picture/credit/lyric poster. (ÄPY*) (YZÄ*)

THE BEACH BOYS/BEST OF THE BEACH BOYS T 20856 (-66) UK MONO

Issued as a British version of the homonymous US 12 track Capitol compilation (T/ST 2545). But apart from title and sleeve design they don't have a lot in common. This has 14 tracks and only five coinciding - Surfin USA/Little Deuce Coupe/In My Room/Fun Fun Fun/You're So Good To Me. So even if the wrapping is about the same tracking makes it a unique album. As I understand the UK tapes was first prepared by EMI as a DJ sampler for radio play only. But as imported US copies started to show up they decided to make it public, then five months after the US version. I wonder if the aiming for radio play is what makes the audio so great on this - clear and naural with top separation. In any case it's all good listening making it impossible to pick any favorites. This is sixties Beach Boys sounding so good to me and every track is fun fun fun. To my knowledge the 14 track version was originally UK only while the rest of the world used the US 12 track, not to be confused with any of the about a zillion later Beach Boys compilations. Premiere UK had structured label with Capitol logo on the left as shown here and laminated flip/back cover. (PÖP*) (BÅB*) (CPYC*)

BEATLES' SINGLE MIXES ON LP

Some decades or so ago I stopped collecting 45:s and at the same time decided to get as many original single mixes from favorite acts as possible on LP. Finding the Beatles ones started as an easy task. UK and US issues differed a lot and what you didn't have on one you got from the other. There were also a large number of compilations issued all over the world mid-sixties, outside UK and US, where some of the more odd B-sides and EP cuts showed up. But even with help from those there were still mixes that didn't seem to appear anywhere in original shape on regular compilations. Following are a couple that helped me almost all the way. (Addition 2018-11-20) Since I wrote that part I've also come across "The Beatles Mono Masters" tripple vinyl, filling all possible holes in any Beatles mono collection. Long after the fact indeed, but as transferred analog according to initial notes with pristine audio it is a killer and well worth checking out. See link below. (LGÅ*)

Brazil "Hey Jude" mono, where they for some reason didn't fold the stereo tapes, but used all the original 45 mixes. https://monolover.blogspot.se/2013/01/beatleshey-jude-btl-1009-70-mono-brazil.html

Spanish "Por Siempre Beatles" mono with original mixes, including the elusive "The Inner Light" and "I'm Down". https://monolover.blogspot.se/2013/02/por-siempre-beatles-j060-04973m-71-mono.html

The US "Magical Mystery Tour" mono. https://monolover.blogspot.se/2017/07/the-beatlesmagical-mystery-tour-mal.html

Swedish "Greatest Hits" mono. https://monolover.blogspot.se/2012/05/the-beatles-greatest-hits-pmcs-306-65.html

Only track missing on any reasonably early LP is "You Know My Name...". It does come on the "Rarities" issues and of course on the "Mono Masters" tripple. But should You know any legit pre-Rarities LP with that mono - please tell! For those interested in getting true stereo versions of some of those cuts on vinyl with very good audio I recommend...

Early press of UK "Rock'n'Roll Music" https://monolover.blogspot.se/2017/02/the-beatlesrocknroll-music-pcsp-719-76.html

and the German A1/B3 matrix issue of "Magical Mystery Tour" https://monolover.blogspot.se/2014/06/the-beatlesmagical-mystery-tour-shze.html (BÄ*) (PÖP*)

https://monolover.blogspot.com/2018/04/the-beatlesmono-masters-lc-0299-14-eu.html

PAUL McCARTNEY AND WINGS/RED ROSE SPEEDWAY PCTC 251 (-73) UK

To my taste not his finest moment. At the time I was expecting something made in the same garage fashion as "Wings Wild Life" (which I really liked btw), but no. From a larger perspective it has some of that let-go attitude, but here coming on more strained with less feeling and, at least for me - less connection. The two rejects from earlier sessions - "Mary Had A Little Lamb" and "Do The Right Thing" - were initially left out for a reason and as far as I can hear here that was the right thing to do. Why they suddely revalued them as fitting for this is an enigma. Leaving them be and instead including "Live And Let Die" (recorded during these sessions) and "The Mess" (live take initially only issued as flip side of the "My Love" 45), would have made this a much better LP. That said - "My Love" is a timeless ballad, "Big Barn Bed" a well produced trifle that always makes me smile and I've managed to live with the rest, knowing they could and would do so much better. Issued all over the world through any possible format over the years. Early UK had label as shown here and matt fold/out cover with a braille message to Stevie Wonder on rear - "We Love Ya Baby" - plus a 12-page stapled booklet containing band pics, credits, lyrics and a collage of bare-breasted women. (BÄ*) (ÄPLÄ*) (MÄCC*)

SANDY DENNY AND THE STRAWBS/ALL OUR OWN WORK SHM 813 (-67/-73) UK

One of those items that, in spite of having great musical and historical values, you still with a little luck can find at a very affordable price. Recordings made by an early Strawbs setting, fronted by Sandy Denny, summer -67 in Copenhagen, Denmark (label and cover have 1968, but as I understand that's an error). For fun facts on the event please check Dave Cousins liner notes below. Hinted that it was a stressed out morning session made with help of hard liquor on a simple two-track equipment make you expect some kind of disaster one way or another. But what I hear is a very good early folk-rock album. All tracks self-penned and well performed with surprisingly good audio. For some of the cuts hard to decide if it's true stereo or enhanced mono, but since it all comes through wide and natural it's enjoyable whatever you call it. Seven tracks sung by Sandy Denny, four with male vocals and one instrumental. Most intriguing is the very first recording of "Who Knows Where The Time Goes" here performed with her vocals and one acoustic guitar only. So sensitive and intriguing it grabs immediately and never let go. In fact everything she does here has that same beautiful blend of vulnerability and skill that would make her legendary with Fairport Convention, Fortheringay and as solo artist. Listening to the album over and over I can't help thinking it may well be the first British of its kind, as it has a set-up later frequently used by successful folk-rock bands as Fairport Convention and Steeleye Span. Catchy folky tunes mostly backed by a rock setting, sung by male or female and with at least one traditional instrumental. I guess if it'd been released back then on some fancy label it may today have been considered a true historical gem and sold for big bucks. However this 1973 UK was the first release, also originally issued in Australia (Summit Records SRA 088) and Canada (Pickwick SPI 7019). 1991 CD reissue on Hannibal in US (HNCD 1361) as a 13-track with differing track list and string arrangements to four of the cuts, also released that way on vinyl in UK (Hannibal HNBL 1361). Japan 2013 CD (Air Mail Archive AIRAC-1702) came with twelve out-takes and demos as bonus tracks. Premiere UK had label as shown here and laminated cover. (FÄHZ*) (FÄV*) (BRYF*)

VAN MORRISON/BLOWIN' YOUR MIND BLP 218 (-67) US MONO

After quitting Them Morrison got a solo contract with Bang records and, as the story goes, approved it without checking the fine print. Among other things he signed to letting the label having full control over the material. So after he'd recorded a bulk of material, initially only intended for release on four singles, Bang head Bert Berns took over and issued it as an LP without Morrison's consent. That, among other things, led to Morrison disliking it and refusing to accept it as an original album. Yet either way you tag - regular LP, compilation or plain scam - it is a Van Morrison album and to my ears not that bad. Maybe uneven, but with enough good moments to make it worth while. "Brown Eyed Girl" is a classic , the long "TB Sheets" honest and emotional and "Midnight Special" totally OK r&b with good guitars. All crowned by his eminent vocals. I guess it'll do for any Van fan and a must for us who prefer his early stuff. This mono has a "censored" version of "Brown Eyed Girl", only appearing here and on 45. I have no original stereo to compare with, but as I get from various sources the two formats alter a lot. Not only by mixing, it seems also different takes were used for some of the tracks. Can't confirm that yet, but will be back scrutinizing as soon as I find a corresponding stereo. Originally issued also in Canada (same label and number), UK (London HAZ 8346) and Germany (Metronome BLPS 218). South African as "Morrison Magic" on IRC (ICC 8002). Japan 2013 CD on Air Mail Archive (AIRAC-1701) came with ten bonus tracks. Premiere US had label as shown here and glossy cover with incorrect "BLB" instead of "BLP" on top left rear. (YZÄ*) "ÖXCÅ*) (VMÖ*)

FRIJID PINK SML-R 1062 (-70) UK

Just found an update to my old party-played copy which later years had more background noise than music. While rediscovering it now I feel it's time for a repost. Dirty American rock, right on without safety net. Howling and unbridled with lots of attitude. I'm as much in love as I was four years ago, so here I go again...For background on the group check previous post on their second LP "Defrosted". While that was elaborately raw with an even production and sound, the debute is more free range. When produced by one of Gordy's proteges Mike Valvano, who was on a short leave from Motown at the time, one should expect strict reins, but this is scratchy pre-punk and garage, partly with a live feeling. Tons of fuzz guitars, wild backing and screamy vocals makes it beautiful to my ears. I don't think anyone involved expected it to be a big hit, but it did surprisingly well with #11 on Billboard. The '45 release cover of "House Of The Rising Sun" (originally an album filler) got to #7 in US, #3 in Canada, #1 in Germany and top five in a number of European countries. Premiere US on Parrott (PAS 71033). UK first also in mono (DML-R 1062) - I haven't heard that, but this stereo is a perfect compatible so it's probably a fold down. First UK had label as shown here and laminated cover with die-cut hole on back. (DÄRR*)

ROCK REVOLUTION ADE P 26 (-76) UK MONO + STEREO

One you can find in the cheapest bins nowadays that'll give a musical value way above price. UK "TV-ad" sampler with a label crossover - carrying hits from CBS, Immediate, NEMS and Polydor, pressed by RCA. I get classics by Black Sabbath, Fleetwood Mac, Who, Jimi Hendrix, Argent, Mott The Hoople, Cream and more - all on the same vinyl copy. Here are also a couple of odd 45:s to enjoy, like Rod Stewart "Little Miss Understood" and Colin Blunstone "Say You Don't Mind", plus Moog Machine "Jumping Jack Flash" from now long forgotten 1969 Switched-On Rock album. Considering there are ten tracks on each side the audio is surprisingly good. Not only fitting as background to snug beer meetings or revivals, but most of it also suitable for close listening with the original feeling intact. The Rod Stewart and Colin Blunstone cuts are mono, the rest stereo. To my knowledge this was the only issue. It came with label as shown here and fully laminated cover. (SÄM*)