DONOVAN/FAIRYTALE NPL 18128 (-65) UK MONO

For my own Donovan background check post on his mono debute. This follow-up has a lot in common - most cuts performed with guitar, harmonica and vocals, highlighting a British variation of the American singer-songwriter tradition as it was. This UK press brings it close and cozy with 100% presence. Some of the cuts sound a little like fillers, made on the spur of the moment, while others come on very strong. To my taste "Colours", "To Try For The Sun" and "Sunny Goodge Street" is what makes this LP. Especially the latter, where he here for the first time explores the jazzy layout that would show up frequently in his works during the rest of the sixties. Killer folk prog track. Not an album that makes me jump through the roof and howl with joy, but certainly good enough. US first (Hickory LPM 127/LPS-H-127) replaced "Oh Did I Do" with "Universal Soldier". Canadian (Pye NPL/NSPL 30071) also had "Universal Soldier", but omitted "Belated Forgiveness Plea" instead. Released all over the world on different medias through the years. US 2002 CD (Castle/Sanctuary 06076-81139-2) came with six bonus tracks. Premiere UK had ridged label with "Recording first published 1965" as shown here and laminated flip/back cover with Pye ad inner. (TÖW*) (PÖY*)

SVENNE & LOTTA/2 POLS 258 (-75) SWEDEN

I always had a thing for albums with wide castings, ones that ties knots, and here's a good one for fans of Swedish pop/rock in general and ABBA in particular. Svenne Hedlund started as singer in the sixties band Hep Stars, which also included Benny Anderssson. Lotta (born Charlotte Jean Butler in Pittsburgh 1944), a former vocalist in the US girl group The Sherrys, met and married Svenne while touring Sweden in the sixties and became part of Hep Stars in their later years. Though for some reason titled "2" this was the duo's forth solo album. Five of the cuts produced by Benny Andersson and Björn Ulveaus, who also penned three of the songs, the rest produced by Claes af Geijerstam (formerly in Ola & The Janglers). Recordings backed by larger part of the then ABBA crew with Michael B. Tretow participating as engineer. Title song, here in both Swedish and English versions, was first thought as an ABBA number but given to Svenne & Lotta instead and had it's first apperance here. Then when ABBA decided to do it anyway, for inclusion on the 1975 eponymous album, they used the same background and just added new vocals. In all it's a good pop album with lots of ABBA vibes. Somewhat lighter but well done. I just wished Lotta had got more space to do things a little raunchier. I love what she's doing in the cover of Dave Clark Five's "Glad All Over", showing her American soul roots rather than fully adapting to the Swedish pop scene. That track also has some great guitar licks by Janne Schaffer (?) towards the end, which together with the vocals makes it my favorite on the album (well worth a listen - https://youtu.be/IXTSom84GF0) . Swedish issue also on cassette as PMC 258. Released in Denmark on vinyl and cassette. To my knowledge never reissued in any shape. Premiere Swedish had label as shown here and thin matt cover with Polar ad inner. (CCÖ*) (SCÄ*) (FÄV*) (ÄBBÖ*) (HÄH*) (PKÖL*)

SYD BARRETT/"THE MADCAP LAUGHS" AND "BARRETT" SHDW 404 (-74) UK

2-LP reissue compiling his first two albums. Made by EMI to cash in further on Pink Floyd's successes with "Dark Side Of The Moon" and "A Nice Pair". I'm always looking to find the 1969 and 1970 originals at a price I can afford though no luck so far. But this is far more than a mere substitute. Just a couple of years after the fact and made from the same early UK matrixes as the originals - "Barrett" A-1G/B-1G with 1/1 mothers and "Madcap" A-2G/B-2G with 1/1 mothers. The audio is tophole - big, strong and well separated - and there are so many exclusive pics and winks (e.g. fruit on front cover is supposed to remind of Barretts first acid trip) it's more like an early alternative to the first press albums than a reissue. So even if I should be lucky enough to find any of the originals in the future this will remain as a necessary complement. Musically it's a shaky ride, going from the truly catchy to more madcapish moments. Not always good in a common sense, but 100% honest. I've always preferred the "Barrett" album and then mainly because of two cuts - "Gigolo Aunt" and "Baby Lemonade" showing he still got it 1970. With a little better backing and production they could have made it to 45:s and sold quite well I guess. First US (Harvest SABB-11314) released some months before UK, so most sold in Britain initially was the US import. It managed #163 on Billboard, but had less success in UK. Seventies releases also in Australia, Japan (EMI EMS-67014-5) and a couple of European countries. UK 2003 2-CD on Harvest (582346 2) came with thirteen alternative takes as bonus tracks. Because of the early matrixes I thought this was the 1st UK 2-LP press, though according to comment by Gary Thompson below it's only the second as the first didn't have the "Heritage" branding. But since it still uses the original matrixes with top audio I guess it's a pretty early 2nd. (PÅX*) (HÄVL*) (SÄSÄ*)

BUMPER BUNDLE/16 HITS LK 4734 (-65) UK MONO

UK sampler with some of the most popular 45 cuts from back in the days, conveyed by very good audio. Die-hard long time collectors of British sixties pop/rock may have most of these recordings already and I do...but a few. The main reason I bought it was to get Twinkle's (born Lynn Annette Ripley 1948-2015) self-penned UK hit "Terry" from 1964 on earliest possible LP, next chance would be on the 1993 RPM compilation "Golden Lights" (CD RPM 108/LP RPMLP 108). Song has a "boyfriend dead in MC crash" motive reminding of Shangri Las "Leader Of The Pack", but as I get it this was released before that. Initially banned by BBC because of "bad taste" but still managed #4 in UK. It also had success in Canada at #5, downunder and a couple of European countries, but didn't make it in US. Recorded with backing by Jimmy Page, Big Jim Sullivan and Bobby Graham among others, the dark motive and sound combined with her seemingly unexperienced young teen voice makes it a lovely song and, at least in my world, a sixties classic. This sampler also originally released on vinyl in Spain, Germany (BLK 16379 -P) and Australia (LKA 4734), but to my knowledge never reissued on vinyl or CD. Premiere UK had label as shown here and laminated flip/back cover. (FÄV*) (SÄM*)

FLANAGAN AND ALLEN/THE FLANAGAN AND ALLEN STORY ENC 151 (-64) UK MONO

For more about this classic UK duo check my earlier post on the "Favourites"  https://monolover.blogspot.com/2013/01/flanagan-and-allenvaudeville-favorites.html   and "Successes" https://monolover.blogspot.com/2013/02/flanagan-and-allensuccesses-33s1010-53.html  10 inch albums. This compilation, issued around ten years later, has a couple of cuts coinciding with those, but also ones I didn't have before. Made the same way, by transfers from the old 78:s to vinyl and well done, resulting in pristine and embracing audio. I can't seem to get enough of these guys and their vaudeville style blend of comedy and catchy melodies. The voices may be unschooled, but very warm and personal and always hitting my spot, making me feel sentimental and happy at the same time. I guess music like this mostly attracts people my age and older who grew up with these tunes on the valve radio, but it should also do it for any age anglophile...cause it doesn't get more British than this. Listening as I write with a pleasant feeling in my gut and big smile on my face. Good moment. Also originally released in Australia (Columbia OEX 9369), but to my knowledge never reissued in any form. First UK had label as shown here and laminated flip/back cover with EMI inner.

PAUL McCARTNEY AND WINGS/BAND ON THE RUN PAS 10007 (-73) UK

Another of those commonly known household records I got very little new to say about, but feel I have to have on this page one way or another. After four solo LP:s, with or without Wings, all met with mixed reviews and not always unconditional love from fans, he finally nailed it. A mix of catchiness and adventure, using old familiar ingrediences yet making them sound new and fresh. Everything fits - nine top songs performed so warm and embracing it's impossible not to get immediately caught though with enough twists and turns to make it special and last for a very long time, all conveyed by tophole audio. Guess so far I'm just preaching to the choir here, but if I can say something maybe not commonly known it'll be about the 1st UK stock press. As only the first issues came on Apple it is important for the collector to have one of those. But there are also distinctions between the Apples. Very first, apart from having early matrix no:s, came with a sturdier cover, while later are more floppy, and the labels are a lot clearer which can be distinguished by the band pics appears fuzzier on the later ones. Don't think there's much difference in audio - compared my "clear label" -1/-1 marix copy with the "fuzzy" -2/-3 and they sound about the same to me. All UK Apple pressings had label design as shown here, matt dated (7312) G&L cover with cut corner inner and pic poster. (BÄ*) (ÄPLÄ*) (MÄCC*)

JOHNNY AND THE HURRICANES/FEATURING RED RIVER ROCK HA 2227 (-59) UK MONO

Instrumental rock band from Toledo, Ohio. Founded as Orbits 1957 and after providing backing for rockabilly singer Mack Vickery on a couple of singles, renamed to Johnny and the Hurricanes and got a US hit with "Crossfire" 1959. The follow-up "Red River Rock" also became a hit in Europe and downunder and from that on they became a much bigger name outside US than on home turf, especially in UK with four top ten singles and three more top twenty up to 1961. This debute album has A:s and B:s of their first two singles - "Crossfire"/"Lazy" and "Red River Rock"/"Buckeye" - coupled with eight in the same style, where they mostly do older well known songs as instrumental up-tempo rock with saxophone, guitar or organ in the lead. Recordings are simple, direct and audio crystal. A style and sound that today probably seem obsolete to modern listeners with a clarity that may hurt younger synthesized ears, though for old blokes like me who have plained auditory systems and lots of good memories from the days still inspiring. Maybe not my first choice for close listening, but always a heartening background. Favorite tracks - "Red River Rock", "Rock-sha" and "Crossfire". Premiere US on Warwick (W 2007). Also originally issued in Australia, Canada and a couple of European countries. Japan 2015 CD on Oldays (ODR6146) came with seven bunus tracks. Early UK had label as shown here and laminated cover, some with flip-back. (FÖGÄ*)

THE SUPREMES/WHERE DID OUR LOVE GO MS 621 (-64) US STEREO

For full background check post on the corresponding US mono. This early Motown stereo sounds totally all right to my ears. At the time stereo wasn't a first choice for most people and many of those mixes made as an afterthought by some flunky in the studio crew. But this one seems elaborated enough. As far as I can hear "Long Gone Lover" is the only rechanneled cut, the rest true stereo. The tracks aren't mixed following the "bass drum to the right and the rest to the left" path, as appeared on many early sixties two-channels LP:s, and there's no excessive panning. You even get some overlapping which gives it a natural flow missing on many contemporary stereos. Somewhat thinner and less meaty than the mono, but interesting enough as a good early stereo made using a, from today's perspective, very primitive equipment. So even if I enjoy the mono more, this is a keeper for other reasons. Don't know how early this copy is. Matrix numbers stamped RR4S-6313-1-U/6314-1, both sides also with hand etched MS-621. (YZÄ*) (ZYZÖ*) (TÖMÖ*)

ARGENT/COUNTERPOINTS RS 1020 (-75) UK

After listening to and enjoying a vast range of music styles during the last sixty years I've become a man with many differing tastes. Good because the more you enjoy the more fun you'll have, but it also often means when I get one I miss the others. I do like psych and/or prog adventures, but also a sucker for romantic and simple catchy stuff, enthralled by both grimy garage and smooth high-pitch male vocals. On this I may miss the garage aspect, but the other ingrediences are there, blended to my gusto. It was the band's seventh and last album, following some recent member changes and a switch from Epic to RCA. It didn't sell, probably because of the genre crossovers - too much pop and rock to please the prog lovers and too proggy for the fans of melodic pop. To my ears it's an attractive swansong. Already the opening track "On My Feet Again" is filled with good - catchy melodies sung by high-pitch voices to tempo changes and adventurous rhythms. Same pattern goes for "Be Strong", "Time" and "Butterfly" - directly striking and memorable. "Road Back Home" is a simpler ballad, but beautiful with tons of feeling. Today an album not considered especially collectible by the vinyl in-crowd and therefore comparatively cheap when you find it. So now's the time to pick it up. Forgotten gems tend to get dearer when remembered and I'm sure this will be eventually. Originally also released in US and Canada (U.A. LA560-G), Germany, Italy and Spain (all RCA). To my knowledge never issued on CD. Premiere UK had labels as shown here and thin matt cover. (ZÖZ*)

LOVE/DA CAPO EKL 4005 (-66) US MONO

Found this long after I discovered their masterpiece "Forever Changes". Probably unfair to compare the two, but up against that this is only half as good...and I mean that in a literal sense since the 18:57 "Revelation" covering side two to my ears is nothing more than a huge filler. One of those cuts you may be happy it exists, but never listen to. I've really tried to sit through and get the point, but all I hear is a mindless jam session. I would have appreciated it more on drugs late sixties, but listening with unpotted ears it makes no sense at all. That said..side one is exactly to my taste. Starting with the raunchy "Stefanie Knows Who" it goes on to be good psychedelic rock with a garage feeling. "Orange Skies" dreamy with some odd twists, "Que Vida" has nice flutes and rythms, "Seven And Seven Is" sounds like the band was on buckets of speed, "The Castle" and "She Comes In Colours" very emotional ballads. What lifts it above many other psych albums of the time is the songwriting - in the middle of the experimenting you also get good lyrics and catchy melodies showing on brain and perspective. In my world not up with "Forever Changes", but the good side almost there. Have no original stereo to compare with at the moment, but as I get from posts on Steve Hoffman and other places this mono is a separate mix. Original vinyl releases on Electra in US, Canada, downunder and Germany. French on Vogue (CLVLXEK 249). Also on 4-track, 8-track and reel-to-reel. 2002 CD on Electra/Warner came with both stereo and mono versions plus one bonus track. Premiere US had label as shown here and glossy cover. (YZÄ*) (ÖXCÅ*)

THE MOODY BLUES/IN SEARCH OF THE LOST CHORD UK STEREO SML 711 VS. MONO DML 711

One of their best and an all time classic. For more details and all about my true love for the issue please check post on the mono. Though being a straight fold it has its pros - strong, collected and well balanced showing on a very good compatible. After that being my only format for decades I was curious if this stereo could add a lot to the picture in making it more separated and revealing. It does add, but not by much - very centered with soft edges and lots of overlapping, somewhat wider and without doubt a true stereo mix, though if you don't use earphones or sit directly in front of the speakers the formats come out very much alike. The stereo will reveal somewhat more reverb and space, but that's about it. So If you're not a sound freak or Moody Blues completist and got one you don't really need the other... at least not for audiophile reasons. A masterpiece it is and truly enjoyable whichever you choose. (MBÅL*) (DÄRR*) (MÅW*) (CPYC*)