THE SPENCER DAVIES GROUP/ AUTUMN '66 T 687 397 L (-66) MONO SWEDEN

Shortly after posting the UK issue here I lost that in a trade. Thought then it wasn't too rare and I'd probably find it again soon after, but I was wrong and haven't even been close to one since. I do prefer to own UK pressings of UK bands, but for lack of such decided to try this, more affordably priced, Swedish 1st press instead. And as it turned out not a bad alternative at all. The stamped matrix numbers coincide with UK and the audio is great - loud and clear - so no shortcomings there. Also the front and rear sleeve pic, as colored or b/w, was unique to Sweden. I may still be looking for a UK, but having this it don't feel that urgent anymore. First Swedish had label as shown here, heavy vinyl and thin fully laminated cover. (TXÄW*) (CCÖ*)

THE DOORS EKS 74007 (-67) US STEREO

Had the UK mono for decades and always been curious if a first press stereo could match that when it comes to dynamics and clarity, but had a hard time finding a nice copy fitting my wallet. And now when I have it seems a comparison would be futile anyway. Never had a first press US mono, though reading about it on Steve Hoffman's and some other places I get that it didn't come out 100% - crippled by too much density and some distortion - which the perfect sounding UK mono don't have. So as they differ that much there's no ground for a collation and I better wait till I find either a UK stereo or a US mono to do it properly. But I doubt any UK stereo could compete with this. Mix as expected from an early 1967 make - wide with very little overlapping - but it holds together and the separate parts come through beautifully, natural and well separated. In all very good listening. As usual I'm having a hard time to establish a timeline for a US copy, but after getting some help from Discogs it seems the one here is a first press, made by Allentown Record Co. Inc. Matrix no.s are scratched EKS-74007 A (A)/EKS-74007 B (A) and "Alabama Song" is credited to "Witmark" on label. Second press - by Monarch Record Mfg. Co. - have a "Harms Co." credit to "Alabama Song" and different matrix no. mode. Would of course like to find the US mono and UK stereo too of this classic debute to get it complete, but after listening and reading I'm starting to think this is a good way to go, at least to get most audiophile pleasures from an original - US stereo and UK mono. I'll be back soon as I know more. US first had label as shown here, glossy cover and Elektra inner. (YZÄ*)(DÖÖW*)

RICHARD LLOYD/ALCHEMY K 52196 (-79) UK

For background check posts on the Television albums "Marquee Moon" and "Adventure". After the latter the group split and Richard Lloyd went on to work as a session musician besides nurturing a solo carreer. That seems to have worked out so-so as a couple of singles never reached beyond the Television-fan spheere and only three albums were released before the millenium shift. My personal favorite with the man is his 1981, 45 only, cover of "Get Off Of My Cloud", but this debute album has a lot going for it too. Though recorded with other musicians and quite different from the two Television marvels at least I hear some of the same idiom. The atmosphere however is a bit brighter, all songs self penned and even if most of it not downright catchy they all speak to me and make me wanna listen again. He's not the best singer, but the guitars are so ever-presently sensual they own with or without vocals. Favorite tracks - "Blue And Grey", "In The Night" and "Pretend". A couple of the cuts have the vocals mixed a little too low for my taste, apart from that the audio is great. This stands next to "Adventure" in my collection. Even if not a Televison album it gives me some of the same feeling. Premiere US on Elektra (6E-245), also originally issued in a couple of European countries, Japan and Downunder. US 2002 CD on Collector's Choice (CCM-315-2). First UK had label as shown here and fully laminated cover.

TAJ MAHAL/GIANT STEP - DE OLE FOLKS AT HOME S 8-63820/21 (-69) UK

This is a relatively new find for me. After really liking his two first albums it has taken me a while to warm up to this. Double album having one LP - "De Ole Folks At Home" - with acoustic root mood blues and one - "Giant Step" - with electric blues rock. But after initially listening to the entire set-up a couple of times I decided to leave the acoustic part - which I in this case don't seem to have the right exteroceptors for - and concentrate on the electric. And that did it. Here I get a natural follow-up to "Natch'l Blues", which in my world is one of the catchier black blues albums. It's the same snug melodic atmosphere, very warm with attractive vocals. To my ears so far a tiny bit more uneven and it doesn't grab me as hard as NB..at least not yet, but given time it might. In any case a keeper and one I will return to frequently to get aquainted. The tracks that hit me immediately and get me going now are - "Six Days On The Road", "Keep Your hands Off Her" and "You're Gonna Need Somebody On Your Bond". Premiere US on Columbia (GP 18). Also initially issued in France and Gemany on CBS (S 66226) and Australia on Columbia (S2BP 220044). Japan 2017 CD on Columbia (SICP-5350). First UK had label as shown here and matt fold-out cover. Early ones came in a mono cover with stereo sticker, but I doubt any UK monos exist. I have never seen or heard of one anyway. (DÄJ*)

HERMAN'S HERMITS/BLAZE E 4478 (-67) US MONO

For more on the issue itself please check post on the UK export stereo. After listening to this US mono several times and enjoying what seems like a true mono mix I thought it'd be redundant to do a track by track comparison, but I did anyway just to be sure. And though the differences aren't huge they're there to comfirm the formats were handeled separately. Fade-outs are about the same, only a couple deviate and then only miniscule. The difference lays in balance and clarity. Though the stereo is an ok compatible connecting the channels makes some of it sound slightly muddy and balance, even if acceptable, diverge from the mono - e.g. from a fold the vocals in "Museum" gets more buried in the mix while the mono has them loud and clear. Not sure if just contrasting balance would be enough to prove separate mixes, or if it's a result of limiting, but it's evident the mono isn't a stone cold fold and that's good enough for me. This mono only released in US and Canada (Quality Records V1808). Premiere US had label as shown here and stickered glossy cover with MGM ad inner. (HÄHX*) (ÖXCÅ*) (YZÄ*) (CPYC*) (MÅW*)

DINO VALENTE/DINO BN 26335 (-68) US

Before the net I had the UK mono version of this album. Thought it was quite odd, but all I knew about the man then was him serving five years in prison due to a drug charge and later being vocalist in Quicksilver. As it shows there was a lot more to learn. Born Chester Williams Power Jr. (1937-94) and besides performing as Dino Valente also composing as songwriter "Jesse Oris Farrow". Under the latter name best known for the hippie classic "Let's Get Together", which has been covered by many bands since - e.g Jefferson Airplane, Youngbloods, H.P. Lovecraft (my own favorite version), Carpenters and Dave Clark Five. He seems to have been a prominent part of the US music business from early sixties and on, but then more as a favorite of other artists than publically acknowledged. For more details on that check the Wikipedia article on "Chet Powers". To me getting to know those facts makes this one-off solo album much more interesting and better listening than it was for my earlier, more ignorant, self. Feeling acquainted I can get in deeper. I still think it's odd, especially the unholy genre blend of orchestrated singer-songwriter and borderline garage psych. No howling guitars, but the sometimes unrestrained approach makes it garage and some of the effects render a psych atmosphere. He isn't a geat singer, but gives it all he's got which makes it personal and rather special. Not an album you fall in love with at once, but given time it will open up...leastways if you're like me and have a taste for the unusual. Favorite tracks - "Tomorrow" and "Time". Originally issued in Canada (same number) and UK (stereo and mono CBS S/63443). Japan 2007 CD (Epic EICP 859) came with two bonus tracks. Also as US white label mono promo. I guess this one is the premiere US stereo, having label as shown here, heavy vinyl and glossy cover. (YZÄ*) (SYSÖ*)

BACK AGAIN

Back again after a couple of lazy weeks doing absolutely nothing. Still feeling idle so from tomorrow I'm starting softly by posting every other day or less during the rest of the summer. Stay tuned/Erik

SUMMER BREAK

Time for a summer break. Need a holiday away from the vinyl, somewhere I can breathe fresh air and enjoy the silence. Back in a couple of weeks with another stack and lots of new energy. Wishing You a great summer/Erik

SPOOKY TOOTH /WITNESS ILPS 9255 (-73) UK

Spooky Tooth has to be one of the most eclectic (i.e. adaptive, imitative or just indecisive) UK bands ever, during a decade or so going trough an unprecedented number of different names, settings, genres and collaborations. Started as pop/rock combo Ramrods 1960, three years later playing r&b with renewed setting as VIP:s. Reformed as Art 1967 with yet another setting and recorded a psych album produced by Guy Stevens. Thereafter following Stevens through the 1967 Hapshash & The Coloured Coat sessions, providing backing as "The Heavy Metal Kids". First album as Spooky Tooth - "It's All About" - came 1968 then produced by Jimmy Miller. Later they would back French electronic and experimental composer Pierre Henry on his album "Ceremony" and do a collaboration with Joe Cocker's Grease Band on "The Last Puff", as "Spooky Tooth Featuring Mike Harrison", before breaking up 1970. However in 1972 they reappeared and continued with various settings up to final breakup 1974. Counting the "Ceremony" album this was their fifth original LP and second after reforming. To me it slightly reminds of "Spooky Two", with about the same blend of gospelish and bluesy rock, but not as strong. Less psych than before and more hard rock. Much of it a little too mainstream seventies rock, but with enough goodies to make it worth while. "Ocean Of Power" very sincere with sturdy backing, "Things Change" has an idiom reminding of Mountain, but enough self-containd to stand on its own and "Sunlight Of My Mind" with great guitar backing all through. To my ears not all hunky dory, but even if uneven still one of my good guys. Originally issued on vinyl pretty much all over the world. First US (Island SW 9337) came with different sleeve design. Japan 2016 CD on Island (UICY-78072). Premiere UK had label as shown here and thick matt fold-out cover.  (FSÄ*)

SWEET SMOKE/JUST A POKE 2C 062-28.886 (-71) FRANCE

US psych/prog band formed in New York 1967, but after moving to Germany two years later and managing their carreer from there up to dissolving 1974 often seen as a German band or even kalled krautrockers. Yet typical kraut is not the first thing I get when listening to this debute album, instead very adventurous American prog - part with emphasis on jazz and part on r&b. Though with only two entitled songs, one on each side, it's diverse enough to be divided into eight or ten separate tracks. Still so coherent I find it hard to separate and designate any special part. But as a whole it is a trip well worth taking for any prog lover and may also do it for jazz and blues fans. Apparently a mix of pre-written and studio jams, partially with vocals. Melodic blended with experimental, tight and free spirited at the same time. I especially like the flute, sound reminding of Jethro Tull's Ian Anderson in a jazz-bluesy mood, and the guitars moving between sentiments. More a 32 minute jouney than a regular collection of separate songs, but one you don't wanna interrupt once you started. Premiere German on blue Columbia (1C 062-28 886). Issued and reissued on vinyl and CD in most European countries through the years, but never in UK or US. First French 1970 on black/silver label, the one shown here is from 1971. Both issued in the same thin laminated flip/back cover. (MFÄX*)

CROSBY, STILLS, NASH & YOUNG/DEJA VU MT 2023 (-70) JAPAN

When writing about a US early press a while ago I was 100% in and planned to have that as my one keeper. But when this premiere Japan issue showed up just after at a very affordable price I couldn't resist. Hoped it would come with even better audio, as you'd expect from a Nippon make, but it's hardly any difference at all from my US "Presswell" cut. This may be perceived as a teeny-weeny bit clearer at parts, but you really have to get close to notice. Also the sleeve is of exactly same mode as US - a hard, roughly structured fold/out with embossed "gold" lettering and glued on image. Only differences are this is slightly structured inside fold-out while the US is flat, the rec. no. above logo on top front is the Japanese and it comes with a unique lyric/credit insert. I also like that they still used the older blue/green stereo label design. So even if the listening experience is about the same as from an early US this has enough features to stand on its own and to be kept. It should have come with an "obi" missing here, but that's probably the reason I got it at a fair price, so I'm good. (ZHÄ*) (ÄZÄ*)

BRIAN ENO JOHN CALE/WRONG WAY UP 7599-26421-1 (-90) GERMANY

Two of my fav artists getting together for a mutual album. That just couldn't be bad to me and this certainly isn't. As both in their own ways, separately or together, had been on the edge of developing art rock and/or taking electronic to its limits I get this must have come as a small shock or even disappointment to some fans. Cause even if still having an arty touch it's pop and it's catchy. Good simple melodies that stick and stay coupled with noticeable lyrics. I have no problem with that, especially if it comes from those two. Like when a renowned educated painter exhibits a work just consisting of a few dots and lines you just know that there is more to it than immediately meets the senses and worth further insight. And after getting in deeper you hear the same Eno and Cale as ever, just made from a simpler mold. Good pop music, accessible but spiced with enough odd to make it special. All tracks co-written, co-produced and performed by the two with some additional backing by drums, bass, guitar and violin. Though presented as a teamwork I can't help hearing a little more Eno than Cale and getting a similar feeling as from "Another Green World", but also being reminded of Cale's "Fear". Favorite tracks - "Spinning Away", "Lay My Love" and "The River". Not sure why it didn't sell more at release and today sorted in the "lost gems" compartment. Maybe it has to do with it was originally mostly released on CD and cassette at a time when many still relied on turntables. To my knowledge only issued on vinyl in Europe. Premiere UK on Land Records (LAND 12). First German had label as shown here and fully laminated cover. (ÄNÖ*) (CÄLX*) (FÖF*)