MANFRED MANN/SOUL OF MANN CLP 3594 (-67) UK MONO

Second HMV compilation in just a couple of months after the band left the label for Fontana. While the first - "Man Made Hits" - was more or less as its title suggests, this comes out more unexpected, subtitled "Instrumentals". And apart from "LSD", which is R&B with Paul Jones on vocals, it's a collection of instrumental recordings first released by the band 1963-66. Both sides of their debute single, two from the UK "The Five Faces Of Manfred Mann", three from the second "Man Made", the whole "Instrumental Asylum" EP, one that earlier only surfaced on the "Mann Made Hits" compilation and two previously unreleased - "Merry Gentlemen" and "Tengo Tango". Listening to it today it's hard to believe this was the same band that at the same time made success with numbers as "Do Wah Diddy Diddy", "Sha La La" and "Pretty Flamingo" on both sides of the Atlantic. Cause what you get here is a mix of jazz and heavy r&b, very far from catchy pop. Serious and very well played, but not list friendly. It didn't sell well, which probably had to do with most band fans wanted their lighter stuff and the jazz freaks had other more known names to turn to. Not a jazz buff myself so for me this is valuable as one more piece of the puzzle to get all their 45:s on ealy LP and sometimes cool background to groovy chores, but not one sit down and get in with. UK stereo CSD 3594. Also originally issued on vinyl in a couple of South American countries, Downunder and in Canada (Capitol T 6199), but not US. UK 1999 CD on EMI (4989352) came with both mono and stereo versions. Premiere UK had label as shown here and laminated flip/back cover. (MÄNÄ)

BRYAN FERRY/TAXI V 2700 (-93) UK

When posting "Boys And Girls" earlier I had, and still have, a problem with synthetic strikes and loops posing as real instruments. Here he's taking one more step over to the synth side but how it's done this time I'm ok with. No false pretense, mostly real bass and drums and the rest to 90% filled with dreamy electronics as support to his always captivating vocals. Robin Trower listed as co-producer, but as it sounds it could as well have been Brian Eno. I wouldn't call any of it catchy - at least not in the common sense of the word - instead it's the atmosphere that does it. A couple of old hits recycled to slow dark musing pieces, so different they make a comparison with the originals very hard. "I Put A Spell On You" starts in a ghostly manner and though it continues kind of up-tempo the impression is regretful. "Will You Still Love Me Tomorrow" very slow with sinister effects in the background making it clear he's got no such expectations. "All Tomorrow's Parties" wistful in a way you just know he doesn't anticipate getting in. And though about the same goes for the rest of the album it's not depressing, but one highly suitable for melancholy moods and moments...and we need that too. Listening now it's winter outside - wet snow, yellow skies and naked trees and it fits. Issued all over the world, mostly on cassette, CD and HCD. Of the few countries where it saw a vinyl release this UK must be counted as the original. It came with label as shown here, thin fully laminated stickered cover and plain black inner. (ÄNÖ*) (BRÄY*)

ERIC BURDON/STARPORTRAIT 2619001 (-71) GERMANY

Man with a long well-known carreer in music through various genres with outfits as Animals, Eric Burdon & The Animals, War and solo. This 2-LP box has a compilation of tracks from the "Eric Burdon & The Animals" period, some of them tricky to find on early vinyl today. In just a couple of years he and different settings of the band issued four original psych albums - "Winds Of Change", "The Twain Shall Meet", "Every One Of Us" and "Love Is" - that in my world still stand as some of the best in that genre from the period. Though more or less experimental with many inventive twists and turns there are also good catchy melodies carried by profound backing and top vocals. Most of it with top production while some of the cuts sounds like more or less garage. To me who's already in most of the songs are favourites alredy, but if you're new to them I guarantee a rewarding journey. Far as I can hear all cuts have original mixes and the audio is very good. Originally only issued with same tracking in a couple of European countries, but not UK or US. To my knowledge this German was the only one in a box, also reissued there same way on Polydor 1983 (2679 093) and later on as 2xCD (825 231-2). Premiere German had label as shown here in a steady fully laminated box with a six page pic/info booklet. (GÖXÄ*) (ÄNÄ*)

HARVEY ANDREWS/FRIENDS OF MINE 2326 027 (-73) GERMANY

For background check posts on his debute "Places And Faces" and second album "Writer Of Songs". I initially bought those for different reasons - first for the label and its part heavy arrangements making it very cozy listening, second for carrying the epic "Hey! Sandy", but now they also stay for the poetry. He's not just adding words to the melodies as much as telling stories embellished by music. Songs on this partly co-written with Graham Cooper (British singer-songwriter of which I know very little other than he was a friend and collaborator to Andrews and also issued a couple of LP:s under own name). Styles varies - "Friends Of Mine" good pop, "To My Father" baroque to a string quartet, "Focus Hocus Pocus (One Night Stand)" rock'n'roll, "The Otter Song" a live sing-along accompanied by handclapping and the rest guitar/vocal with only sparse arrangements. All very warm and sincere, kept together by his personal and emotional vocals. Favorite tracks - "Friends Of Mine" and the cute "Sweet Little Fat Girl". Even if subjects not entirely bright a good mood record both fitting for serious listening and as positive background. Premiere UK on Cube (HIFLY 15). Also issued on vinyl Downunder (Cube 2326027). UK CD on Haska Music (HASKA:CD:002). UK LP reissue on Beeswing (LBEE 003) came with other sleeve design. First German had label as shown here, fully laminated cover, lyric/pic/info insert and Fly inner. (GÖXÄ*) (MÖRS*) (FXÖ*)

JEFFERSON AIRPLANE/VOLUNTEERS SF 8076 (-69) UK

The band's fifth studio album, offering a well endowed musical blend of hard and soft with lyric ranging from revolutionary to sweet. And though audio coming out almost too dense for my ears it's still possible to enjoy as a very good and well arranged JA LP. The Slick/Kantner signature vocals are there, guitars are splendid and the the messages eager. Maybe not up to date for modern listeners as it emerged at a time when many groups saw themselves as part of a movement whose goal was to make social change for a more peaceful and equal world. Today some might call that naive, but I'm sure it did at least something good. In any case this is full of just that and even if such aspirations have become unhip in the now world I guess there are still people like me who like to reminisce a time when everything seemed possible and even believe things can get better henceforth. Favorite tracks - "We Can Be Together" and "Eskimo Blue Day". Issued pretty much all over the world through the years on vinyl and CD, initially also 8-track, cassette and reel-to-reel. Premiere US on RCA-Victor (LSP 4238). Japan 2006 CD on RCA (BVCM-37792) came with five bonus tracks. First UK had label as shown here and laminated fold-out cover. US 1st came with a lyric sheet, but I've never seen one with a UK copy. If it was included and you know about it - please tell! (JÄF*)

SAM & DAVE/HOLD ON, I'M COMIN' SD 708 (-66) US STEREO

When posting their second and third LP:s - "Double Dynamite" and "Soul Men" - I had to start from scratch and discover, as those albums were new to me...and that went very well with me slowly falling in love. For this debute I have memories of playing a copy on my old stone crusher mono gramophone in the sixties and extracting enough sound from that to be hooked, especially by the title track and "I Take What I Want" with its irresistable guitar riff. But even if this is stereo and strummed from a way better equipment I'm reaquainted with the same feeling I remember having back then - engulfed in a warm and personal atmosphere, as they were there playing for me. Today I know this is called Memphis Soul and sometimes put in contrast to the more produced Motown style. Simpler and less meddled with, just right on with a minimum of overdubs. And that's what I hear here - much of it seemingly recorded live in the studio giving an authentic impression inviting me in. Good listening both close and as positive background. Audio great - strong yet soft. "I Take what I Want" comes monoish, the rest true stereo. Also as US mono. Originally issued in Canada, UK (Atlantic 587/8 045), Germany (Atlantic STAX SD-708), Australia (Atlantic SAL 933012). German 1994 2xCD came with live takes from Paris and London as bonus. Sometimes Stax stereo labels came with an SD prefix as seen here, sometimes just an S, or no prefix at all - and all three variations can show up on different copies from the same issue. If there's a timeline there somewhere I'm not aware, but guess this is early with ridged label as shown here and glossy cover. (YZÄ*) (TÄX*)

HOOTENANNY SINGERS/INTERNATIONAL POLP 206 (-65) MONO SWEDEN

For more on the band, label and Björn Ulveaus check post on their debute album - https://monolover.blogspot.com/search?q=hootenanny+singers . This was their forth full-lengther in less than two years and, as the title suggest, a trial to reach a more international public. Besides side one having six songs with Swedish lyrics, side two has three sung in English and one each in German, Spanish and Italian. The English ones recorded in London, the German in Munich and the rest in Stockholm. The Swedish are covers of songs from various folk origins - one Norwegian, one Finnish, one Dutch, one German and one Swedish - plus a translated version of Hedgehoppers Anonymous "It's Good News Week". The English ones are - a cover of Donovan's "Breezes Of Patchulie" (here under its original title "In The Darkness Of My Night") and two written by Ulveaus - "Time To Move Along" and "No Time" (whereof the latter was covered by his ulterior ABBA partner Benny Andersson with Hep Stars on their third album a year later - same link as above). There's also one written especially for the band by German schlager composer Michael Kunze, a Spanish cover of Charles Aznavour's "La Mamma" and an Italian version of their own "Stanna En Stund". So international it is though with the same expression and sound as before - acoustic folky, carried by four male voices singing unison or in harmony with a soft almost caressing fallout. Back then it sold well in Scandinavia and Germany, but never reached any wider acclaim. Today it may serve lovers of well performed and produced folky pop plus the most die-hard ABBA completists, but if you want your music to be thrilling in any way this is not the place. Also originally issued on reel-to-reel (Phono-Pop P-110). German vinyl version (Metronome MLP 15226) came with partly other tracking. To my knowledge never released on CD, though most of the songs have showed up on later compilations. Premiere Swedish had label as shown here, thick unflexible vinyl and thin fully laminated cover with top opening. (ÄBBÖ*) (SCÄ*) (CCÖ*) (PKÖL*)

THE KINKS/SOMETHING ELSE BY THE KINKS NSPL 18193 UK STEREO VS. NPL 18193 UK MONO

No need to question the mono mix veracity with this one. The difference between the formats is obvious. Fade-outs deviate on many of the tracks and there are other variations - one exemple is "Situation Vacant" where stereo has some organ towards the end not audible on the mono. That sorted out...now getting to the point. One more sixties issue where I had and loved the mono almost since first release and never imagined a contemporary two-channel good enough to compete, but now starting to open up and when I can afford also buying the corresponding stereos to see if they could budge my since long adamant mono-stereo notions. And this does in a way. Considering balance and overlapping not the best I've heard from back in the days, while the mono sounds pleasantly natural. But the stereo comes even more naked with better separation and futher details, giving it some extra garage atmosphere. I can cherish the separate parts better though not as much relax and enjoy. So from my listening chair point of view - stereo for sitting straight and assessing, mono for just sitting there with a big smile. (KYX*) (PÖY*) (MÅW*) (CPYC*)

THE BEATLES/YESTERDAY AND TODAY T 2553 (-66) US MONO

Their tenth US Capitol LP and probably twentieth or so over there if you count releases from all labels, more or less legit, while in UK up to then only six had been issued. Part of reason for that was the Americans also included cuts that in UK were 45 only and had fewer tracks on each album allowing them to gather leftovers to create new LP:s. So even if this was released as an original album, in my book it's more of a compilation as it consists of four cuts originally on the UK "Rubber Soul", two from "Help!", the "Day Tripper"/"We Can Work It Out" 45 and three early versions of songs later to be included on "Revolver". Those three - "Dr Robert", "And Your Bird Can Sing" and "I'm Only Sleeping" - are all mixed otherwise than the "Revolver" mono takes, with the latter having different guitar effects. Futher DT and WCWIO are the 45 mono mixes, "Drive My Car" fold from the stereo track and the rest carrying the same mono mixes as on the original UK LP:s. So a mishmash of tracks and mixes, yet coming through a-ok. The audio is great - big and strong with, at least to my ears, partly better separation than on the UK equivalents, making even the similar takes and/or mixes sound like something else here. Tophole listening with enough goodies to keep any Beatles fan alert. This is also the album that initially came with the famed "Butchers Cover", but as that is a too mammoth matter to get into here I'm leaving it till later. Mixes sorted out with help from Joseph Brennan's "The Usenet Guide To Beatles Recording Variations" page, a must for Beatles anoraks - http://www.columbia.edu/~brennan/beatles/index.html . Originally also released in Canada, Jamaica and a couple of South American countries. From the seventies and on reissued on vinyl or CD with wider spread. UK 2014 CD (Apple B0019708-02) came with remastered mono and stereo versions. This copy has "IAM" in a triangle stamped on the dead vinyl, showing it was pressed at Capitol's plant in Scranton, Pennsylvania. It came with label as shown here, glossy cover and "Capitol '66" ad inner. (BÄ*) (YZÄ*) (ÖXCÅ*) (LGÅ*)