JOE TEX/HOLD WHAT YOU'VE GOT SD 8106 (-65) US STEREO

One more encounter in my unscholary and very personal US soul inquiry. Joe Tex (born Joseph Arrington Jr. 1935-82) started recording his special branch of Southern Soul already 1955 when he got a contract with King label. Following nine years he issued thirty unsuccessful singles on various labels before finally getting a break with "Hold What You've Got", reaching #5 on Billboard and topping the US R&B list. Counting the 1964 Checker (LP-2993) compilation of some of those early 45:s this was his second album and first of ten for Atlantic up to 1972. I hear here a blend of soul, gospelish and countryish baked together in a way as much if it was captured from, or planned for, a stage show. Like a milder version of James Brown. He talk-sings and entertains in about the same way, just little more restrained. All songs self-penned, mostly dealing with personal matters described by a large portion humor. A good mood record, yet my impression is sketchy rather than profound so of all US soul I've listened to lately it's not top ten...not yet anyway...maybe it'll grow before my very ears eventually. Audio and stereo mix are just fine and even if not my absolute first pick from the soul barrel it's still good listening and a keeper. First also issued in Canada (same number). Also as US mono (8106). In UK 1969 as "You Better Get it" with alternate sleeve design (Atlantic 588130). Premiere US stereo had label as shown here and glossy cover. (YZÄ*)

THE BEATLES/WHITE ALBUM PMC 7067/68 MONO VS. PCS 7067/68 STEREO

Way back a friend asked me - If You only could keep one LP, which would it be? Silly question indeed and impossible to answer once and for all, but considering songs included, the broad spectra, top vocals, sheer quality and audio - this would probably be it. I feel at home here and it is by far my most spun. Earlier on mono was first hand for all Beatles albums and stereo more or less an afterthought. But here, with new studio equipment coming in, they concentrated as much on the two-channel, making it the best handeled Beatles stereo so far. It was also the issue where the formats differed the most, so beside a good stereo you also got an exclusive mono. The deviations between the formats have already been sorted out thoroughly and can be found all over the net. If you're interested to dig deeper, here's one - https://www.thewhitealbumproject.com/the-album/mono-vs-stereo/ . It has been claimed the many differences were deliberate to encourage fans to buy one of each. Don't know about that, but I guess most modern collectors would like to have both. If I had to choose it'd be the mono. I like that bass and drums are higher in the mix most of the time and some of the guitars appear rawer, thus enhancing all the rocking tracks. E.g. "Yer Blues", "Helter Skelter, "Everybody Got Something To Hide..." and "Birthday" are almost overwhelming in mono while the stereo versions doesn't hit that hard. Also the "Happiness Is A Warm Gun" stereo comes out somewhat thin while the mono is big and fullfilling and "Savoy Truffle" gets psychier with more effects and sturdier guitar. Mono minuses for me would be missing the "blister" part at the end of "Helter Skelter" and the too sped up "Don't Pass Me By", but I can live with those as part of the greater good. As you can see on the pics above stereo has the very first label mode without "An E.M.I. Recording" mid-left, while mono is the somewhat later with. But both got all -1 matrixes so well fit for comparison (BÄ*) (MÅW*) (CPYC*) (YMÖ*) (LGÅ*)

GET YOURSELF A COLLEGE GIRL E 4273 (-64) US MONO

Soundtrack to a long forgotten beach-party movie, but if you need also a compilation used to fill collection blanks. For most of the tracks involved this was the first time on LP and for a couple probably the only time. The Dave Clark 5 numbers A and B-side of a 1964 single. The Animal ones both showed up on their eponymous US debute. The Standells "Bony Maronie" can be found on their live "In Person At P.J.s", while this seems to be a premiere for "The Swim". Probably also the first place for Stan Getz/Astrud Gilberto "The Girl From Ipanema", Freddie Bell & The Bell Boys/Roberta Linn "Talkin' About Love", Stan Getz "Sweet Rain", the Mary Ann Mobley title track and the two by Jimmy Smith Trio, but whether any of those have showed up later in other circumstances, and in that case if it's the same takes, I don't know. In any case treated as a compilation it's a refreshing mix of garage rock, pop, lounge jazz and bossa. Audio is great all through providing very good listening. My favorites would be Standell's garage rockers and the lounge jazzy ones from Jimmy Smith Trio, topped by a very warm and embracing Hammond B-3. Also issued in UK (MGM C-812) and Canada (E 4273). US 1992 CD on Sony (AK 52420). As I understand premiere US should have ridged label, which this copy hasn't so it's probably somewhat later. It came in a glossy cover with MGM lion inner. (SÄM*) (YZÄ*) (ÖXCÅ*)(ZÖNT*)

GEORGE HARRISON/DARK HORSE PAS 10008 (-74) UK

An album I've always liked, but seen scolded and frowned upon by both critics and fans since first release. Even if musically uneven - top numbers mixed with what can be called fillers - it's got so much else going for it you just a have to surrender. The song "Dark Horse" is to my ears one of his most appealing and one I'm returning to often, "Ding Dong" very simple but incredibly catchy, "It Is He (Jai Sri Krishna)" filled with good karma and the re-written version of "Bye Bye Love" with his handeling of the love triangle between him, Eric Clapton and Patti Boyd is both touching and interesting, especially since both Clapton and Boyd participated and provided background vocals. "Far East Man" is another version of the Harrison/Wood composition that also showed up on Wood's "I've Got My Own Album To Do" and while that was guested by an uncredited Harrison, Wood plays on this uncredited. The crew included names as Ringo Starr, Klaus Voorman, Billy Preston, Alvin Lee and Nicky Hopkins among others and the package top notch. Labels having a pic of him on side one and one of his then future wife Olivia Arias on side two. Fold out cover has a school pic with a blue-faced thirteen y.o. George and the inner tracklist and comments were all hand written by him. Blue faces on front pic and labels with all certainty a homage to the god Krishna, who's always depicted with a blue face in Hindu mythology. So even if not enthralled by every single track, the entireness is so charming I'm in. Issued and reissued on every possible format all over the world through the years. Japan remastered 2018 CD on Universal Music (UICY-40237) came with two bonus tracks. Premiere UK had label as shown here and matt fold/out cover with tracking/credit inner and lyric/picture insert. (BÄ*) (GÄÖ*) (ÄPLÄ*)

BOB & EARL/HARLEM SHUFFLE ILP 951 (-65) UK MONO

This has very little to do with the homonymous 1964 US release. Instead it's a UK collection of 45 A:s and B:s, recorded by the act for the US Marc, Tempe and Chene Labels 1962-64, and compiled by Guy Stevens for Island/Sue. For more on the duo "Bob & Earl" - Robert James Byrd (1930-90) and Earl Lee Nelson (1928-2009) - and their history I recommend the Wikipedia article - https://en.wikipedia.org/wiki/Bob_%26_Earl - or just read the liner notes below. This album is today an oddity in many ways. Not only cause it collects obscure cuts by a lesser known US act on a rare UK label. I'm also getting pristine soul recordings, almost impossible to find elsewhere for a regular collector, on earliest possible LP, crowned by a unique and totally unintelligible front sleeve image. I should be jumping high with joy...if it wasn't for the audio. Partly ok, but some of it coming through rather dense with portions of pungent treble here and there, making it impossible to just relax and take in. Don't know how much of that comes from the original US recordings, inadequate transferral or bad pressing, but it's far from pleasing. Anyway that may be I'm still happy to have and keep, hoping that my ears will adjust eventually, or that I man up and just accept it as it is. This release was UK only and to my knowledge never reissued in any shape. It came with label as shown here on thick unflexible vinyl in a matt flip/back cover. (ÖSÄP*) (GÖJ*) (FÖGÄ*)

JOHN PHILLIPS/JOHN THE WOLFKING OF L.A. DS 50077 (-70) US

John Philips (1935-2001) is today to many probably most known as prominent member of The Mamas & The Papas, but besides that he worked as songwriter for and promotor of other artist and was also one of the persons behind the Monterey festival. Among his early compositions are "San Francisco (Be Sure To Wear Flowers In Your Hair)" for Scott McKenzie and "Me And My Uncle" which was recorded by Judy Collins and Grateful Dead among others. After The Mamas & The Papas broke up 1968 he started to withdraw from the limelight and getting severe drug problems with himself being convicted for drug trafficking early eighties. Withdrawn or not he still seems to have been quite busy post M&P. Besides co-writing Beach Boys hit "Komoko" and part of the soundtrack for "The Man Who Fell Into Earth" , producing the "Brewster McCloud" movie and trying to revive M&P with new members he also went on to record an album with parts of The Rolling Stones 1973 - a project that was hampered and crashed due to his increasing drug use and the remains stayed unissued till released as ""Pay Pack & Follow" 2001 on Eagle label. In the midst of all that he only recorded one original solo album and this is it. All songs self-penned, produced by Lou Adler and backed by The Wrecking Crew. I get nothing immediately striking or downright catchy. A collection of country ballads mostly dealing with personal stuff. But once you're there it is a nice place to be. Soft, friendly and very cool, not only making it a good background to idle moments but also a suitable surrounding when piping down in the listening chair. Favorite tracks - "Captain" and "Someone's Sleeping". Originally released on Dunhill also in Canada, while the UK, German, New Zealand and South African came on Stateside. US 2006 CD on Varese Sarabande (CVV-6752) came with eight bonus tracks. Premiere US had label as shown here and glossy cover with Dunhill ad inner. (YZÄ*)

BEE GEES /MAIN COURSE 2394 150 (-75) UK

Always a fan of the band's sixties stuff and some after that, but not feeling the same delight for their disco whereabouts. This can be called a transition LP - old style sentimental ballads mixed with danceable numbers pointing forward to the next couple of album's feverish success. My original plan for this post was to mention the influence by US soul, how the synths are used in an ok way, or try to place the tracks on timelines comparing with former and upcoming songs. But I'm way to tired this morning so I'm not, just getting down to my absolute basics. Two great songs - "Jive Talking" and "Nights On Broadway" - the rest ok I guess though not catching me the same way. Production and arrangements has perfect fit and audio on this UK press excellent. To my taste far from their best album, but good enough for spinning and collecting. Issued on every possible format all over the world through the years. Premiere US on RSO (SO 4807). Japan 2013 limited edition CD in paper sleeve on Reprise (WPCR-15271). First UK had label as shown here and thin matt cover with lyric/pic inner. (BÅXÅ*)

MOTOWN MEMORIES TML 11064 (-68) UK MONO

One of many UK only compilations of more or less odd Motown recordings. In this case going back early in the label's history, with eight of the sixteen cuts originating from 1960-63. To my taste a cracking mix of rarities and all time classics. Cuts like Marvelettes "Please Mr. Postman", Contours "Do You Love Me", Brenda Holloway "Together Till The End Of Time" and Smokey Robinson & The Miracles "You Really Got A Hold On Me" must have had big impact on UK artists at the time since they were covered there by various bands and then sent back to America as part of the "British Invasion". It's lovely to have the originals and imagine the influence, not only on the British but the whole pop scene at large. Whatever modern pop variation you fancy today it's safe to say Motown had its share in shaping the genre and therefore part of its history. I'm also getting a warm feeling in my gut hearing more or less lost gems as Velvelettes "A Bird In The Hand", Eddie Holland "Jamie", Elgins "Put Yourself In My Place", Shorty Long "Function At The Junction" and about all of the rest. Audio shifts a little depending on first recordings, but most of it very good and non bad, providing enjoyable listening. So a richness of goodies for us Motown lovers into vinyl - all original mono and issued not that long after the fact. I couldn't ask for more. Also issued in South Africa (TMLJ 5033), but to my knowledge never this way on CD. There is a 1988 CD called "Motown Memories Vol. 1", but with other tracking and sleeve design. Premiere UK in mono only had label as shown here and laminated flip/back cover. (SÄM*) (TÖMÖ*)

JOHN LENNON & YOKO ONO/DOUBLE FANTASY GHS 2001 (-80) US

I remember there were lots of controversies around this when first issued. Critics and public liked or disliked for different or sometimes the same reasons. It was a long awaited comeback, but he didn't sound like before, the songs handeled grown-up subjects instead of being rebellious and what put many fans off was the joint experience with Yoko. I was split at the time, didn't know what to think, lost my first copy in the early nineties and haven't had one since. So it was with mixed emotions I took this newly found for a spin, premiere after twentyfive years. But my feelings soon stabilized as I immediately connected and got goosebumps. Like a fine wine this LP has matured through the years and now sounds better than ever. It's the same old recording, but as the surrounding world have changed and I with that it fits me better today. There are a couple of Lennon songs that now must be considered classics - "Woman", "Just Like Starting Over", "Watching The Wheels", "I'm Loosing You" and "Dear Yoko" - but also some very good Ono cuts. "I'm Your Angel" a lovely twenties pastiche and "Kiss, Kiss, Kiss" very catchy reggaeish with enticing background talk. Whatever certain old-school fans may suggest there's no need to jump tracks on this one. A great album. Issued and reissued all over the world on every possible format through the years. There are so many different matrix variation for early US issues trying to establish a timeline just makes me dizzy. But according to most sources all 1st press copies have incorrect track order on rear sleeve, which this has so early it is, with label as shown here in a glossy cover including a lyric/credit inner. (YZÄ*) (BÄ*) (JYZÖ*)