DEEP PURPLE/SHADES OF DEEP PURPLE UK MONO PMC 7055 VS. STEREO PCS 7055

A comparison I wanted to do for a very long time. Had the mono for decades     https://monolover.blogspot.com/2012/05/shades-of-deep-purple-pmc-7055-68.html , just waited for a first press stereo to show up. Though the one here is an early seventies it still has -1/-1 matrixes and 1GO/1T mother/stampers in an original sleeve , so in a way more a prolonged 1st press than a 2nd and well up for the task. Not doing a thorough investigation, just enough to decide if the mono is valid. I've seen on the net this mono is called "a simple fold-down", but I wanna know for myself. The stereo is an ok compatible and the differences aren't huge, but at least two things tell the formats were treated separately - "Hush" mono starts with two howls while the stereo has three. Then in general the mono comes out clearer and better separated than what you get when connecting the channels on the stereo. Not much, but taken together with the number of howls enough to convince me that the mono isn't a straight fold. Then in 1968 almost all UK EMI monos were separate mixes, but it's best to be sure in each case. (DHÄ*) (PÖX*) (CPYC*) (MÅW*)

PEGGY LEE/IN THE NAME OF LOVE T 2096 (-64) UK MONO

Singer, songwriter and actress Peggy Lee (Born Norma Deloris Engstrom of Swedish-Norwegian heritage, 1920-2002) started her carreer as singer for Benny Goodman and got her first Billboard #1 1941 with "Someone Else Is Taking My Place". After a couple more charters with the band, where of "Why Don't You Do Right" at #4, she went solo and between 1945-70 managed fortysix more US entries, incuding seven top ten and another #1 with the 1947 "Mañana". She's also done numerous movie and TV apperances through the years and worked with about every then celebrity in American showbiz. Even with that that background I'm surprised to hear what she did on this LP 1964, at the same time as British pop and rock begun to take over the US lists. There's no response whatsoever to any new zeitgeist here, instead the atomsphere and performance oozes fourties and fifties. Smooth jazz and languishing ballads conveyed by soft and cozy arrangements and soothing audio. Could be tagged "easy listening", but to my ears her personal and emotional vocals save the record beyond that, and then especially in the slower numbers like "Senza Fine", "My Sin" and "The Right To Love". Touching indeed and perfect for concerned love meetings and/or for us loners who still can reminisce days when music like this was prime. First issued also in US, Canada (T/ST 2096) and Germany (STK 83800). First UK had label as shown here with both "Sold in UK..." and "Recording first published..." in a laminated flip/back cover. (FÄV*)

JETHRO TULL/CREST OF A KNAVE OV 41590 (-87) US

The 1984 synth infected "Under Wraps" was the first Tull album I didn't fully enjoy and then feared they were on a downslope. But three years later this emerged. A killer LP showing them stronger than ever. Even if down to three original members - Ian Anderson, Martin Barre and David Pegg, supported by guest drummers Gerry Conway and Doane Perry - partly towards hard rock with noticable synth involvement here and there it's still very good Jethro Tull, bursting with beautiful catchy melodies as well as tophole guitar and flute. I don't get one weak track on this. To mention a couple - "Budapest" is an intriguing story ("...she wouldn't make love but she could make good sandwich...") with an awesome flute riff to complex guitar figures. First part of "Mountain Men" showing you can combine the plainly heavy with beautiful and catchy. "Jump Start" so well written, changing between calm and wild with lots of good guitar and flute. "Raising Steam" with its hauntingly bouncy refrain. And that just four picks out of a cornucopia of pleasing moments. Either you're a Tull fan that for some reason don't have it already or just a lover of touching pop/(hard)rock in general it's highly recommended. Released on vinyl, cassette and CD all over the world through the years. Premiere UK vinyl on Chrysalis (CDL 1590). Japan 2005 CD in limited edition paper sleeve came with "Part Of The Machine" as bonus track. I guess this US is early having A-1/B-1 matrixes with stamped "MASTERDISK" plus "HW" showing on a Columbia press. In any case the audio is excellent - very wide, pleasingly soft and well separated. It came on label as shown here and fully laminated cover with lyric/credit inner. (YZÄ*) (YÖHT*)

FORTHERINGAY 6339 010 (-70) GERMANY

A project initiated by Sandy Denny after she left Fairport Convention to get more room for her self-penned material. It gathered Trevor Lucas and Gary Convey from folk rock band Eclection plus Jerry Donahue and Pat Donaldson earlier in Poet And The One Man Band. The constellation didn't last more than a year, after which she went solo and Trevor Lucas and Jerry Donahue joined Faiport Covention, which she also did again 1974 (for more on all this check band page link). So it may have a different billing and members, but for me it's so close to FC at the time I can hardly tell them apart. This less folky and musically maybe a litte more tame, but same kind of touching songs and lots of the lovely Sandy Denny. Her numbers is what make this LP for me and then especially "The Sea" and "The Bank Of The Nile" - both intimate like a sweet caress . To my taste as a whole maybe not the best with the lady in charge, but as a devoted fan I take all by her I can get. Issued and reissued all over the world on cassette, vinyl and CD through the years. Premiere UK on pink Island (ILPS 9125). US on A&M (SP 4269). Japan 2005 CD (Island UICY 9535) came with seven bonus tracks. First German had label as shown here and laminated fold/out cover. (FÄHZ*) (GÖXÄ*) (ÖSÄP*)

BATMAN/EXCLUSIVE ORIGINAL TELEVISION SOUNDTRACK ALBUM TFM 3180 (-66) US MONO

Don't know how attractive this might be for the fans of today's Dark Knight, but for me who grew up with the stylized and arty Adam West episodes it's a lot of fun. Not that there's much music to hold on to on it. I get the classic Batman theme in a couple of versions and some plain instrumentals, but most of it is talkies from the serie in orchestrated drag. Though even if not inviting to everyday spinning it's still good to own as part of the Batman history and a reminder of more innocent times. Audio on this US mono is tophole so when I decide to listen it goes all in, but I'm happy just having it and look at the sleeve every once in a while. Also as US stereo (TFS 4180). UK on Stateside (SSL/SL 10179). US 20th Century Fox Stereo CD (TFS 4180) came with flip side to the "Batman Theme" 45 - "Nelson's Riddler" - as bonus. First US had label as shown here on heavy vinyl in a glossy cover. (YZÄ*) (ZÖNT*) (ÖXCÅ*)

THE GREATEST HITS OF THE WORLD/THE ORIGINAL VERSIONS SPR 73 (-73) SWEDEN

CBS sampler containing some of the most cherished sixties songs...by Byrds, Zombies, Fleetwood Mac, Blood Sweat & Tears, Redbone, Tremeloes and further good stuff from six other bands. Perfect for all who don't wanna spend time and money trying to find every first press, but satisfied getting original versions of the songs in one place with very good audio from some used bin for a buck or two. Faintly checking the sleeve design one might think it's one of those cheaply made where labels hired studio crews to cover the songs and then by vague rear notes leading buyers to believe it was the real thing. But no such cheating here, this is the real thing and very good listening. Released in Holland and Sweden (same no:s) , Dutch reissue on red/yellow label. Premiere Swedish had label as shown here and thin fully laminated cover. (SÄM*) (CCÖ*)

PAUL McCARTNEY/TUG OF WAR 1C 064-64 750 T (-82) GERMANY

His eleventh album after Beatles and third solo. From the beginning a Wings re-union with George Martin as producer, which was postponed due to the killing of John Lennon. Two moths later he sessions were resumed, this time with participation of Ringo Starr, Carl Perkins, Eric Stewart, Stevie Winwood and Stanly Clarke among others, still with Martin as producer. It was met with mixed reviews on release, but soon became a global success topping list all over the world and certified platinum in US. I think this is good McCartney. To my taste some of his earlier LP:s though having some good moments each also came out partly unfinished carrying way too many fillers. But with Martin in the control room that changed considerably. Arrangements and production impeccable, giving each song best possible treament. So even if parts of the songwriting itself isn't 100%, Martin's care picks it all up to a high level. E.g. "Ebony And Ivory" may not be on my McCartney top list, but so well done I just gotta listen. Favorite track - the 45 pick "Take It Away" is a pop marvel of the kind that sticks immediately and then stays in a good way. Issued and reissued on every possible format all over the world through the years. UK vinyl on Parlophone (PCTC 259). US on Columbia (TC 37462). "Advanced Release" on Concorde Music (HRM3756302ADV) had one CD with with a remixed and remastered version of the album and one with demo versions and music videos. But as this German and probably most other originals has superb audio and balance already, why that need for remix and remastering? Making it different maybe, but I doubt the audio can be any better. First German came with gimmick labels as shown here with foundation picked from parts of the sleeve and fully laminated cover plus lyric/pic inner. (GÖXÄ*) (BÄ*) (MÄCC*)

ADAM FAITH WITH THE ROULETTES AND THE JOHNNY KEATING ORCHESTRA/ON THE MOVE PMC 1228 (-64) UK MONO

Adam Faith (born Terence Nelhams-Wright 1940-2003) was one of the most successful English teen idols in the early sixties with 24 45:s on the UK list 1959-66, where of eleven top ten and two #1. Also his first three LP:s chartered at #6, #11 and #20. However as the British public taste changed from classic rock and soothing ballads to Merseybeat and harder r&b also with big success over the Atlantic, he found himself slowly pushed aside by a new generation of bands. I guess this album was an attempt to adjust to that zeitgeist and at the same time become a part of the British Invasion to US. Already established songwriter Chris Andrews penned all fourteen songs and he was backed by r&b band The Roulettes (which btw then included lead guitarist Russ Ballard and drummer Bob Henrit, both later in Argent and Henrit also in Kinks 1984-96). A couple of the numbers remind of Faith's earlier work, like the orchestrated ballads "Here's Another Day", "You've Got A Way With Me", She's Smiling At Me" and "Only One Such As You", but the rest is good and sometimes surprisingly raw Merseybeat. "Don't You Dig This Kind Of Beat" is pure garage and the uptempo screamy "It's Alright" reminds of Swinging Blue Jeans' best moments. The remaining cuts in the same vein as Gary & The Pacemakers, Searchers or Dave Clark Five, but to my ears not standing back to any of those. Sadly the transition didn't seem to have worked. The US only "It's Alright" 45 managed top 40 on Billboard and also became his only American entry, while the UK "Only One Such As You" didn't chart at all and neither did this LP, which also became his last UK studio album before the 1974 "I Survive". However that may be, today it remains as a very good period British pop/beat with a garage feeling and if you're into such it is a true gem. Also originally released in South Africa (Parlophone PMCJ 1228), but to my knowledge never reissued in any shape. The Canadian "It's Alright"(Capitol T 6101) and US eponymous (AMY 8005-M) both only had "It's Alright" in common with this. Premiere UK had label as shown here with "Recording first published 1964" in a laminated flip/back cover with Emitex inner. (PÖX*) (ÖGÄ*)

THE GARY MOORE BAND/GRINDING STONE S 65527 (-73) UK

Album issued between him leaving Skid Row and participating in Colosseum II and Thin Lizzy. Though tagged as "The Gary More Band" it's often billed as a solo LP and in any case the only one with that setting. To me it sounds a lot like what he did with Skid Row and Colosseum II - blues/rock prog carried by advanced rhythms and equilibrist guitars. "Sail Across The Mountain" a rather ordinary ballad, the short "Energy Dance" dreamy and "Boogie My Way Back Home" boogie rock, but the rest more or less adventurous with many twists and turns. Hard to depict exactly...for exemple the 17+ minute "Spirit" includes parts that can be described as prog, jazz, rock'n'roll or even latino rock. Adacious indeed but as it takes effort to follow, nothing for relaxing. If you're in the mood for tophole guitars supported by rhythmic gaming and theme changes it could be something. Though I can appreciate all the skill and effort put in my ears have been way too tired for music like this lately, so I'm putting this copy aside for now hoping it will fit me better eventually. 1973 issues also in Ireland and Japan. 1974 US on P.I. Records (PILPS-9004). UK 2005 CD and 6xFile MP3 on Repertoire Records (RES 2302). Premiere UK had label as shown here and thin matt cover.

THE ROLLING STONES/STEEL WHEELS CBS 465752-1 (-89) GERMANY

After the 1986 "Dirty Work" catastrophy and the following animosity between Mick and Keith I thought all was lost and what you could expect from the band in the future were solo efforts and half ass compilations. Then three years later suddenly this showed up in the shops. Apparently they'd got together in a friendly spirit and produced a whole new album. I didn't expect much, but bought it for old times sake and got me a pleasant surprise. No trembling through genres out of their natural habitat and no more blown-up eighties audio - this is tight and raw rock'n'roll. Not going all the way back to the band's roots, but well matching their best mid-seventies efforts. "Sad Sad Sad" shows they could still do danceable pieces without decaying to disco. "Mixed Emotions" and "Can't Be Seen" catchy up-tempo and "Slipping Away" a simpel but beautiful ballad. "Hold On To Your Hat" furious with layers of rude guitars and "Almost Hear You Sigh" a slow mover spiced by attractive background vocals. To my ears then a very good come-back and I anticipated more of the same eventually, but as things turned out...still waiting. Issued and reissued on vinyl, cassette and CD all over the world through the years. Most vinyl originals having same label and sleeve design with the same picture/lyric inner as the German shown here. (RÅ*) (GÖXÄ*)