PROCOL HARUM/THE BEST OF PROCOL HARUM 2345 022 (-72) SCANDINAVIA

Scandinavian version of the UK Flyback 4 issue (see earlier post), presumably made from the same tape. Also released with same tracking, label and sleeve design in Germany, Italy and Downunder, with further variations issued around the world about the same time differing in some aspect. So while the UK is sought after by FLY/Cube label collectors and some of the others may be favoured because of odd sleeve pics, this more common variety can with a little luck be found in the cheapest bins and there offering songs from one of the best sixties pop/rock bands for close to nothing. That is good value for money. All cuts melodic and catchy in the best possible way and the audio just fine. A candy bag where every sweet is a winner. If you for some reason haven't heard them yet, this is a tophole introduction with many reasons for love. Premiere Scandinavian came with label as shown here in a fully laminated cover. (CCÖ*) (PRÖX*)

ERIC BURDON & THE ANIMALS/THE TWAIN SHALL MEET US MONO PROMO E 4537 VS UK MONO C-8074

A comparison probably of little interest to all but the most fanatic fans, so this is for us. For more on the issue itself check separate post on the UK mono . To my knowledge never issued as stock mono in US, so this may be the only chance to get it like this from there. When I compared the US and UK "Winds Of Change" monos earlier I heard a surprisingy large difference in audio between the two, where the UK came through louder and clearer while the US sounded a lot more flat. I've been told the main reason for that was the US mono copy I used for the comparison was a somewhat later press and that an earlier one would hit a lot harder. Maybe so, but if that was the case there will be no such unfair treatment here since this US was the one. I hear about equal volume and power, but there are differences. UK is clearer with better separation while the US comes wider, softer with more prominent bass. No clue how the formats were made - if both are folds or if the US is true and the UK a fold. Need more info on that. For the WOC mono I'd choose the UK anytime, here it's more of an even race. UK may have sharper edges and thus more detailed, but the US gives a better ear treatment with its width and cozier appearance. Promo came in a fully laminated stereo cover with MGM ad inner. (YZÄ*) (ÄNÄ*) (ÖXCÅ*) (CPYC*) (ÖRJ*)

RORY GALLAGHER/BLUEPRINT 2383-189 (-73) UK

For background also check - https://monolover.blogspot.com/search?q=rory+gallagher. This was his fourth studio album following Taste's break-up. After replacing drummer Wilgar Campbell (who would go on with Mick Abrahams Band and Tony McPhee's Terraplane) with Rod de´Ath and adding keyboardist Lou Martin (both earlier in Killing Floor), they weren't a power trio anymore though for that sake not less powerful. As with the two studio albums by Taste and the "Deuce" solo one I find the softer and/or more proggy tracks intriguing rather than totally gripping. But when they play the blues I'm all in and "Hand's Off", "The Seventh Son Of A Seventh Son" and "Walk On Hot Coals" are good that way. Not as raw or heavy as those Taste recordings I like to go down with, but nevertheless enjoyable listening and certainly good enough for spins. Issued and reissued all over the world on vinyl and CD through the years, also 8-track and cassette. First US on Polydor (PD 5522). Japan 2007 CD in paper sleeve on BMG (BVCM 37882) came with two bonus tracks. Premiere UK had label as shown here in a thin slightly structured cover. (GÄG*)

ARETHA FRANKLIN/SOUL SISTER SBPG 62744 (-66) UK

Listening to this I can't help thinking about the "Diana Ross & The Supremes Sing and Perform Funny Girl" album (see earlier post). Both having superb black soul vocalists placed in a not so soulful environment, making them struggle against instead of with the backing to reach their full potential. In this case Lady Soul herself doing more or less jazzy covers of well known hits. On paper it's impeccable - backing, arrangements and production superb, stereo mix and audio tophole and her voice as good as ever. Still I get the impression she's uncomfortable. A couple of the numbers - like "Sweet Bitter Love", "Until You Were Gone" and "Take A Look" - are saved by sheer vocal skill. But the swing version of "Ol' Man River" or the big-band "You Made Me Love You" to me sound like misfits. Too posh and elegant, creating a distance to the heart on her sleeve. Nothing including Aretha Franklin could be bad and this is still enjoyable, but to my ears she came out a lot better in the Atlantic soul department. Originally issued on vinyl in US on Columbia (CS 9321/CL 2521), UK, Germany and Israel. To my knowledge never issued like this on CD, though some of the tracks have surfaced on later digital compilations. First UK had structured "33" label as shown here in a laminated flip/back cover. (FÄV*)

ARGENT/ENCORE 880 83 (-74) UK

A live double that can take you on an adveturous ride and certainly does it for me in my comfy listening chair. But I guess if you're not into the band already and familiar with their sometimes abrupt changes between prog, rock and melodic pop, it may hit you as a bit messy and hard to break through. Former hits like "God Gave Rock'n'Roll To You", "It's Only Money", "Hold Your Head Up" and even the Zombies marvel "Time Of The Season" performed very different from the studio versions and then suffused and surronded by progressive components. Excellently performed all the way and for me who always fancy a good clash between catchy melodies and innovative backing it's very pleasing. Neither "I Don't Believe In Miracles" nor "Time Of The Season" as done here can measure up to the Colin Blunstone versions, but they are different in a good way and hence enjoyable enough to be my favorites. Audio on this UK vinyl is a little too dense for my taste, making it hard but not impossible to get in. As a whole maybe not high on my live album top ten list, but it is a very good concert captured totally ok, so it could do it for more than just band fans. Originally issued on vinyl also in US and Canada (Epic PEG 33079), Japan and Downunder. Japan 2008 limited edition CD in paper sleeve with obi (Epic EICP 1018). Premiere UK had label as shown here in a matt fold/out cover. (ZÖZ*) (LYBÖ*)

DEEP PURPLE/BURN TPS 3505 (-74) UK

After the tour following their seventh album "Who Do We Think We Are" Ian Gillian and Roger Glover left the group, replaced by vocalist David Coverdale (later Whitesnake) and Glenn Huges (earlier in Trapeze, later Black Sabbath) on bass, then forming the band's alleged "Mk III" phase. This was the first LP issued by that outfit. It's been called a new chapter for the band with a new sound and it is to some extent, but as an always devoted fan of the two first MK:s I'm more interested in if and how it releates to their former masterpieces. I don't hear any direct copying of old tricks, but there are discernable echoes from the past. Small things...like the intro to "Might Just Take Your Life" reminds me of "My Woman From Tokyo", some of the guitars could have been on any of the MK II LP:s and part of the beat is so signature old Purple. Not much I know but the ambiance is there helping me to realise this is a great rock album, albeit the somewhat new direction performed without Gillian and Glover. My taste in rock'n'roll was fixed many decades ago and I don't often change my mind about such important things, but when it comes to this I can at least stretch it a little. Issued and reissued on every possible format all over the world through the years. First US vinyl on Warner Bros (W 2766). EU 2004 CD on EMI (7243 2 73621 2 5) came with five new re-mixes as bonus. Premiere UK came with "Grammophone" labels, soon replaced by "EMI" ones. This has "Grammophone" on side A and "EMI" on side B, with 1U/1U matrixes having the PORKY-MEL-TRISH/PECKO etchings and early mother/stampers, so some kind of transition copy. It came in a thin glossy sleeve with plain white "MADE IN ENGLAND" patent no. inner. (HÄVL*) (DHÄ*)

ROD STEWART/AN OLD RAINCOAT WON'T EVER LET YOU DOWN VO 4 (-70) UK

For more on early Rod Stewart and my relation to what he did at the time please check post on his second solo album "Gasoline Alley" - https://monolover.blogspot.com/2019/05/rod-stewartgasoline-alley-6360-500-70-uk.html . I wasn't and still isn't very thrilled by that. I prefer the dirtier rougher Rod and there isn't enough of him there. But this is more down my alley. Including Micky Waller (Steampacket, Mayall's Bluesbreakers and Jeff Beck Group) on drums, Ron Wood on bass and guitar and Ian McLagan (Small Faces and Faces) on keyboards. Released at about the same time as The Faces debute "First Step" it sounds a lot like a very good Faces album and to my taste even better listening than the band billed debute. Splendid dirty rock with lots of real emotions sipping through - e.g. "Blind Payer", "Cindy's Lament" and title track - coupled with some beautful ballads - "Dirty Old Town", "Man Of Constant Sorrow" and especially the Mike D'Abo penned and arranged "Handbags And Gladrags, on which D'Abo also plays piano. I don't think the "Street Fighting Man" cover reach up to the Stones own version, but good enough in its own way. A great album indeed and to me way more important than anything his bleached avatar made world-wide success with seven years later. Issued and reissued on every possible format all over the world through the years. First US and Canadian as "The Rod Stewart Album" on Mercury (SR 61237) had totally different sleeve design. Premiere UK press carried a large swirl on B-side label. This copy has the smaller one so I guess it's from 1971-72. It came in a matt fold/out cover. (WLÖ*) (SXÅH*)

MICHAEL PINDER/THE PROMISE THS 18 (-76) UK

One of many solo albums issued by band members during the Moody Blues seven years hiatus between the "Seventh Sojourn" and "Octave" albums. To me Michael Pinder was one of the group's most prominent songwriters and vocalists with numbers as "Melancoly Man", "The Best Way To Travel", "Have You Heard" and "Lost In A Lost World" - all melodic, emotional and very catchy. And that is more or less what you get on this. Though made without other Moody members some of the tracks here have about the same feeling as his contributions to the band albums. "Free As A Dove" slightly up-tempo with sensitive vocals and a nice soft electric guitar in the background. "I Only Want To Love You" and "The Promise" slow emotional ballads that would have fit perfectly on any earlier MB LP if arranged and recorded by the band instead of this more anonymous studio composite. Not that it's bad in any way, but to me Pinder and his songwriting was such a big part of the Moody Blues outcomes in the late sixties and early seventies so if it doesn't sound exactly like them it's not 100% right. When posting "Long Distance Voyager" earlier I wrote that I missed Michael Pinder. Here I got him, but instead I miss the rest of the band. Same as with all their solo efforts - all having good parts and intentions, but the true magic only happens when they're all together. Released on vinyl in US, Canada, Japan, Downunder and all over Europe. UK cassette (KTHC 18). US 1996 CD on One Step Records (OSR 0433) came with two bonus tracks. Premiere UK had label as shown here in a matt fold/out cover with lyric/picture insert. (MBÅL*) (DÄRR*)

DAVID BOWIE/LODGER BOW LP 1 (-79) UK

More of a love letter than one of my regular posts, but I'll try to keep my pants on. I fell head over heels for this at release and today, so many moons later, I'm still touched. Here's an album made by experimental means - among other things applying Eno's "oblique strategies", having same chord sequences for different songs, swapping instruments and using old tracks played backwards as foundations for new songs - then stylewise blending arty, psych and avant garde with world music. It could have resulted in one of those where you have to struggle to get in and well there getting a grueling ride. But this is nothing like that. It hits immediately, dig down deep, stirr up emotions and then stay within. Even with all those odd procedures going on under the surface it's still inviting and catchy, making you wanna return again and again. All tracks are more or less favorites, but if to pick four - "Fantastic Voyage", "Look Back In Anger", "African Night Flight" and "Move On". Been aiming to write this for years, but never felt I could do it enough justice. Maybe I haven't so far with this either, but it's a start. Issued and reissued on every possible format all over the world through the years. First US on RCA Victor (AQL 1-3254). UK 1991 CD (EMI CDP 797724 2) came with the instrumental "I Pray, Olé" and an alternative version of "Look Back In Anger" as bonus. Premiere UK had label as shown here and laminated fold/out cover with lyric/credit/picture insert. (PKÅ)