THE BEATLES/THE BEATLES' SECOND ALBUM ST 2080 (-64) US STEREO

 

 One of those early US Beatles LP:s that hardly ever showed up in my Swedish home town Luleå in the sixties and therefore was a great joy to find back then.  For us up in the far north they were oddities and sometimes had formats we couldn't get anywhere else - like this, carrying stereo versions of  "I Call Your Name" and "Long Tall Sally", whereof the former was a lot different to the more common UK mono version (and as it turned out much later also dissimilar to the original UK stereo, first issued on the 1976 "Rock'n'Roll Music" album). I didn't care back then that the whole album was drenched in reverb, thus making it come out far from the band's initial intentions. Later, however, as I got more orthodox in my Beatles listening it started to annoy me and got lost in a trade. Now after finding another copy over forty years later I'm listening with more mature ears and finding it's not that bad.  For me more accustomed to the drier UK versions the reverb is still kind of annoying, but it adds some extra width and power, making it more embracing...if you're into that kind of hugs. And above all - it is an early US Beatles original, which makes it an important part of the band's history whether you like it or not. So in a way this copy is a keeper, not in spite of the sometimes disturbing reverb but because of it...because it's something else.  Issued and reissued on vinyl and CD all over the world through the years, also US reel, 8-track and cassette. UK export press on Parlophone (CPCS 103). Pressed in so many places in US during the sixties it's hard to find the exact origin for this copy, but as far as I can figure out from checking the net ones with the here shown label design are 1965 Jacksonville pressings.  (BÄ*)  (YZÄ*)  (LGÅ*)

 

 

                                            

JIMI HENDRIX/THE CRY OF LOVE LPV 5763 (-71) YUGOSLAVIA

 

 Commonly categorized as a posthumous album. But even if Hendrix himself passed away during the recordings and some of the tracks were post-prepared by engineer Eddie Kramer, manager Michael Jeffrey and drummer Mitch Mitchell, the whole thing got so much of that familiar Hendrix guitar magic and his special vocals I wanna believe it's very close to what he wanted it to be. And even if two of the cuts originally planned for the album - "Dolly Dagger" and "Room Full Of Mirrors" (later on Rainbow Bridge) -  were removed and replaced by "Straight Ahead" and "My Friend", those substitutes works so well it's more than enough to canonize it as a true masterpiece. I dig it all through with both smiles and goosebumps. My never ending hunt for delectable vinyl audio with a mostly thin wallet sometimes takes me to unexpected places. Like the Yugoslavian release of this LP, which in my world turned out to be a real gem. The pressing is immaculate with seemingly very little use of compression or limiting. Loud, yet clear and well separated with lots of presence. Reminding me of UK 1st press "Ladyland" with the same kind of bouncy bass and sharp guitars. So a kind of "loud cut", hard hitting and offensive. Maybe not for those who wish music like this to be soft and caressing, but if you're like me and want close and natural with as little meddling as possible, this comes recommended. Got non of the common originals to compare with at the moment, but doubt any of those could please me much more. First (only?) Yugoslavian issue had label as shown here on thick unflexible vinyl in a thin fully laminated cover. (JHÄ*) (BÅC*) 

                                                                                            

                                                                              

                                                                                       

                                                                  

STEVIE WONDER/DOWN TO EARTH TM-272 (-66) US MONO

 

 Stevie Wonder's fifth studio LP and while not his biggest seller it did generate one hit - "A Place In The Sun", reaching #9 on Billboard. To me interesting since it is his first grown-up album. The wonder kid and teen idol are largely left behind, leaving place for the more mature persona that, further developed, would make him one of the most loved and best-selling seventies artists.  Three of the songs are partly self-penned and even if only one - "My World Is Empty Without You" - is from Holland-Dozier-Holland the whole thing oozes good mid-sixties Motown, backed by The Funk Brothers and The Andantes among others. Over all maybe not up with some of his later masterpieces, but warm and friendly enough, topped by his then already signature vocals. This mono is cut loud though without bursting the seams, so good listening anyway. Favorite tracks - "A Place In The Sun", "Be Cool, Be Calm (And Keep Yourself Together)" and "Angel Baby (Don't You Ever Leave Me)".  Issued and reissued all over the world on vinyl, cassette and CD through the years. First UK on Tamla Motown (S/TML 10045), Early US (also as stereo TS 272) had label as shown here in a glossy cover.  (TÖMÖ*)

                                                                                

                                                                               

                                                                          

                                                                                     

                                                                           

 

ROLLING STONES/FLASHPOINT 468135 1 (-91) HOLLAND

 

To be honest - this was never one of my most wanted Stones albums. Just got it because I want my RS collection complete and it is nice to have the LP with the large 12 page booklet. Even if not the rarest Stones vinyl, when it shows up in these parts it's almost always on CD.  To my taste non of their other live albums can measure up to "Get Yer Ya Ya's Out" and this doesn't either, but considering all that'd been during the band's then almost thirty years it's surprisingly good.  Recorded during the 1989-90 Steel Wheels/Urban Jungle tour. You get a good flow of classic numbers, performed with an unexpected mass of youthful (???) energy. And even if I've heard the songs many many times before it still kind of works. It's also nice to hear Clapton guesting on "Little Red Rooster", which he of course does with great honor. The whole thing ends with two 1991 studio recordings - "High Wire" and "Sex Drive" - of which the former also was released as 45. Very good Stones, sounding like something from the Steel Wheels sessions. So even if I wasn't keen on it earlier, after getting aquainted I give in and will certainly spin again. Issued and reissued on vinyl, cassette and CD all over the world through the years. Most original CD:s came as seventeen tracks, adding "Rock And A Hard Place" and "Can't Be Seen".  Premiere Dutch had label as shown here in a fully laminated stickered cover with a 12 page booklet. (RÅ*)  (LYBÖ*)   (HÖLX*)

                                                                                    

 

                                                                                  

MARVIN GAYE/GREATEST HITS STML 11065 (-68) UK

Even if Marvin Gaye (1939-84) was behind some of the most glowing Motown hits of the sixties - among them the duets "It Takes Two" with Kim Weston and "Aint No Mountain High Enough" with "Tammi Terrell" - and also being crowned "The King Of Motown" at that time, it is mostly his seventies albums -  especially "What's Going On" and "Let's Get It On" -  that, together with the fact he was shot to death by his own father, has allowed him to stay fresh in the mind of music lovers and history buffs through the years.  This UK sixteen track compilation - collecting fourteen 45 A:s and two B:s from the years 1962-66 -  truly affirms what a great solo artist he was already in the early sixties. Understandably they couldn't get all highlights on a single LP, but the choices here are just fine. Impossible for me to pick the best from all good, but trying to on the playlist below.  Since it is a singles compilation I was worried the too much would come out as ugly stereo fakes, though to my surprise it all sounds lovely. Some of the tracks are enhanced mono, but so well done it's never disturbing and the idiom stays the same all through. Good listening! Also issued on vinyl in Australia (STMLO 11065), Germany (257 15 011) and as UK cassette (TC-STML 11065), but to my knowledge never released on CD. Premiere UK (also mono TML 11065) had label as shown here in a lamninated flip/back cover with Motown ad inner.  (TÖMÖ*) (GÖJI*)

                                                                                 

                                                                                  

                                                                                  

                                                                                 

 

                                                                            

                                                                                

                                                                             

                                                                                 

                                                                                

THE ZOMBIES LK4843 (-66) MONO SWEDEN

 

 Compilation of twelve single tracks - six A:s and six B:s - pressed in Germany for the Swedish market. Four of the songs also appeared on their UK  "Begin Here" album   https://monolover.blogspot.com/2012/04/begin-here-lk-4679.html  , remaining eight UK non-LP. After comparing with some of the original '45:s I'm confident no further tampering was done for the issue and what you get is the first made single cuts right on. The audio shifts a tiny bit between tracks depending on differing studio facilities, but as a whole it's beautiful and just as it was. I've seen quite a few theories and "facts" about the album on the net lately, most of them wrong. Some say it was originally issued in Holland and Japan as "I Love You", others claim it was a UK project that was withdrawn domestically and released in Sweden only. There may be early Dutch or Japanese Zombies compilations, but this is definately not one of those. Back cover images are from a gig they had at a handball arena somehwere in Stockholm (on a few of them you can see the clock and counter in the background) and front "goal" pic probably taken before the event (same dresses). Original print by AB Roos Tryckerier, Stockholm. I don't believe it was a wrecked UK project either, just one in a long line of Swedish compilations containing UK non-LP cuts from then prominent acts, many of them made in Germany due to lack of domestic pressing plants. However that may be it's a fantastic album, filled with top songs and stunning audio. In fact the "Begin Here" numbers sounds way better here than on the UK album - not as loud and offensive, making them clearer and more natural. US 2014 vinyl and CD re-issues on Varese Sarabande (302 066 568 1/2), whereof the CD having six bonus tracks. UK 2016 "record store day" vinyl on Not Bad Records (BADLP 013) came with two bonus tracks. Premiere Swedish had labels as shown here and thin, fully laminated cover. (ZÖZ*) (SWÄU*) (PÖP*) 

 

JIMMY PAGE/OUTRIDER GHS 24188 (-88) US

 

 So far his only solo effort, released two years after The Firm's second album - "Mean Business". Rather unfavourably treated by critics, but sold ok reaching #26 on billboard and #27 in UK.  I was first drawn to it because of the setting. John Bonham's son Jason and long time Jethro Tull drummer Barrie Barlowe handeling the sticks, while the vocals are shared by top voices Chris Farlowe, John Miles and Robert Plant. The latter only doing one song - "The Only One" - but as doing it with Page and Bonham Jr. you could hear it as something Zeppelin adjacent.  Apart from Leon Russell's "Hummingbird" all songs are penned by Page, either alone or together with the vocalist for each track. Guitars are partly wild and raunchy with lots of signature Page-ish twists and turns, backing exact and vocals expert.  Audio somewhat too dense for my taste and the songs themselves maybe not all totally memorable, but if you dig Page's playfulness, appreciate the slight Zeppelin touch and, like me, like to follow Chris Farlowe's adventures through the years, it's a sure thing. Favorite tracks "The Only One", the spawned 45 "Wasting My Time" and the Farlowe sung "Prison Blues". Issued and reissued on vinyl, CD and cassette all over the world through the years. First UK vinyl on Geffen (WX 155). Japan 2016 limited ed. remastered CD on Geffen (UICY-25683). Premiere US had label as shown here in a glossy stickered cover with pic/credit inner.  (LÖZ*) (YZÄ*)