BADFINGER/ASS 2C066-95191 (-74) FRANCE

 

 Their fourth album as "Badfinger" and the last on Apple. As with the former "Straight Up"   https://monolover.blogspot.com/2021/10/badfingerstraight-up-apcor-19-72-uk.html   there were lots of trouble to get it ready and out. Recordings started 1972, but release was delayed to the shift 1973/74. First producer Todd Rundgren left after just doing two tracks, then a first version of the album was ditched by the label, after which engineer Chris Thomas was brought in and together with the band made improvements and some different track selections. The project was then stalled by dissents over copywright issues. When finally released it wasn't a big seller, didn't chart in UK and only reached #122 in US. Considering all that this comes out surprisingly good to me. I get a couple of  quality rockers -  "Get Away", "The Winner" and "Constitution" - embellished by sweet guitars. There are also a couple of nice ballads and then especially "The Apple Of My Eye", about parting from the label, a very spesh song about lost love. To my taste not their best, yet well worth to be spun and enjoyed. Issued and reissued all over the world on vinyl and/or CD through the years, also US 8-track and cassette. Premiere Apple UK (SAPCOR 27) and US (SW-3411). EU 2010 CD on Apple (5099964243924) came with five bonus tracks.  First French had label as shown here in a matt fold/out cover.  (PÄY*)   (MFÄX*)  (ÄPLÄ*)

 

ALAN PRICE/THE WORLD OF ALAN PRICE PA 77 (-70) UK MONO

 

Compilation counting single A:s and B:s plus a couple of album cuts recorded 1965-69, most of them cover versions. To my taste this gathers some of his absolutely best. Melodic and not too complicated, getting all feelings out in the open. His vocals are personal and friendly and listening through always makes me feel warm and cozy. In my world catchy in the best possible way and perfect for this season when you wanna escape the chilly world outside and just be home snuggling. I've seen claims on the net that all "World of..." mono's are folds. This issue seems to contradict that. All cuts comes so well balanced and provides such enjoyable listening they just have to be true.  Of course there is a chance the corresponding stereo (which I never heard) has all perfect compatibles, but since it is a compilation picked from different sources that chance would be less than nanoscopic. So I'll stick my head out and say this mono is all true. I love it all so not possible to name favourites, but tried to pick out good exemples below.  Early stereo issues on Decca also in Germany, France, Greece and Downunder, but to my knowledge the mono was UK only.  It came with label as shown here in a laminated cover with die-cut mono/stereo hole on rear and red rim mono inner.   (WÖF*)  (UKÖ*)  (ÄNÄ*)  (MÖRS*) 

 

 

THE HOLLIES PMCS 309 (-65) MONO SWEDEN

 

 Swedish collection of tracks only issued on 45 in UK. Counting  two A:s and one B-side from 1963.  Two A:s, one B and four EP cuts from 1964.  Three A:s and one B from 1965. To me a superduper compilation, as I get original takes conveyed by pristine mixes close to the fact, here very loud and clear.  I understand that the interest for this period Hollies has withered among certain collectors last decade, which is a mystery to me.  I hear lots of high quality songwriting and performance topped by dazzling harmony singing and offering quite a few catchy moments. In my world this certainly was one of the better UK bands from back then. Maybe you've had to been there to appreciate it fully, but I was so I do. Front pic probably makes this the least flattering Hollies sleeve ever.  Not sure why they decided to use it, in any case it's odd enough to enjoy.  To my knowledge this was the only issue. It had label as shown here on thick unflexible vinyl in a fully laminated sleeve with Swedish discography on rear.  (PÖX*)  (CCÖ*)  (HÖLY*) (SWÄU*)

 

THE BAND/MUSIC FROM BIG PINK (-68) UK MONO T 2955 VS. UK STEREO ST 2955

 

One of the most spread and loved period albums. Don't have a personal relation to it myself, but do appreciate the craft and feeling. Rumours say this mono is a stone cold fold, but as usual I don't trust hearsay about mixes so I had to get it firsthand. When starting the comparison - as usual by pushing the mono button on the stereo to mimick a fold and collate against the mono - I didn't expect any differences. And as far as I can hear there are no divergences in the songs intros or outros, but to my ears this mono for some reason sounds more alive than a fold would.  It comes out somewhat louder and clearer with better separation and especially the vocals sound more on top, while connecting the channels gives a more levelled impression. To my knowledge the mono was only issued in UK so I find it hard to believe a separate mix was made just for that, or that one was initially made for US purposes and ditched there, then sent overseas. Maybe something else was done to alter the audio. Got no clue here, but pleased there is a detectable difference showing this mono isn't a straight fold from the corresponding stereo tapes. That makes it a little more precious.  (CPYC*)  (MÅW*)

THE DOORS/MORRISON HOTEL EKS 75007 (-70) US

 

 As a big fan of the band's first three albums I felt totally confused  when the 1969 brass and string infected "Soft Parade" showed up and thought they'd lost it. So when seeing this in a  record shop window some time later I hesitated, but finally went in for a listen. And already the stone hard "Roadhouse Blues" convinced me - they were back on track. Back to the signature Doors idiom and even more furious than before. They also incorporated two earlier leftovers - the softer "Indian Summer" from the debute's sessions and the psych "Waiting For The Sun" from the third album - both blending in just fine with the rest. What I still hear today is one of the rawest blues rock albums ever recorded. There's no posing here, it's like they're living the songs.  Listening to tracks like "Roadhouse Blues", "You Make Me Real", "Queen Of The Highway", "Ship Of Fools" and "Maggie M'Gill you can almost smell the pain. Why it's divided in two parts - side one "Hard Rock Café" and side two "Morrison Hotel" - I don't understand. Totally wasted on me since it all sticks so well together I rather devour it in one piece. Also the audio on this US issue is superduper, very hard hitting. Since the matrixes has EKS-75007-A AL/-B AL I suppose it's an Allentown press. Issued and reissued on every possible format all over the world through the years. US 2007 CD on Electra/Rhino (R2 101173) came with ten bonus tracks. Premiere US had  label as shown here in a thick matt fold/out cover.  (YZÄ*)  (DÖÖW*) 

 

THE SHANES/SSS SHANES SSX 1026 (-67) SWEDEN

 

 For more on the band and my relation to them please also check posts on their debute - "Let Us Show You"  https://monolover.blogspot.com/2012/06/shaneslet-us-show-you-sglp-528-64-67.html - or the second - "Shanegang"  https://monolover.blogspot.com/2013/05/the-shanesshanegang-ssx-1020-65-mono.html .  Back in the days I started to lose interest already after that second album.  In the beginning there were four guys emanating from the mining district above the arctic circle, playing their own personal garage style. Not always in tune yet always hard and the coolest the Swedish music scene had to offer. Though after some member changes they lost some of their cool and instead tried to break in to the pop market. That went ok and they sold more records than before, but at the same time dropping many old fans, including me. This was one of those pop efforts, including their greatest hit - "Chris Craft No. 9".  Listening now, over fifty years after the big change, I do hear a pretty good album. No garage or psych, but well performed and produced and seemingly made with lots of good humor. Apart from CC9 there are covers of songs like "Save The Last Dance For Me", "She's A Yum-Yum", "Holy Cow" and "Humpty Dumpty". Have to admit it's not that bad and even if the grumpy old fart inside me still prefer their earlier stuff he can now also enjoy something like this.  Also issued 1967 on Reel in mono, but to my knowledge that was it.  Vinyl had label as shown here in a thin fully laminated cover. Second video below is before they got soft. Big difference. (XHÄ*)  (SCÄ*)  (CCÖ*)

 

                                                                                      

BEATLES/THE BEATLES AGAIN SO 385 (-70) US

 

 The Hey Jude album is one of the biggest selling band compilations ever, offering a wide range of differing issues for fans to collect and enjoy.  So far I've posted a UK export  https://monolover.blogspot.com/2012/06/although-initially-released-in-us-this.html and the Brazil true mono version   https://monolover.blogspot.com/2013/01/beatleshey-jude-btl-1009-70-mono-brazil.html  . Now it's time for the original.  From the beginning a project handeled by publisher Alan Klein and ABKCO producer Allan Steckler, compiling songs that hadn't been on any US Capitol albums and then concentrating on recent 45:s. Originally called "The Beatles Again", which was changed to "Hey Jude" just before release, leaving them with a large number of mistitled labels already pressed. That explains the mismatch between label and the original cover having "Hey Jude" on the spine. Reason label has an "SO" prefix while the sleeve carries a "SW" is those stood for retail price and at the same time the name was changed they also decided to lower that.  The variation isn't super rare, but good to have since it is a guarantee for an early press of the original issue.  And even if the stereo mixes made for this to my taste don't reach up to the original monos (as issued on the Brazil one), the audio here is so good I can't help falling in love anyway. Early copies had label as shown here in a fully laminated cover.  (YZÄ*)  (BÄ*)  (LGÅ*)  (ÄPLÄ*) (HÄI*)

                                                                                     

                                                                                              

                                                                                    

                                                                                   

                                                                                         
                                                                                 

                 

 

TRAFFIC/LAST EXIT ILPS 9097 (-69) UK

 

 Pick'n'mix compilation released by Island after the band's first break up, as Stevie Winwood left to participate in Blind Faith.  Side one consists of assorted studio takes - "Just For You" A-side of a Dave Mason solo single and "Whithering Tree" former flip side of the "Feeling Alright" 45.  There's also A+B side of the "Medicated Goo"/"Shanghai Noodle Factory" single plus the previously unreleased "Something's Got A Hold Of My Toe". Side two has two live takes recorded at Fillmore West march 1968. Issues like this, where labels merge odds and sods to cash in further on desisting acts, can somtimes come out half-ass, but this comes totally full to me. Side one has all tophole Traffic tracks, with the former 45 mono takes remixed into true stereo, so something new there even for those who already had the singles.  Side two has long jams on two cover songs, maybe not the most exciting free form from back then yet good as it is and it was nice to hear a live take from the band that early. Also the audio all over on this press is very natural and good for the ears. So even if a posthumous cash-in it still sounds fresh providing lots of enjoyable listening. Issued and reissued on all possible formats all over the world through the years. First US on United Artists (UAS 6702) came with different sleeve design. Premiere UK had structured label as shown here on heavy vinyl in a matt fold/out cover.   (ÖSÄP*)  (TXÄV*)

 

BADFINGER/STRAIGHT UP APCOR 19 (-72) UK

                                                                               

 The band's third LP as Badfinger. At release met with lukewarm or bad reviews and even if a couple of spawned singles did good on both sides of the Atlantic the album itself halted at #31 in US and didn't manage UK top forty.  Today it seems to have been totally revalued by critics and public. Many have crowned it their best album, while others call it one of the greatest guitar driven power pop efforts ever. Apparently it took a long time to get ready for release. First an album was produced by Geoff Emerick, which was rejected by Apple and George Harrison took over, but he in his turn had to leave after a while to work with the "Concert For Bangladesh" project and the production was handed over to Todd Rundgren. As the story goes even Phil Spector was involved at some point. But even if there was some turmoil in the making, non of that can be heard here.  No sprawling, instead a very composite work. Maybe not all goosebumping, yet filled with very well played and sung power pop including many catchy moments. No need to jump tracks, it all sticks together creating a warm friendly atmosphere. Got many favorite tracks, but to pick a few - "Day After Day", "Baby Blue" and "Suitcase". Issued and reissued on vinyl and CD all over the world through the years, also reel, 8-track, cassette and MP3.  First US on Apple (SW-3387). Japan 2010 CD on Apple (TOCP-70886) came with six bonus tracks.  Premiere UK had label as shown here in a thin fully laminated cover.  (ÄPLÄ*) (PÄY*)  (BÄ*)

 

FLEETWOOD MAC/ENGLISH ROSE BN 26446 (-69) US

 

 US compilation, combining six tracks from the in US unreleased "Mr Wonderful" with two - "One Sunny Day" and "Without You" - that many moons later would show up on the UK "Then Play On". Further three 45 only cuts - "Black Magic Woman", "Albatross" and "Jigsaw Puzzle Blues" - here months before they appeared on the UK "The Pious Bird Of Good Omen".  It also includes the then previously unreleased  "Something Inside Of Me".  An at the time smashing collection of tracks, which together with the sleeve pics was enough to make any FM fan jump with joy. And I'm still jumping. Cause even if all the tracks since then have been spread over various CD:s, vinyls and download pumps I'm repeatedly floored by the fantastic audio on this press. Big, strong and natural, making me feel embraced either I'm sitting put or pacing. Even if some kind of compilation I rather see it as an alternative original and as such one of their better.  But howeven one define it I think it's too good not to be spun and enjoyed.  1969 vinyl issues in Canada, Japan, South Africa and Downunder. Also as US 8-track. Japan 2009 Blu-spec CD on Epic (EICP 20031). Premiere US had label as shown here in a sleeve with laminated front.  (YZÄ*)  (FXÄC*)