THE KINKS/KINKS NSPL 83021 (-64) UK EXPORT STEREO

 The forth variation of The Kinks debute LP I'm posting here.  For more check the UK mono https://monolover.blogspot.com/2018/11/the-kinks-npl-18096-64-uk-mono.html  , the UK domestic stereo https://monolover.blogspot.com/2014/08/the-kinks-gsgl-10357-66-uk-stereo.html , or the Australian release https://monolover.blogspot.com/2012/06/kinks-plp-1128-64-australia.html . This is the UK export stereo, not first issued in UK as the demand for two-channel among the expected buyers was low there 1964. Though it was released nationally on budget label Golden Guinea around fifteen months later, as shown by the link above. With exception of "You Really Got Me" (which comes in mono) this is true stereo and it's a good one. Considering the equipment and instrumentation it comes out surprisingly natural with fine balance. There is panning, but also some overlapping, and no overuse of reverb. I especially like that the vocals on some tracks are split between the channels, so you don't get that "voices on one side and most of the music on the other" - a stereo mode too common back then. I do enjoy the mono, but this is certainly up there and can offer new insight to the music. It came with label as shown here in a laminated flip/back mono cover with stereo stickers.   (PÖY*)  (KYX*)  (ÖXÄP*)

                                                                              

                                                                                  

                                                                                  

                                                                                

                                                                                  
 

TERESA BREWER/SHOWCASE APB 1006 (-51) UK

 Always been fascinated by early 10 inch vinyls - those released from 1948 up to the early fifties  https://monolover.blogspot.com/search?q=(NYF%C3%96*) . Not easy to find still playable ones in these parts, but when I do I pick. Not only do they work as kind of time machines, taking me back to when it happened, the audio often also has a very warm glow which hits me way more heartly than most modern recordings. Teresa Brewer (1931-2007) may not be a big name today, but from the late forties way into the sixties she was - reording nearly 600 songs in about every existing genre. Maybe most known for the international million seller "Music! Music! Music!", but she had quite a few songs high on the lists apart from that. From the late sixties she concentrated on jazz and recorded with stars like Duke Ellington, Count Basie and Dizzy Gillespie. She's also done numerous appearances in movies, musicals and on television. This UK vinyl is a compilation of some of her earliest recordings and it certainly delivers. Almost offensively lively, yet with a glow that puts me in a very cozy mood. Exemples below. Cant find any other issues of the particular release elswhere on the net, but it seems  this, on maroon label and gold lettering, came with two different cover designs in UK - like here an imported US one and one made in UK.  (NYFÖ*)  (FÄV*)  (CLÄZ*)

                                                                                 

                                                                                  

                                                                                 

                                                                            

              

 

STEELEYE SPAN/SAILS OF SILVER CHR 1304 (-80) FRANCE

 Their eleventh studio LP and a kind of comeback after the announced breakup following the 1977 Storm Force Ten album. Here both Peter Knight and Bob Johnson were back in the band and all songs traditional and/or self-penned so one could expect something back to standard Steeleye Span. And it is in some ways, but also different. In all more pop and rock than folk, but with enough of the old feeling to at least satisfy me. E.g. title song has a smart riff and handsome harmonies, "Barnet Fair" catchy with some nice violine and "Gone To America" a beautiful ballad with carressing guitars. And Maddy Prior's vocals are reliable as ever. As a band fan I like it and even if to my taste not up there with the 1989 "Tempted And Tried" https://monolover.blogspot.com/2012/09/steeleye-spantempted-and-tried-add-9-89.html , it is one of many albums showing they had a lot to offer after their greatest success "All Around My Hat"  https://monolover.blogspot.com/2014/08/steeleye-spanall-around-my-hat-chr-1091.html  . If You doubt that - full album below! Issued and reissued all over the world on LP and CD through the years, also US and NZ cassette. Premiere UK on Chrysalis (CHR 1304). First US and Canadian 1981 on Takoma (TAK 7097). UK and US 1998 CD on Park Records (PRKCD 40) came with three live bonus tracks. First French had label as shown here in a thin glossy cover.  (MFÄX*)  (SÖPX*)  (FÄV*)  (BRYF*)

                                                                             

                                                                                

                                                                                  

                                                                                 

                                                                             

                                                                                                                                                                                                                                                        

 

PETER AND GORDON/HURTIN' 'N' LOVIN' 33SX 1761 (-65) UK MONO

 They were a popular act in the mid-sixties, especially in US, but today I guess most ear pleasing for us who were there as teens, pondering over lost or unattainable loves. I was and I did, so for me it's all about reminiscing. Not always pleasant, but bittersweet at least. Didn't have any of their albums myself back then so the memories are from school dances and unhandy snogging with one special girl. Still when I listen to this today some comes back to me and I'm almost there. The song choises say a lot - "Don't Pity Me", "Tears Don't Stop", "Crying In The Rain", "Hurtin' Is Loving", "Cry To Me" and so on. And as expected the rhythm is slow, the arrangements bombastic and much drowned in reverb. Caressing enough, but also quite depressing if you're in the wrong mood.  On the bright side - they're backed by real instruments and, apart from the echoing, the vocals are unadulterated - so for us looking for genuineness it's still better than most of the synthesized crap we're stuffed with today.  Favorite tracks - the slow cuddly version of "All Shook Up" and the almost rocking "Someone Ain't Right". US had their own issues by the duo, also issued in Canada and Japan at the time. This UK was issued on vinyl in Italy, Japan and Downunder. Japan 2003 remastered mono CD in Paper sleeve (EMI TOCP-67118) came with nine bonus tracks, including versions sung in German and French. Premiere UK had label as shown here in a laminated flip/back cover.  

                                                                               

                                                                                  

                                                                                

                                                                            

FAMILY/BANDSTAND K 54006 (-72) UK

 Still a favorite after all those years so time for a repost with added songs. I like most of what they did up to this - high quality prog carrying odd song structures and unconventional melodies, presented by Roger Chapmans often rough vocals  https://monolover.blogspot.com/search?q=(F%C3%84XI*)  . All very adventurous, sometimes borderline uncomfortable. This was their most commercial album. Not cheap in any way -  it's still tickling and innovative, but with a clearer structure both in song writing and performance, making it easier to connect. To my ears an almost perfect blend of adventure and emotion. There are so many good songs here, melodic and varied - allowing both harshness and down right beautiful. All tracks are special, but the ones touching me most are "Burlesque", "Coronation", "Bolero Babe", "My Friend The Sun" and "Top Of The Hill". Co-produced by the band and studio wizard George Chkiantz (who worked as engineer with King Crimson, Zeppelin, Small Faces and Beatles among others). It reached #15 on the UK list and #185 on Billboard. Issued and reissued all over the world on LP and CD, also 8-track and cassette. US on United Artists (UAS 5644). UK 2006 CD on Repertoire Records (REPUK 1081) came with four bonus tracks. Premiere UK had label as shown here in a die-cut cover shaped as an old TV-set with thin plastic screen and grey/brown lyric inner. (FÄXI*) 

                                                                                 

                                                                                  

                                                                             

                                                                           

                                                                                

                                                                                     

                                                                                  

                                                                                   

 

CHRIS FARLOWE/FROM HERE TO MAMA ROSA WITH THE HILL 2425-029 (-70) UK

  Not sure about the billing for this LP.  The band The Hill was formed by former Thunderbirds bassist Bruce Waddell 1969, including keyboardist Peter Robinson (earlier with Episode Six https://monolover.blogspot.com/2022/03/the-sound-of-sixties-eva-1202122-83.html ), cellist Paul Buckmaster (who'd worked with Bowie), guitarist Steve Hammond and drummer Colin Davey. They got a contract with Immediate, but after releasing just one 45 the label crashed, whereafter they were picked up by Polydor to record an LP. However they lacked a good vocalist, so when Chris Farlowe returned to England after a US tour Waddell asked his old Thunderbirds mate if he could help out with the album and that was it. Apart from "Travelling Into Make-Believe" all cuts were written by the band which also had a style then new to Farlowe - heavy progressive blues rock. So with all that background it could have been billed "The Hill featuring Chris Farlowe" or something like that, but guess Polydor thought putting Farlowe in front would sell better. In any case this is good blues prog - top guitars, lots of adveturous organ and a Farlowe adapting to a genre that he later would help to consummate with Colosseum https://monolover.blogspot.com/2012/12/colosseum-live-icd-12-71-uk.html .  Here I especially like "Questions" with its dark cello sound, "Black Sheep Of The Family" carried by prominent bass and howling guitars and "Travelling Into Make-Believe" because of the busy yet accurate organ. This became the first and last from the constellation. As Farlowe joined Colosseum, Buckmaster and Robinson went on to play with Quatermass, Hammond became a member of Fat Matress and Davey would later join Ronnie Lane's Slim Chance. To my taste not up there with my all time favorite prog band Colosseum, yet with so much going for it it's certainly worth while if you're into such music.  Also originally issued on vinyl in US (Polydor 24-4041), Canada, Downunder, Germany and Spain. UK 2017 CD on Repertoire Records (REPUK 1331) came with three bonus tracks. Premiere UK had label as shown here in a glossy fold/out cover with lyric insert.

                                                                            

                                                                        

                                                                                

                                                                              

                                                                                  

                                                                                 

 

FAIRPORT CONVENTION/ROSIE ILPS 9208 (-73) UK

 After the, to my taste, groundbreaking folk rock opera album "Babbacombe Lee"  https://monolover.blogspot.com/2016/03/fairport-conventionbabbacombe-lee-ilps.html  this comes through as lot less ambitious and also a little less folk-rocking then most of their other earlier stuff. At this time all founding members were gone and new here was songwriter/ vocalist/guitarist Trevor Lucas and guitarist Jerry Donahue, both earlier in Fotheringay  https://monolover.blogspot.com/2019/09/fortheringay-6339-010-70-germany_23.html  - which could explain the slightly more pop orientated style here. What saved that for me was Sandy Denny, who does a guest apperance here, but sadly only on the title track where she sings background together with Linda Peters. Those two did a lot good together on The Bunch's "Rock On" album https://monolover.blogspot.com/2015/11/the-bunchrock-on-sil-934574-72-new.html and it would have saved a lot to have them up front on all of it here. But it is what it is and there are still things for me to enjoy. Title track emotional enough, "Mathew, Mark, Luke & John" good and rather heavy English folk, "Hungarian Rhapsody" more pop than folk yet charming, "Knights Of The Road" country rock with nice guitars. The audio on this press is top notch - loud and clear. Issued and reissued all over the world on LP and CD through the years, also cassette and 8-track. First US on A&M (SP-4386). EU CD on Island (982 150-2) came with five live tracks as bonus. Premiere UK had label as shown here in a thin matt cover.  (FÄHZ*)  (BRYF*)

                                                                             

                                                                           

                                                                                    

                                                                                

                                                                                   


 

JESUS CHRIST SUPERSTAR MKPS 2011/12 (-70) UK

 

  The breakthrough for composers Andrew Lloyd Webber and Tim Rice and the first of many more rock operas and musicals they were involved in. And with all that's come out in those genres since, from them or others,  it's still my favorite and this original setting and recording to my taste still unsurpassed. It is the greatest story ever told and they do it so well. Everything was tops here - libretto, songs, playing, vocals, production and audio. Has been re-issued, re-made, staged, filmed and copied numerous times and still always played somewhere in the world. Shown here is the first UK issue - the place where it all started. Parts of the then rock elite were there. Among others Ian Gillian (Deep Purple), Mike D'Abo (Manfred Mann), Victor Brox (who's sung and played with about everyone), John Gustafson (Roxy Music, Big Three) and the then otherwise not that known Yvonne Elliman and Murray Head doing top performances as Mary Magdalene and Judas. I'm so happy it's still here for me to enjoy and give me goosebumps when I go in deep. Enclosing some of my favorite parts below. MCA UK changed their label design frequently in the early seventies, so for some of their issues it can be hard to distinguish which was first. This copy has earliest matrixes, mothers and stampers and label as shown here. Cover is of unlaminated "envelope" style that can be folded out to a silver star with Jesus images inside and a large glossy paper booklet with lyrics and pics. When I bought this it also came with Decca blue rim stereo inners - don't know if that was customary, but since Decca distributed MCA in England at the time it makes sense. For a mono version - check https://monolover.blogspot.com/2022/09/jesus-christ-superstar-mcam-25001-70.html .   (RÖKÖ*)

                                                                                

                                                                           

                                                                                    

                                                                               

                                                                                  

                                                                              

                                                                             

                            
                                                                                

                                                                              

                                                                                  

                  

IRON BUTTERFLY/BALL 228011 (-69) UK

 Their third album and different from the two surrounding ones as it lacks a long epic track. While "Metamorphosis" had "Butterfly Bleu" and "In-A-Gadda-Da-Vida" had that -  https://monolover.blogspot.com/search?q=%28G%C3%84PPY*%29  - this has a couple of more or less regular length songs. I do value the epics, but here are other qualities.  Well written songs with lots of top guitars, piquant organ and emotional vocals, making it hard not to be touched. Favorite tracks - "In The Time Of Our Lives" combining disturbingly hard with beautifully melodic, "Filled With Fear" odd psych carried by great guitars and the furious "Real Fright". Even if the remaining songs, to my taste, not reach up all the way to those three they all matter and there's absolutely no need to jump tracks. Whole album below so You can judge for yourself. The audio on this UK is tophole - loud and clear - making it very good listening, so I'm enjoying it all to the fullest as I'm writing this. Very tasty indeed. Issued and reissued all over the world on vinyl, CD and other formats. Premiere US on ATCO (SD 33-280). Japan 2006 CD in paper sleeve with obi. First UK had label as shown here in a glossy fold/out cover.  (GÄPPY*)

                                                                             

                                                                          

                                                                            

                                                                                   

                                                                            

                                                                                

                                                                         

          

 

 

THE KINKS/EVERYBODY'S IN SHOW BIZ-EVERYBODY'S A STAR DPS 2035 (-72) UK

 June 1976 I was in a car accident and put in coma for a while connected to a respirator. After waking up I faced at least a year of rehab to make body and mind work again. Happy to be alive I managed daytime training and social interaction, but the nights were terrible. Hunted by demons of past and present I just couldn't sleep. The prescribed pills only made it worse so I decided to endure the dark hours and hope for the best, took my Sony cassette player and recorded eight hours of music to get me through the nights. The songs chosen were all of the same kind - melodic, soft with good audio and a friendly atmosphere, making me feel relaxed and cozy during the long hours. I slightly remember some of the tracks - by Argent, Zombies, Beatles and Bryan Ferry - but this was the album most represented with six cuts. It had everything I needed with good melodies, insightful lyrics and above all a feeling of being amongst friends. My favorite was "Supersonic Rocket Ship" and still today that track puts me in a warm and pleasant mood. It's a 2LP set - one live made at Albert Hall and one with studio recordings. The live set is good and rather funny, but to me it's all about the studio record. It has been called a transition album and a start for Ray Davies theatrical rock-opera composing. Maybe so, but I hear "Muswell Hillbillies" part 2  https://monolover.blogspot.com/2012/07/the-kinksmuswell-hillbillies-sf8243-71.html . Both have about the same instrumentation, mix of genres and great songs. There's no idol worship or high horses, but true interaction with the listener, honest and heartfelt. In my opinion it's a classic and one that will never get old. Early US on RCA Victor (VPS-6065). Japan 1998 CD on Victor (VICP 60445) came with two bonus tracks. First UK with label as shown here, matt f/o cover and picture lyric insert. (KYX*)(LYBÖ*)