EDITH PIAF/CHANSONS PARISIENNES FL 9501 (-49) US MONO

 An addition to my earlier posts of the first childrens LP and first country LP. This is the first Edith Piaf LP, released 1949.  A US Columbia 10 inch issue made through transference of original 78 takes to the then new medium. The recordings were conveyed by playing the originals on state of the art equipment and record by microphone or directly to matrix or tape, though the tape recorder was a novelty back then and seldom used. Listening to this is like hearing those vintage shellacs and enjoying the same warm, cozy atmosphere. I rather put this on the turntable than any digitized version. First released as a 4x78 RPM album (Columbia F-5). Later reissued on 10 inch in the Columbia Masterworks serie (ML 2601). This premiere LP issue came with golden rim and fonts to a red label in a glossy cover. (FÄV*) (NYFÖ*) (YZÄ*) (ÖXCÅ*) (GZÅ*)

                                                                                    

                                                                                   

                                                                                   

                                                                               

                                                                              

 

JOHNNY WINTER/JOHNNY WINTER AND S 64117 (-70) UK

 

  I immediately fell in love with his "Progressive Blues Experiment" debute    https://monolover.blogspot.com/2024/02/johnny-winterthe-progressive-blues.html   and the eponymous second album where he was backed by a couple of old time black blues heroes and performed some of his best guitar play ever  https://monolover.blogspot.com/2017/03/johnny-winter-m-63619-69-uk-mono.html .  On this his fourth he's backed by three former McCoys members - guitarist Rick Derringer, bassist Randy Jo Hobbs and Randy Zehringer on drums. But what I hear here is far from "Hang On Sloopy" and also a small step away from Winter's earlier blues oriented stuff. Instead it's more rock based and as such, at least to my taste, a little less special. It is a very well performed blend of hard rockers and slow movers offering a couple of really good moments - like the fierce "Guess I'll Go Away", or the heavy "On A Limb" and "Nothing Left" - but as a whole I'm not as taken with it as I was with his second album. Though well played it hasn't got the same directness and intimacy. It has feeling, but a different more distant one. In any case it will probably fit in any true rock collection and for me a keeper for sure.  Issued and reissued all over the world on vinyl and/or CD through the years. Premiere US on Columbia (C 30221). Japan 2011 CD on Sony (SICP 3100) in paper sleeve came with two bonus tracks. First UK had label as shown here in a thin matt stickered sleeve with "Rock Buster" ad inner.

                                                                                

                                                                                  

                                                                                

                                                                                  

                                                                                   

 

THE BEACH BOYS/SHUT DOWN VOLUME 2 T 2027 (-64) UK MONO

 A kind of follow-up to the 1963 Capitol multi-artist compilation "Shut Down", this time with Beach Boys tracks only. Counted as the band's fifth album and first of three issued 1964. Apart from two covers - "Why Do Fools Fall In Love" and "Louie Louie" - all penned by the band. You should think that the pace they had back then with concerts and studio time would have made an impact on this and resulted in some kind of half-ass work, but no. Two of the cuts can be called fillers - "Cassius Love Vs. Sonny Wilson" and "Danny's Drums" - but the rest are absolutely beautiful. In songs like "Don't Worry Baby", "The Warmth Of The Sun", "Why Do Fools Fall In Love" and "Keep An Eye On Summer" the harmonies are no less than heavenly - so at the same time both tuned and strong they go right to my gut. Add to that the classic "Fun Fun Fun" and a happy "Louie Louie" version and it all adds up to a great album. Also this mono provides perfect listening - strong, clear and well separated, making the voices come out just right. High class all the way!  Issued and reissued pretty much all over the world on LP and CD through the years, also 4-track, 8-track and cassette. Premiere US on Capitol (T/ST 2027). First UK had structured label as shown here in a laminated flip/back cover with larger "mono" on top right front. Since this copy has the smaller "mono" it has to be a somewhat later press.  (BÅB*)

                                                                                     

                                                                                 

                                                                                  

                                                                             

                                                                                      

                                                                                  

 

THE BEATLES/SESSIONS OC 064 2402701 (-85) UK

 A Beatles boot that shows up in the bins every now and then in numerous variations and formats. To me the one with the most fascinating story and the reason I bought this copy was it came with a cut out newspaper article from 85.04.20 (don't know which paper) explaining a lot about its background I didn't know before. Check below to read. So it was planned by EMI as a legit "new" Beatles LP, but stopped by Paul, George and Ringo. Apparently this has the same tracking and track order as originally planned in a sleeve design that probably was one of the chosen for the EMI issue. Listening today it's clear the engineering of the tracks wasn't finnished yet, though most of the songs comes out rather well and certainly good for a bootleg. And it's very rewarding to hear them in the exact order they were planned. I escecially dig "Leave My Kitten Alone", "What's The New Mary Jane" and the first recorded version of "One After 909". All cuts here have been released legaly since on various collections, mostly with better audio. But as this is the one that comes closest to the withdrawn licit issue it's my choice. Guess this copy belongs to one of the earlier boot batches that was issued, on black label in a fully laminated cover.   (BÄ*)  (LGÅ*)  (ÖRJ*)

                                                                                  

                                                                                

                                                                                    

                                                                                    

                                                                                      

                                                                                    

                                                                                   






 

PINK FLOYD/RELICS SW-759 (-71) US

 Compilation apparently put together since EMI was worried nothing would come out of the "Meddle" sessions and they wanted something to oblige the band's fans. For more please check post on the UK version  https://monolover.blogspot.com/2012/09/pink-floydrelics-srs-5071-71.html . This American, released at about the same time, has the same tracking, but on another label with totally different sleeve design. The fact that it came on the band's then main label Harvest in a sturdy textured colour sleeve works well for me and in a way makes the UK budget issue seem a little cheap in comparison. To my ears the US also has better audio. Not that the UK sounds bad, but this comes through somewhat clearer with better separation. Since the band was UK and it seems that issue was the original it's probably what most Pink Floyd fans would prefer, but considering sleeve and audio this sure has its advantages. Glad I don't have to choose. Issued and reissued on all possible formats all over the world through the years. US 1982 reissue on Capitol (SN-13264). Premiere US had label as shown here in textured cover.  (YZÄ*)  (PÅX*) (HÄVL*)

                                                                                   

                                                                                   

                                                                                       

                                                                                      

                                                                                 

                                                                                 

 

POPLIGAN - FÖR FN OCH FLYKTING-67 PRH 5003 (-67) MONO SWEDEN

 To my taste a very rewarding compilation, filled with top pop, psych and garage cuts, all self-penned. With so much good going on here I'm amazed it's still unknown to most lovers of sixties music. Hoping this repost with added tracks and better images will spread the word. A charity sampler released through a collaboration between UN and Swedish Radio (eng. "Pop League - For UN and Refugee-67"), consisting of twelve cuts written, recorded and donated by the then Swedish pop elite especially for the occation. It was a good cause and sold quite well. Now essential as a collection of rare cuts from bands still considered important and combos that vanished soon after. Listening now it's clear some of them were very generous. Tages "My Home Town" catchy melodic pop, Lee Kings "Stop, Think, Reconsider" (here the original mono version) happy uptempo with tons of energy, Mascots "For Janet (Whom I Met)" garage with rattling guitars and Streaplers "Stop That Train" a bluesy number with organ and attractive vocals. The most outstanding track is The Caretakers "Lonesome Soul". Everything else they did was in the lighter pop genre, but this is high class garage psych. Uptempo in minor with a mystic atmosphere and the refrain carrying some very high pitch vocals - so odd it never fails to amaze me even if I must have heard it over hundred times. Some of the other cuts have later shown up on 45:s, but here is still the only place for that. To my knowledge this was the only issue. It came with label as shown here in a fully laminated cover with project info/picture inner. (ÖJÅX*) (DÄXÖ*) (SCÄ*) (SÄM*) (ÖGÄ*) (HÄH*) (CCÖ*) 

                                                                                 

                                                                                    

                                                                                   

                                                                                     

                                                                                 

                
                                                                                    

                                  
                                                                             

                                                                                   

 

EDDIE BOYD WITH PETER GREEN'S FLEETWOOD MAC/7936 SOUTH RODES S7 63202 (-68) UK

 Pianist, vocalist and songwriter Eddie Boyd (1914-94) was one of the American blues artists who laid the ground for all rock and blues genres that has flourished from the late fifties up to today. Apart from playing with own combos he's also performed with other big blues names as Sonny Boy Williamson, Muddy Waters, Jack Gillum and Buddy Guy. I'm not an expert on those old blues heroes and don't epecially collect them, but I do collect everything by the Peter Green era Fleetwood Mac and since Boyd was backed by Peter Green, John McVie, Mick Fleetwood and produced by Mike Vernon on this one, it's right up my alley. Apparently the whole album was  recorded in around six hours with just minimal preparation (for more on that check the rear notes below). So what I get here is live in the studio with so much presence. All crowned by Boyd's strong yet sensitive vocals and evident piano play. Bass and drums work just fine and Peter Green's guitar parts provide useful fillings all the way. The audio on this stereo is great - I just have to close my eyes in the listening chair and I'm there. Won't pick any favorites here - it's all good. Full album below. Originally issued also in US as stereo and mono promo (Epic BN 26409), New Zealand (CBS  SBP 473561) and Germany (Blue Horizon 763202). Early UK (also as mono 7-63202) had label as shown here in a laminated cover.  (BLÖH*)  (FXÄC*)

                                                                               

                                                                                 

                                                                                   

 

TASTE/MOVING ON 2345 006 (-71) GERMANY

 German budget compilation consisting of five cuts from their eponimous debute LP   https://monolover.blogspot.com/2012/07/taste-583-042-69-uk.html   and six from the second "On The Boards"  https://monolover.blogspot.com/2013/08/tasteon-boards-583083-70-uk.html   . Even if a Karusell budget issue, initially sold at a lower price it's still very high class - top audio all over in a smoking sleeve design. A nice find for anyone who wanna enjoy this trio's by now legendary blend of blues, rock and prog without paying a lot for the originals. Guitarist Rory Gallagher (1948-95) has recieved wide acclaim for about everything he did during his carreer, but in my opinion never topped these Taste albums. When it comes to compilations there can always be discussions about tracking. I do miss "Blister On The Moon" here, but apart from that it's good. I'm especially fond of the rawer blues numbers like "Sugar Mama", "Railway And Gun", "What's Going On" and "If I Don't Sing I'll Cry", but the somewhat lighter ones also does it, especially the "I'm Moving On" cover. An all over very nice piece of vinyl, showing that what was buget issues then could be gems today. Released also in Scandinavia, Germany and New Zealand. In Australia as part of the "Rock Legends" serie and in Holland as part of the "Superstarshine" serie. To my knowledge never issued like this in US, UK, or on CD.  Premiere German had label as shown here in a fully laminated cover. (GÖXÄ*)  (GÄG*)

                                                                                    

                                                                                    

                                          
                                                                                    

                                                                                     

 

THE CRAZY WORLD OF ARTHUR BROWN (-68) UK STEREO 613005 VS UK MONO 612005

                                                                                    

 For more on the album please check post on the UK mono  https://monolover.blogspot.com/2012/04/crazy-world-of-arthur-brown-612005.html . When posting that I wasn't certain if it was a separate mix, but since I've seen many posts on the net confirming that for sure, so I don't need to make a meticulous comparison here, just listen to both and see which comes out best. To my taste a great album in any format with a perfect blend of catchy and adacious, just as I like it. If I don't listen to specific details connecting the channels on the stereo it comes out very much like the mono. There are variations in clarity and balance, but not enough to raise any eyebrow. Always loved the mono but here I can hear that the stereo also is a very good mix, sounding organic with lots of overlapping, providing very good listening. So it's a tough choice. As a monolover I'd like to say that's the one, but after listening to both in a row I must admit the stereo hits a bit harder. I guess there is someone reading this that has another opinion and/or think I missed some important detail. If so please comment and tell. I'm always open for discussion and eager to learn more.  (TRÄC*)  (MÅW*)  (CPYC*)

                                                                                      

                                                                                   

                                                                                  

                                                                                   

 

DIANA ROSS AND THE SUPREMES/20 GOLDEN GREATS MTV5 (-77) UK

  Seems I can't get enough of Supremes issues. This rather late seventies compilation may not be a first choice for many hard core collectors of the trio, but it sure has advantages and might do it for someone wanting to try them on vinyl for the first time. You get a successive string of twenty hits - from the 1964 "Where Did Our Love Go" to the 1969 "Some Day We'll Be Together". So some of their absolutely best. Audio and stereo quality shifts a little, but most tracks sound great, considering they crammed in ten on each side. And since it was quite common back then, used copies might turn up in the bins today in spendid nick at a relatively low cost. A good exemple how you can find some very enjoyable sixties music for almost nothing. And I do like the beautiful front sleeve pic - very arty and perfect as my new screensaver. Issued and reissued like this on vinyl, CD, 8-track and  cassette over a large part of the world through the years, but to my knowledge not in US, Canada or South America. Not sure if the one here is a first or later UK press, but since it sounds and looks good it's good enough for me, with label as shown here in a thin fully laminated cover.  (TÖMÖ*)  (FÄV*)  (ZYZÖ*)

                                                                                  

                                                                              

                                                                                    

                                                                                      

 

JOHNNY WINTER/THE PROGRESSIVE BLUES EXPERIMENT LBS 83 240 I (-69) GERMANY

 

I've already expressed my love for his second album  https://monolover.blogspot.com/2017/03/johnny-winter-m-63619-69-uk-mono.html . One that, in spite of its charm and all over tophole performance, didn't sell a lot back then and is seldom mentioned today. This debute wasn't widely acclaimed at first either, but has eventually become more appreciated by lovers of electric blues. And rightly so, because it certainly is a blues gem. Recorded at Vulcan Gas Company music club 1968 in Austin, by his original trio including Tommy Shannon (later with Stevie Ray Vaughan) on bass and John Turner on drums. Though apparently with tracks choosen out of a number of alternate takes and false starts it still hits me with the freshness and intimacy of a live performance at some smaller venue - let be without public, but the feeling is there. The guitars are deftly raw and the backing hard and tight. For me one of those hearings where I feel immediately connected and invited to the party. And the audio on this German release is just right, providing good listening all through. Full album below. Issued and reissued on about every possible format all over the world through the years. US 1968 press on Sonobeat (R-s 1002), 1969 on Imperial (LP 12431). UK first on Liberty (LBS 83240). Japan 2016 CD on Capitol (UICY-26580). First German had label as shown here in a laminated cover.   (GÖXÄ*)