SHANES/LET US SHOW YOU SGLP 528 ( -64/-67) MONO SWEDEN

Of all sixties record selling rock groups around the globe this is probably the one from the farthest north. Formed 1963 in the village of Tuolluvaara in the Swedish mining districts, way above the arctic circle, they got a contract with Columbia at an early stage. The name Shanes came from a hero of one of the western pockets they grew up with and the early instrumental '45:s had names as "Pistolero" and Gunfight Saloon". Late -63 they released what is regarded the first Swedish pop single "Oh Wow" and got to record this their debute LP 1964. The music and performance on it is pure garage. The lyrics are simple (the guys didn't know much English) and the singing sometimes out of tune, but they have a fantastic drive and timing and the guitarist Staffan Berggren is remarkably mature and skilled for his age. Eight of the twelve tracks are self-penned - by Berggren himself or the group - and the rest ordinary covers. In all it's a rough and tough R&B album, performed with youthful energy and a lot of attitude. If you're into sixties garage it's a must. First release was on Columbia 1964 https://monolover.blogspot.com/2018/09/the-shaneslet-us-show-you-ssx-1011-64.html , this is second issue with a different cover. (SCÄ*)(ÖGÄ*) (XHÄ*)(CCÖ*) 

                                                                                 

                                                                                 

                                                                                        

                                                                                 

                                                                                            

                                                                                        

                                                                       

 

BLIND FAITH 583 059 (-69) UK

This is a fantastic LP, one of the best from that period. With Ginger Baker, Steve Winwood, Clapton and Rick Grech and a bunch of good songs, produced by Jimmy Miller - what could go wrong? It's melodic, very well played and has a few true classics tracks. I still spin it a lot. Yet when I see it mentioned on the net it's always about the wrapping. It seems some people fancy it because of the controversial UK cover with a semi-naked young girl. It is not rare at all, but for some reason sold dearly and hyped beyond compare. If You want rare, try this alternative first press UK cover wich was made in case shops wouldn't stock the nude one. As it turns out nude cover was the big seller and the alternative was soon deleted. It was also re-pressed, but the first have original number ending with a "B" (see pic below), and first press record with thick vinyl and -1/-1 matrixes. Or maybe just forget about covers and enjoy the music, cause that's all you need. (TXÄW*)

JEFFERSON AIRPLANE/SURREALISTIC PILLOW LPM 3766 (-67) MONO AUSTRALIA

Took some time before I decided Australian "Pillow" mono was the one for me. I usually go for UK originals, but this time the UK mono was not to my taste - best tracks "Somebody To Love" and "White Rabitt" had been removed and replaced with two songs from "Takes Off" (which wasn't released in England yet). I didn't like the sound of it either. Can't remember why now, but something was wrong. For a while I had a US stereo and didn't fancy that either - no edge to the sound and way too much reverb. Then a friend played the US mono to me and that was perfect. For a while I had a hard time finding such a copy (this was before the net) and when finally a decent one showed up the price was way out of my league. A few years later I stumbled over this at a record flea market and my luck was done. Even if the US version sounds a tiny bit more open, this has the same firmness and you don't have to suffer the stereo reverb. The laminated flip-back cover is also a bonus - lamination keeps the cover pic and colours fresh. As far as I understand made from the US mono tapes - the matrix numbers are TPRM 4892/3 as US. (DÖW*) (JÄF*)

ROLLING STONES/BETWEEN THE BUTTONS LK 4852 (-67) UK MONO

I've always thought of this record as part of a transitional period for the group. First three was all classic R&B oriented and from "Beggars" and on they became the modern rockers we still see traces of today. Aftermath had some experimenting in form, but still more on the R&B side and "Satanic" must be described as pure psych. But to me this album lacks any comprehensive description - just a mix of oddly produced pop, rock and ballad numbers. Hard to grasp as an entity, but when you do it leaves you content and with a good feeling. It was recorded on 4-track wich apparently forced them to do so many overdubs Jagger himself was displeased with the result. He felt the songs were great, but lost in clarity. This UK 1:st press mono sounds great though, big and clear, and to my ears better than their previous mono albums. I've had a large number of different pressings, mono and stereo, but this is the best. There may have been many overdubs, yet parts of it sounds almost stripped. It was their last album to be produced by Andrew Loog Oldham, next they would try on themselves and later team up with Jimmy Miller. US issue (LONDON LL3499/PS499) omitted "Back Street Girl" and "Please Go Home" and added "Let's Spend the Night Together" and "Ruby Tuesday" instead. Premiere UK came with ridged label as shown here and laminated cover. (RÅ*)

SEX PISTOLS/NEVER MIND THE BOLLOCKS (-77) UK (-1/-1 matrices)

Visiting auctions and sites on the net I see lots of variations of this UK LP posing as 1:st issue, 1:st cover and so on. Quite many also have a bonus single, poster or other inserts. All Pistols fans know the story behind this. After pressing started on the 11 track version of the LP, record company changed its mind and wanted to add one more song - "Submission". So the process halted and pressed copies were deleted. But all this took time and to meet competition from domestic 12 track issues in France and a few other countries they re-started the 11 track press and enclosed a '45 with the new song and a few other inserts. Common for these, since they are somewhat later pressings, is they all have later matrix numbers. This copy is from the first "deleted" bunch and have -1/-1 matrixes. Just before recording Sex Pistols had toured Sweden and gathered a following, so a record shop in Stockholm decided to be first and made a private import. This was executed directly, before production was stopped, and was from that first press. It did not sell well though since a big Swedish newspaper had an article where they warned people from buying this faulty issue and told them to wait for the domestic 12 track instead (which showed up a week later). There was also an interveiw with Lisa Anderson at Virgin, London who explained the error and told the new version was soon to be pressed. Just thought someone would enjoy knowing this. At least this ends the discussions which of all different back covers was first. This is it - the blank one!

THE BEST OF THE PINK FLOYD 5C054-04299 (-71) (MONO + STEREO) HOLLAND

I wasn't totally pleased with the UK "Relics" compilation as it omitted some of the best '45 tracks from the group. I also craved them in mono as they were from the beginning, but the Starline issue had stereos and even a few re-channeled tracks. So I had great hopes for this Dutch "Best of..." since that serie as I knew always had the original '45 mixes. It sure brought some missing masterpieces, but it was all stereo which disappointed me. This is rather good anyway cause some of the tracks ( I dare not say all ) are true stereo. My fav single "Apples and Oranges" is definitely a different mix and a rather good one too. And although I've heard from various places "See Emily Play" here is re-channeled, it sounds true stereo and very much unlike the fake "Relics" version. Barretts vocal is higher in the mix and have more reverb, the short "thrown in" keyboard part is louder and the whole thing sounds clearer. Whatever it is, it's something else. This has been re-issued many times - on vinyl and CD, legit or bootleg, and sometimes with different tracking. Premiere release had the black/silver label shown here and came in a cover with laminated front and matt back. Second issue had orange label/laminated cover, third red label/glossy cover. (PÖP*) (PÅX*) (HÖLX*)

YARDBIRDS/FIVE LIVE YARDBIRDS 33 MSX 1677 (-64) MONO NEW ZEALAND

This was Yardbirds debute album, recorded live at the Marquee Club in London 1964 and released December same year. It's a collection of blues covers, performed in a style that became a model for many British R&B groups in the sixties. Some of the songs here includes a "rave up" - meaning an instrumental part that starts low and builds to a climax. Four of these are "Smokestack Lightning", "Respectable", I'm A Man" and "Here 'Tis", all present on the US "Having A Rave Up With the Yardbirds" album (EPIC LN24127/BN26177) thus providing its name. Original recording and UK issue was mono only. This is first New Zealand release on green Columbia label. It uses the UK tapes and sounds exactly the same. (YÄB*)(LYBÖ*)(DÖW*)

THE DETROIT SPINNERS TML 11060 (-68) UK MONO

The Spinners had their greatest days in the seventies on the Atlantic label, with five consecutive gold albums and six singles topping the US R&B charts. They started recording -61 and released "That's What Girls Are Made For" on the Tri-Phi label. That reached #27 on the list, but two further '45:s for the label didn't chart at all. In -63 they moved to Motown and got a minor hit with "I'll Always Love You", halting at #35 on hot 100, but apart from that non of their sixties singles for the label charted. 1970, after a short stay at VIP records, they finally moved to Atlantic and coming success. This is their debute album and the only one they made for Motown. It comprises a few early '45 tracks, including the -61 Tri-Phi single debute, mixed with new recordings. This LP clearly shows they had a lot going for them and maybe they would have had earlier success if better handled. Name was changed to "Detroit Spinners" in England, to avoid confusion with the UK group "Spinners", but it is the same album as US "Original Spinners" (Motown MT/MS 639). Also issued as partly fake stereo in UK (STML 11060). First UK with label as shown here and laminated flip/back cover. (TÖMÖ*)

THE HERD/PARADISE LOST TL5458 (-68) UK MONO

Group mostly known as a starter for Peter Framptons career. He joined directly after school, only 16 years old, as the group moved from Parlophone to Fontana and got a new style. This is the only album they released and it's well worth noticing. Taken care of by label hit-makers Howard/Blaikley (though most songs on the album were written by Frampton and Andy Bown) and arranged by Mike Leander (for more on him check my post on David McWilliams) it turned out very well - a mix of flower-power, pop and light psychedelia that also gave them a few singles high on the lists. Most successful "From the Underworld" (based on the legend of Orpheus and Eurydice) reaching #6 in UK and #3 in Holland. Frampton was a looker and dubbed "the face of -68" by a teen magazine, but got tired of the teen idol thing and moved on to form Humble Pie with Steve Marriot at the end of the year. The group never recovered and vanished over the next six months. This issue is true mono and it sounds great. Released in US as "Lookin' Through You" with alternative tracking and different cover (FONTANA SRF-67579). First UK with structured label as shown here and flip/back cover, with or without lamination. (YMÖ*)

TOM JONES/ALONG CAME JONES LK4693 (-65) UK MONO

Listening to his debute it's amazing how little he changed the following three or four decades. The formula is already there - mix of R&B, pop and ballads - the arrangements and the powerful voice. Maybe there was no reason for change since it proved successful already from the start. What makes this more appealing than some of his later stuff is the youthful attack. The control and spruceness that made him a hit machine isn't there yet and on a few tracks he gives it all. Here are good versions of "Memphis, Tennessee" and "I Need Your Loving". Recorded and issued in UK as 16 track in mono only. US 12 track release on Parrot (PA/PAS 7104). First press had ridged label, the one shown here is somewhat later. (MÖRS*)(TÖJX*)

SMALL FACES LK 4790 (-66) UK MONO

Together with The Who one of the leading "Mod" groups of the sixties. Started 1965 and had a bunch of list toppers and a few big selling albums till the break-up -69, when Marriot went to Humble Pie and the rest coupled up with Rod Stewart and reformed as "Faces". This is the debute album. It's a nice collection of covers and a few self-penned songs, though most of it is bought from US blues and rock and re-worked. Maybe the guys weren't the best instrumentalists, but all is saved by Marriots special vocals. Released in UK as mono only, not sure if it was originally issued in US at all. I remember first time hearing Led Zeppelins "Whole Lotta Love" I thought - Hey, that's a Small Faces song! And I was right...and wrong. Small Faces made their own version of a Willie Dixon number "You Need Love", but took all song writing credits themselves (Marriot/Lane). Then Zeppelin got inspred by the SF version and used that to build their own hit "Whole Lotta Love", this time credited to (Page/Plant). It is clear Zeppelin not only used the SF mid-section of the song, but Plant also almost totally copied Marriots vocal style on it. How ever great those tunes was it all leaves a bad taste in my mouth. All got theirs except the original composer Willie Dixon (allthough I've seen Zeppelin did gave him both credit and money years after). First UK with ridged label as shown here and laminated cover. (SXÅH*)

PINK FLOYD/DARK SIDE OF THE MOON Q4SHVL (-73) UK QUAD/ALAN PARSON MIX

Now to something completely different. Question is why posting a Quad on a monolovers page? Many reasons - like many monos this is a rarer issue and it has a separate mix, one that can make You look differently on the whole album. When I started to collect monos in the late eighties it also meant renewed interest in many records I got tired of years earlier. White Album, 1:st Joe Cocker, early Procol Harum, Traffic - all collecting dust on the shelf, but with the monos I got alternate mixes, versions and even takes and started to listen again. And this is exactly what happened when I found this quad. I've never been more fed up with a record than Dark Side Of the Moon. After months of listening I knew every note, twist and turn and decided to put it away. 25 years later I listen to this - the same record, but still something else. Listening on two-channel in comparison one can hear a different balance, but also this is so much clearer and revealing. It's not only the ready-built piece of art the original stereo posts as, but also all the separate parts. It's hard to explain further, but if you got it you know what I mean. It has been argued many times the members of Pink Floyd didn't like the mix, but the man behind it - Alan Parson - has said they weren't interested back then. According to him the only one of them that actually heard it was Richard Wright. (PÅX*)(HÄVL*)

THE MOTHERS OF INVENTION/FREAK OUT V-5005 (-66) US MONO

This album has meant so much to me I'm making this post all personal. From 1963-66 I was all into UK pop, uptempo amphetamine rock and slow R&B. In spring -67 I traded this album for two cigarrettes from a friend cause I liked the cover. I remember the first listen - at the beginning I couldn't understand what it was all about, but when I got to "Who Are the Brain Police" my mind blew. Suddenly the thirteen year old realised there was a big, beautiful and scary musical world out there ready to be explored. After that I was always looking for stuff that was on the edge, boundary breaking musical experiences...and all new Zappa albums were bought as soon as released. This is the first psych album, the first prog album, the first art rock album...I could go on, but fact is this record did not only alter the minds of many listeners, it also broadened popular music and changed the musical map forever. The mono here is a dedicated mix. It's bigger and clearer than the stereo and feels more right, otherwise the mixes are very much alike. First had label as shown here and glossy fold out cover with map ad inside. (ZÄP*) (YZÄ*) (ÖXCÅ*)