THE KINKS PLP 1128 (-64?) MONO AUSTRALIA

Debute LP from a band considered one of the most influential in British pop and rock from mid sixties into the seventies. On here most or it R&B standards , but also first hit "You Really Got Me" which topped the UK charts for four weeks and reached top ten in US. Recorded in Pye studios London and produced by Shel Talmy, an American songwriter, arranger and producer who also worked with Cat Stevens, Easybeats, David Jones (Bowie) and The Who among others. On this I get cheeky and partly unbridled, right on with lots of youthful energy, giving a tophole garage moment. Far from what they would produce a couple of years later, but very good by own means, blending positive with dirty to something both honest and catchy. Issued with 11 tracks in US as "You Really Got Me", omitting "I Took My Baby Home", "I'm A Lover Not A Fighter" and "Revenge", using a slightly different mono mix on "Bald Headed Woman" (Reprise R/RS 6143). This was the Australian issue on domestic Astor label. It's made from the UK Pye recordings, has identical tracking and sounds great - clear and natural. I like this version because of the killer label design, absolutely beautiful. The record is very thick and unflexible and the cover is unlaminated flip-back. I guess it's the first press. (KYX*)(DÖW*)

AN EVENING WITH WILD MAN FISHER RSLP 6332 (-69) UK

Larry Wayne Fisher was an American artist and songwriter with a highly unusual style, later earning him the title "godfather of outsider music". At 16 he was institutionalized after a murder attempt on his mother and diagnosed with paraniod schizofrenia and bipolar disorder. After release from the hospital he became a street musician in Los Angeles, performing his songs for 10 cents a piece. Eventually discovered by Frank Zappa who took him under his wings and helped him to record this debute album. The friendship lasted till Fisher attacked Zappas daughter Moon Unit and threw a jar at her. Due to that fallout Zappas widow Gail still refuses any re-releases of the album. Fisher started recording again in the late seventies and went on performing up to his death 2011. This 2LP set sounds mostly unproduced, parts of it consists of monologues and live street performances with only a few tracks having a classic song form. Zappa & Mothers, Art Tripp, Kim Fowley and GTO:s assists partially. My favorites from it are "The Taster" - a catchy, early sixties style tune with a creamy Zappa guitar - and "Merry-Go-Round" where his singing only is accompanied by assorted rythm instruments. First released in US -68 on Bizzarre Records (2XS6332). This very limited UK issue came on Reprise Pop Series. (ZÄP*)(SYSÖ*)(ÄZC*)

YARDBIRDS/FOR YOUR LOVE LN 24167 (-65) US MONO

Although only one original studio LP was released by the group in England before the break-up, US Epic issued five albums. Mostly these were compilations of '45 tracks, but still a very good deed. This is the first and consists of recordings made by the group 1964-65 - A & B sides, EP tracks and even some demo. It's a very good collection showing an early phase in the developement of modern pop/rock music, first numbers being straight R&B while the last recorded moves against a more poppy style. That movement was one of the reasons Eric Clapton left at a rather early state. At this point he was more "old school" R&B and didn't like the commercial turn. He still is the lead guitarist on eight of the eleven tracks, the remaining three is handeled by Jeff Beck. With that in mind I find it strange Clapton isn't even mentioned on the cover, reading the back cover text you get the impression all lead guitars on this is by Beck. But that is the only flaw here - this mono sounds exactly as it should and no tampering has been done. Also released as re-channeled stereo (BN 26167). Fist issue came with a yellow inner, later ones white. (YÄB*)(JÄBÄ*) (YZÄ*) (ÖXCÅ*)

ARTHUR LYMAN GROUP/TABOO VOL.2 VA 160174 (-60) UK MONO

Lyman was an American/Hawaiian jazz vibraphone and marimba player, known as the "king of lounge music". He recorded over 30 LP:s and 400 singles and was very popular during the fifties and early sixties, earning many top sellers and three gold albums. Also recognized for inventions in recording techniqe and early experimental stereo, at one time frunishing an entire hangar as a studio to get the best possible sound. I bet most sound freaks already knows of these recordings and got them. They're not only of historical value, but also in many ways unsurpassed. The reason I'm posting this is however the 1:st press cover. There have been many LP wrappings showing on bad taste through the years, but this has to be the most awful. It is an authentic picture of a shrunk head. I get the image showing "Taboo", but it's just too much. (I can't see a cover pic like this today, even if it'd be the hardest death metal or garage punk.) Naturally it was quickly withdrawn and replaced with a softer one. First US release came on Hi-Fi Records (R 822). Earliest UK had ridged label with "Recording first..." and fully laminated flip/back cover. (CLÄZ*)

ELTON JOHN/EMPTY SKY DJLPS 403 (-69) UK

His debute LP and though it includes some strong melodies and lyrics of the kind that would show up on later million sellers, there are differences. From the next album, which also became his big breakthrough, Gus Dudgeon would handle the production while this was produced by his friend and DJM staff member Steve Brown. You get a feeling of trembling and searching for form and solid ground here. Sometimes a little jazzy and at parts almost prog or even psych. The trials aren't very obvious, but it's clear he's testing. From the next LP and on he would eventually turn into a well oiled hit machine selling 250+ million records, but not yet. If this had been a "one off" it would probably have been forgotten by now. That said I must add I like it - although more insecure and naive than anything he did later it's also more naked and honest. Later Elton John is a product, an object, here I see more of the person. It was also released in mono. I've heard that once and I'm pretty sure it was a reduction of the stereo tapes. The stereo has been re-issued many times through the years. If You want to buy a first press and can't check the matrix remember following features : The vinyl is thick and unflexible. Label has "33 1/3 RPM" in larger letters above rec number to the right. Original cover was a structured fold out with only the mono number top right back cover. All stereos had a sticker covering that, but it was badly glued and is often missing. First issued in US 1975 (MCA-2130)(SYSÖ*)

THE BEST OF CHRIS FARLOWE VOL.1 IMCP 010 (-68) UK

Just a small comment in passing. There's been a lot about compatibles in this blog and they are always presented with a stereo prefix to the number. This is one odd exception - UK Immediate usually had IMLP for mono and IMSP for stereo, plus a few others for samplers having both mono and stereo mixes. But they also introduced a special prefix for compatibles - IMCP - wich also had "compatible" alone on the label instead of "stereo" or "compatible stereo". This was used for four issues before the label crashed 1969. Here's one. It's a good compilation of '45 tracks, non of them sold very well as singles so it's good to have them all collected safely in one place. Six of the tracks was produced by Mick Jagger, two by Mike d'Abo and one each by Mike Hurst and Glyn Jones. It's all nicely done - press the mono button and you get good mono reproduction with true versions, listen to it in stereo and it's about the same, just a little wider but nothing dramatically different. Issued in US as "Paint It Farlowe" with different cover and tracking. (Immediate Z12 52010)(MÖRS*) (YDÄ*)

MARY WELLS AND MARVIN GAYE/TOGETHER SL10097 (-64) UK MONO

  This was their only Motown album together. Wells was already established and Gaye the labels rising star, so the hope was he would benefit from the collaboration. The album was mildly successful and peaked at #42 on Billboard, also generating two top 20 singles. Listening to it today it may sound a little dated to some ears, like a message from another time, though it works just fine for me. The voices remain great and it may provide a perfect background to an old fashioned romantic meeting, if those still exist. This is music for candle light and holding hands, hoping to get closer. Only problem is the audio is so great there may be more listening than kissing. Vinyl issues in US (Motown S/MT 613), Canada (Tamla MO 613) and UK only. Japan 2009 numbered limit ed. CD in paper sleeve came with same tracking. This was before Tamla Motown was established in UK so the issue was on Stateside. First with label as shown here in a laminated flip/back cover. (TÖMÖ*) (FÄV*) (GÖJI*) (MÄWY*)

                                                                                    

                                                                                   

 

 

 

A COLLECTION OF BEATLES OLDIES PMC 7016 (-66) UK MONO

There's not much new to add about the Beatles music, it's all been dissected down to smallest particle. But they also had a great crew surrounding them - producers, engineers and supporting musicians. After the breakthrough the group had access to the latest inventions in studio technique, all was top notch and you could always trust the latest UK issue having a great sound. This mono is the one exception. To my ears the audio isn't what it could have been with all the expertise involved, but at least you get all tracks in original mono, which is something. For a long time I thought that some of the cuts were folds, but as it turned out I was wrong, they're all legit. There had been discussions within the crew about not making separate mono mixes, instead compatible stereos. But as it seems they didn't like any of those results themselves since the classic monos "Sgt. Pepper" and "White Album" was yet to come. Yellow Submarine was a reduction, but that was -69 and a few of the tracks still came through better than on the stereo version. Maybe it's just me getting worked up over this, but it sure would have been nice with top audio all the way. First with label as shown here in a laminated flip/back cover. (BÄ*) (PÖX*) (LGÅ*)

THE GOOD EARTH/HARD ROCK AND ALL THAT STFID2112 (-68) UK

I wonder wich is the worst LP ever made. Don't mean deliberately bad, or funny or out there, but one made with good intentions and a serious mind still turning out all inferior. I bet this is a good contestant. The cover looks like one of those Eurohits vol. 1-17 wrappings so it's of a kind you don't notice at the flea market. Got this copy as a box filler with a package from Ebay, played it once for fun and was amazed. It's a group of four guys who got to make their debute LP for Saga budget label. All songs are self penned, but sounds so much like everything else it's like covers. They can't sing - it's not out of tune, but they don't seem used to it and the voices sounds stressed and unpleasant. Obviously they are no strangers to their instruments, but got no feeling and no timing and partly it gets messy. Most of all it seems like a first rehersal with a bunch of amateurs that just got together. It's clear the whole thing is recorded live in the studio, without any overdubs or production at all. The sound quality is rather OK though with kind of "being there" feeling, but don't know if that's good cause I don't wanna be there at all. I bet a lot of first studio trials has turned out like this through the years, thrown in the crap basket and forgotten about. But this was actually mixed, pressed and released! Who would have thought this group just a little later would evolve into Mungo Jerry, get a 30 million seller with "In the Summertime" and two more list toppers around the world. (SÄGÖ*)(ÖGÄ*)

BRUNNING SUNFLOWER BAND/TRACKSIDE BLUES EROS 8132 (-69) UK

Bob Brunning (1943 - 2011) was a British bass player, best known for being replaced. He was in an early setting of Savoy Brown, but replaced after a few weeks by Roger Earl. Also after a temporary assignment with Fleetwood Mac, got out while recording their debute album as John McVie came in, and only contributed to one track on the LP - "Long Gray Mare" - plus a few single tracks "I Believe My Time Aint Long" and "Rambling Pony". Between 1968 and -70 he had a part time blues band and recorded four albums for the UK budget label Saga. This is the one I find most interesting. Reason is his old friend Peter Green plays guitar and provide vocals on a few tracks whereof "If You Let Me Love You" is a true killer. Due to contractual reasons he is uncredited (or almost uncredited - please click back cover text below) but there's no doubt about it. Saga was a budget label and that is clearly shown by their recordings. Bad quality vinyl, low quality studio equipment and strange mixes can make the listening rather irritating, but luckily this is one of the better and it all comes through fine. It's an appealing "white blues" album and some of the tracks are as good as anything from more famous contemporary groups. As with all Saga issues this is compatible stereo only. Not sure if it had any original US release, but a Best of... compilation was issued on CD 2007. (SÄGÖ*)(FXÄC*)

CILLA BLACK/CILLA PMC 1243 (-65) UK MONO

Signed by Brian Epstein after a tip from John Lennon Liverpool singer Cilla Black (born Priscilla White 1943-2015) started touring and released her first single -63. She quickly became known and popular in England and after a few more chart singles got to record this debute LP 1965 wich reached #5 on the UK album list. I've never been a big fan of her voice, but she was surrounded by such a fine crew and everything else on her records is so good it's still worth having. The song choices are ordinary and the singing a little too perky for my ears, still it comes out rather nice. Most tracks are conducted by Johnny Scott, a multi talent who worked with Tom Jones, Hollies and Yehudi Menuhin, played sax on the Goldfinger soundtrack and flute on Beatles "You've Got To Hide That Love Away" among many other things. "Sounds Incorporated" plays on one track, a group that sometimes toured with the Beatles and also (uncredited) helped them in the studio. The whole thing is produced and partly arranged by George Martin who also conducted two of the tracks. This mono sounds great, I haven't heard the stereo mix but doubt it has the same quality. Not issued in US, but the -65 Capitol release "Is It Love?"( T-2308) had a few tracks in common with this. (FÄV*) (PÖX*) (CÄLÄ*)

BRITISH MOTOWN CHARTBUSTERS VOL.2 TML 11082 (-68) UK MONO

Time to post another of my favorite compilations. Released December -68 this could have been a bad one. In the late sixties many labels didn't care enough to make two separate versions of samplers or collections, instead they prepared the stereo with true or fake mixes and then made a fold down for the mono. But this is the real thing. All original '45 mono mixes with a truly wonderful sound - big and clear. And it's so full of good music - just check the track list below! Even if you didn't like the rest it's worth it just to have the original mono mix of R Dean Taylors psych gem "Gotta See Jane". If You want that analogue and don't have the rare single there's a top pressing right here. (SÄM*) (TÖMÖ*)

THE BAND E-ST 132 (-70) UK BLACK/SILVER LABEL

This may be of limited interest to others than collectors of UK 1:st issues or The Band completists, but the label variation is rare and unknown to many so I just thought I'd tell it exists. I'm not sure about the exact time lines, but this is the approximate background story. In autumn -69 EMI UK made a design change to most of the labels they handled and introduced a common black/silver type for all. That also included records they distributed for Capitol. At about the same time US Capitol decided to change from rainbow to the green target label, wich was introduced in England during the first half of 1970. So while the other EMI labels kept about the same design all through the seventies UK Capitol black/silver had a narrow time line and only existed from autumn -69 to the first half of 1970. It is also possible to distinguish closer since the -69 press has "Sold in UK, subject to resale price conditions..." on label and -70 press doesn't. The Bands 2nd LP was issued in UK during the first half of 1970 and is commonly sold with a first press green target label and -1/-1 matrixes. But it seems the first few copies got the "old" black/silver design and this is one of those. Apart from -1/-1 matrixes it also has 1/1 mothers and early stampers. Early UK in a structured f/o cover.