THE WHO/DIRECT HITS (-68) UK STEREO 613006 VS. UK MONO 612006

Always throught the mono was a simple fold from some original stereo tapes. But after finding a stereo mate for my mono copy and doing pre-post checking around the net I'm more confused than enlightened. There are numerous theories and "truths" how the formats relate. One is - the true stereos involved were folded to mono along with the true monos, then all tracks rechanneled for the stereo issue and the mono issue got a fold of the rechanneling. Why on earth they'd done something like that I don't know; but however far-fetched it would for exemple explain "Mary Anne With The Shaky Hand" and "I Can See For Miles" where both issues have variations of the original stereo takes, but the stereo album having rechannelings instead of the true stereos and the mono album folds. Now enough with the scutinizing. The band wasn't exactly known for top audio in the sixties anyway and most early compilations suck. Even if both versions are faked, one way or the other, it wouldn't be the only time such handeling showed up on a Who album back then. So like it or not - it's still UK Track originals with great songs from a legendary rock outfit and thus a must for most true fans. Originally issued in Europe and downunder. In Australia, Holland, Italy and Germany as "The Best Of The Who" with alternate sleeve designs. 2007 Japan CD on Polydor (UICP-93004) as remastered mono. Premiere UK had structured labels as shown here and thin laminated cover. (TRÄC*) (WÖH*) (CPYC*) (MÅW*)

ALMA COGAN PMES 535 (-65/-72) MONO SWEDEN

Alma Cogan (born Alma Angela Cohen 1932-66) was one of Britains most popular and highly paid female vocalists of the fifties and early sixties with eighteen high charting singles on the UK list 1954-61. Then as popular music changed towards merseybeat, rock and blues she was suddely considered "square" and soon "yesterday's news". Though with vanishing approval on home turf she remained appreciated in other parts of the world. Especially in Sweden where she got a second carreer mid-sixties with two #1 singles - "Tennessee Waltz" and "The Birds And The Bees" - TV appearances and sold-out concerts. A girl I was secretly in love with back then adored her, talked about her a lot and had a room filled with Alma Cogan posters and "all her records". It wasn't my kind of music, but for a long time I agreed and went along with it just to humor her and get inside. As I recall the pretend liking didn't get me anywhere and she eventually told me to get lost...in a nice way of course so I did. Anyway good innocent times and for me Alma Cogan will always be connected with that girl and listening now takes me back fifty years to when colors were brighter, sounds clearer and love could make you do the strangest things. This issue was Swedish only. Not sure if the recordings were British or Swedish, or of mixed heritage. In any case I don't think they sound dated for its time. She always had the voice and track choice as well as arrangements here reminds of contemporary Sandie Shaw or Cilla Black, way into the then modern age. At the time she was re-inventing her persona to fit the sixties pop scene and if continued on the same path there might have been a British comeback. But sadly while doing club dates in England early 1966 she collapsed and was diagnosed with stomach cancer. Nevertheless she went on a Swedish tour just a month later to promote her Swedish only single "Hello Baby", collapsed again and was rushed home to England where she died October same year. This was first released on Columbia 1965 (SSX 1019). Also on cassette 1972 (Odeon TC-PMES 535). 1993 CD (EMI 0777 7895142 1) came with eight bonus tracks. The one shown here was the second press, using the same matrixes as the original. It came with label as shown here and thin matt cover. (FÄV*) (CCÖ*) (SWÄU*) (ÖLMÖ*)

BILLY PEPPER AND THE PEPPERPOTS/ MERSEYMANIA ALL 731 (-64) UK MONO

Release with the same recordings as the US "Beats - The Merseyside Sound" (see earlier post). Probably one of the most scolded period albums, but to my ears not that bad and certainly not the worst. The band an ad-hoc combo put together by Pye producer Bill Shepherd to cash in on the then world-conquering Mersey sound. It wouldn't be too hazardous guessing Bill Shepherd himself was Billy Pepper, but the rest of the members remain unindentified. There have been theories John Cale or Lou Reed (both tied to Pickwick at the time), or Pete Best might have been involved. Or that the band actually was Dean Ford & The Gaylords (later Marmalade), here working under different name as they already had contract with EMI. If any of that was true, or it could be tied to some other latter day celebrity, it would certainly be considered a lot more interesting, but even without any such connection it's still not bad garage pop and collectible as that. As it seems most of the tracks each captured in one take without further additions or embellishments, sounding like something you could get from some kids on the block playing the local youth center at the time. Backing is appropriately tight and especially the drumming works fine. Though group name can make believe it's a singer with backing it seems vocals are shared, sometimes simultaniously, and they almost always hit the notes. Audio surprisingly good - direct with a live feeling. Maybe not the most beautiful sign of those times, but nonetheless charming with lots of period atmosphere. First UK had structured label as shown here and laminated flip/back cover. (ÖGÄ*) (PÖY*)

THE GENTRYS/KEEP ON DANCING E 4336 (-65) US MONO

US seven piece combo founded in Memphis Tenessee 1963. After playing local dances, winning talent competitions and collecting a large local following the band got national exposure through a contract with MGM. 1965 they had a hit with "Keep On Dancing" (a cover of a 1963 Avants recording), reaching #4 on Billboard and also figuring on lists in Europe and Asia, but that was about it. Though with a couple more singles lower on the US charts, performances in TV-shows and a movie - "It's A Bikini World" - the heat was off and they are today mostly remebered as a one-hit-wonder. Since disbanding 1967 they have later re-shaped a number of times under the same name with various settings and still existing in some form. Whatever the reception was for this debute album at the time, today by a modern genre distribution it's gotta be tagged as genuine garage rock. Tons of energy, rattling guitars, hard working drummer, lots of organ, a fair share of false notes and as it seems recorded live in the studio with an allowing producer. A mix of covers and self-penned, seven rockers and five ballads. But regardless of tempo it's all in the same style - direct and sometimes almost sounding like rehersals. Honest uncensored garage filled with feeling and good will. Favorite tracks - "Brown Paper Sack", "Don't send Me No Flowers" and "Keep On Dancing". Originally released in US, Canada and Germany (MGM 655 056). Japan 1989 vinyl mono reissue on Polydor (2OMM 0438). 1995 CD on Collectables label (COL-CD-5622) came with two bonus tracks. Premiere US had label as shown here and glossy cover. (YZÄ*) (ÖGÄ*) (ÖXCÅ*)

PETER HOLM/MONIA 521092 (-68) MONO FRANCE

Swedish vocalist, born Peter Sjöholm 1947. Later days probably most recognized as the playboy who was married to Joan Collins in the eighties and also worked as her manager and producer, followed by an ugly divorce where media were used by both parts to get the best out of it. Less known is he also had a prosperous singing carreer from the late sixties way into the seventies, then outside the anglo-saxon world with healthy sales in France, Scandinavia, Italy, Spain, parts of Asia and behind the iron curtain. After a couple of years in the Stockholm band New Generation with one domestic hit - a cover of "Two Faces Have I" - he went solo, moved to France and got a contract with Riviera label. From then on most of his recordings were done in French, but some of the songs also got alternative versions with him doing Spanish, Italian, English or Swedish vocals. Mainly identified with his most popular song "Monia", therefore today often considered a "one-hit-wonder". The album as a whole comes out a little too languishing for my blood, but I do get an abundance of high-pitch vocals to well arranged backing with fine audio so...why not? If you're into romantic Euro-pop, chansons or male falsetto in general it will deliver, but if you crave music that'll claw your mind and take you to dangerous places it wont. Favorite tracks - "Two Faces Have I" and "Blue Moon" uses the same New Generation mono takes as the A and B-sides of the Swedish 1967 hit single so those are given...and of course "Monia". Released in France only. Vinyl reissue on Barclay 1978 (95.035). To my knowledge never issued on CD. First had label as shown here, thick unflexible vinyl and laminated flip/back cover. (SCÄ*) (MFÄX*) (GZÅ*) (MÖRS*)

THE SWINGING BLUE JEANS/HITROAD 1M 048-94823 (-64/-70) GERMANY

Reissue of the German 1964 release "Shaking Time" (Electrola STE 83716). The copies I've seen of that 1st press have been way out of my price range so far so I'm quite happy with this for now. It's a compilation of single and EP cuts - one originally issued 1964, the rest 1963. There have been many collections by the band through the years. What's special with the original to this is all tracks came with true stereo mixes as early as 1964 and these are the same as captured here (don't mind the sleeve and label have a mono number cause stereo it is). The mixes do sound primitive with most of the tracks having vocals and some guitar in one speaker and bass, drums and further guitar in the other, but still no cheating and probably as good as you could expect from such early circumstances. The audio is tophole and music a mix of screamy amphetamine rock and positive pop, played by basic setting. All songs around two minutes long bursting with energy. Ideal if you need a boost, or just an excuse to sit back and reminisce. Favorite tracks - "Hippy Hippy Shake", "Good Golly Miss Molly", "You're No Good" and "Shake Rattle And Roll". Swedish issue at about the same time as this (Columbia 4E 054-94823). German reissue 1978 on Crystal Schallplatten (CRY 94123). Premiere MFP release had label as shown here and laminated cover. (PÖP*) (GÖXÄ*) (SXS*)

DEEP PURPLE & THE ROYAL PHILHARMONIC ORCHESTRA/ CONCERTO FOR GROUP AND ORCHESTRA SHVL 767 (-70) UK

I remember being very impressed when this first showed up. Didn't buy it myself, but a friend had it and we listened with awe to a rock band that wrote and performed art music together with one of the great philharmonic orchestras at the time. Don't recall if I understod the music as a whole or that it caught me in any way, but the arty circumstances were enough to earn respect back then. A lot of time has passed since and when listening to it now...I don't know what to think. I'm just not there anymore. It is a symphony orchestra and a rock band collaborating through a work written by Jon Lord. But that's about it. It doesn't grab or move me - no breathtaking power or tearbreaking sentiment and nothing strictly personal. Maybe others can feel the groove, but I sure don't. The only thing that makes me happy here is Blackmoore's guitars. Wish there'd been more of that. A must for band fans and collectors with its obvious place in rock history, but not spending much time on my turntable. Issued and reissued on all possible formats over the world through the years. Premiere US 1969 on Tetragrammaton (T-131). Also reissued in UK 2014 as 3XLP (Parlophone VSHVL 767) with bonus tracks. First UK had label as shown here and E.J. Day laminated fold/out wide-spine cover with Harvest ad inner. (DHÄ*) (HÄVL*)

DR. JOHN, THE NIGHT TRIPPER/GRIS-GRIS SD 33-234 US STEREO VS. 33-234 US MONO

For background check post on the mono https://monolover.blogspot.com/2017/04/dr-john-night-trippergris-gris-33-234.html  . I'm not doing a minute by minute comparison here, just trying to verify if the mono is a stone cold fold or not. And as far as I can hear it isn't. Stereo has longer fades for at least three of the tracks. "I Walk On Guilded Splinters" lasts around seven seconds longer with some extra grunts. At the end of "Mama Roux" stereo has a "...thank You mam" at the very end not captured on the mono. "Danse Calinda Ba Doom" stereo has around two seconds extra with a faint additional "ya" and drumbeat at the end. Further on "Gris-Gris Gumbo Ya Ya" mono is kept loud till the last "eeooo" while the stereo is tuned down a bit. Apart from that they sound very much alike. Connecting the channels on the stereo make that come out a little less balanced than the mono, partly also deviating in volume, while the mono appears collected all the way. My guess is a couple of the tracks got slightly different mixes and then all of it delicately treated with some kind of limiting device. Could have been made with radio play in mind so I'm curious if there were any white label mono promos, or this was the only one-channel variation and then also used as promo (matrixes are C-12693-B/C-12694-B). (YZÄ*) (ÖXCÅ*) (MÅW*) (CPYC*)

RORY GALLAGHER/DEUCE 2383076 (-71) UK

I'm a big fan of Irish three-piece band Taste's two studio albums, filled with high quality heavy blues rock, sometimes towards prog or hard rock (see earlier posts). Star of the combo was guitarist and multi-instrumentalist Rory Gallagher (1948-95). When they broke up 1970 Gallagher went for a solo carreer and issued his first, eponymous, album with new backing just a little later. I haven't heard that for a very long time, but as I remember though with about the same mix of blues and prog as on the previous band LP:s it came out a little too well produced and elegant for the younger more restless me...may have to get another copy to see if I like it better now in my autumn years. However this second solo LP don't need any revaluation on my part. Self-penned and self-produced primitive blues rock, part acoustic, carrying a live-in-the-studio feeling. Simpler than the two Taste albums yet with the same direct and personal atmosphere. Though bass/drum backing, played by Gerry McAvoy and Wilgar Campbell, may be perceived as rudimentary it's fully appropriate as ground for Gallaghers guitars and vocals. I could have wished for heavier with a little less acoustic, but it is what it is and there sure are enough guitar goodies to make it worthwhile. Favorite tracks - "Used To Be" a heavy blues rocker carried by top licks and "Maybe I Will" jazzy prog with an equilibristic solo. Earliest issues in Europe and downunder. US 1972 on ATCO (SD 7004). Japan 2007 CD on BMG (BVCM 37881) came with one bonus track. Premiere UK had label as shown here and thin glossy cover. (GÄG*)

DANA VALERY BPL 1-1124 (-75) US

Italian born female vocalist who early moved to South Africa where she had a blossoming carreer in the sixties, including big selling records, stage acts and TV performances. A couple of singles also did well in Europe and US with a cover of Paul Simon's "You Don't Know Where Your Interest Lies" as one of the most popular. Her first US LP, the 1972 "Not The Flower But The Root" (Brunswick BL-754180), didn't sell much and a couple of years later she teamed up with ex-Mountain Leslie West and Corky Laing providing vocals on West's solo album "The Great Fatsby". This was recorded at the same time with the same crew and can be seen as a sibling album to TGF. It is one of those that sometimes show up in the cheapest used bins and hardly picked even then. I think it's time for music lovers to discover and revaluate, cause to my ears it's a small gem worth both love and understanding. "To Be Alive" and "Music And My Man", both co-written by Valery and West, having a rather heavy Mountain feeling with signature guitars and West pitching in on vocals for the latter. You also get a dark semi-psych version of "Play With Fire" and an odd Mountain style "Ob-La-Di, Ob-La-Da" again with West doing some vocals. The remaining more or less powerful ballads, some gospelish with big background quires. She has a very nice personal voice, connecting far from any professional distance. All together making it very good listening, mostly soothing but with a fair share of rousing twists and turns. So if you're a Mountain fan, gospel afficionado, sucker for female vocal or just like good music in general and happen to find it in one of those bins - do pick. Also released on vinyl in South Africa (RCA BPL 1-1124), but never reissued on CD. Premiere US had label as shown here and glossy cover. (YZÄ*) (FÄV*) (MÖU*)

FAMILY/FAMILY ENTERTAINMENT RSLP 6340 (-69) UK

A band's second album is where they can prove themselves - either by raising the bar after an unimpressive first or matching a good debute. It would have been hard to equal "Music In A Doll's House" (see earlier posts) and this doesn't. As the story goes - while the band was touring in US after recordings were made, manager John Gilbert mixed and issued the album by himself without consulting any of the members. The band did not approve of the result and Gilbert got sacked. Further Jim King quit due to drug problems and Ric Grech left for Blind Faith later same year, so this became the last effort from the band's original setting. Don't know if to blame the manager's self-indulgent handeling, or the band taking a new course I don't get, but though I've tried it just doesn't work for me all the way. Side A starts with three tophole tracks - "The Weavers Answer", "Observations From A Hill and "Hung Up Down" - not standing back to anything on MIADH. After that the album slowly dies before my ears, getting blander with not so many special moments. Disappointed back then and in a way still is, yet those three tracks are so good to me they alone make it worth while. It did well in Britain at #6, but no charting in US. First US on Reprise (RS 6340). Also originally released downunder and in a couple European countries. European 2003 CD on Pucka (PUC 702). A couple of 1st press UK sleeves came with mono number and stereo sticker though I've never seen or heard of a mono copy. Maybe originally planned as a double issue, but Gilbert on his own decided stereo was enough. Early UK had label as shown here and laminated flip/back cover with large poster (missing here). (FÄXI*)