ROXY MUSIC/STRANDED ILPS 9252 (-73) UK

After two superb glam psych LP:s Brian Eno left and a new chapter started for the band. As he was the one that from the beginning added most of the odd and cheeky to the band's music you'd expect his absence leading to the adventurous elements being kept under the hood or gone all together with this third album. Not at all. On the surface more elegant, but still as various and in the forefront. I get well written songs, produced and arranged with a fair share of inventive twists and turns made in a seemingly creative atmosphere. Maybe not so much "glam psych" anymore, but why not "art glam". Still the more venturesome parts can be seen as mere ornaments because it's actually the songs themselves that make it. Eight memorable numbers with melodies guaranteed to stick. So what you get is a blend of bold and catchy luring under a smooth and embracing surface. It should have been a recipe for world wide success at the time and it almost was, topping the UK list and reaching high in a number of other countries, but never made it big in US where it halted at #186. Sure hope the American market has become more friendly to it by now...cause it's such good listening. My favorite tracks - "Mother Of Pearl", "Amazona" and "Street Life". Issued and reissued on vinyl all over the world through the years, also on cassette, 8-track and CD. First US on ATCO (SD 7045). Japan 2015 limited edition SACD (UIGY-9667) came in a fold/out cardboard sleeve. Premiere UK had label as shown here and fully laminated fold/out cover. (ÄNÖ*)

YVES MONTAND/LES FEUILLES MORTES CPMC 4 (-59) UK EXPORT MONO

Export album issued as an extended version of the 1958 UK Parlophone EP "The Inimitable Yves Montand" (GEP 8654). Here containing the four EP cuts plus ten more recorded 1948-55, most of them originally 78 rpm only. Not sure how many, if any, of the cuts were transformed directly from the shellac and which already existed on tape, but the whole album has a kind of pristine sonic glow reminding of those old 78 recordings. With this I'm back in front of the old valve radio I spent so much time with as a small kid in the fifties. Feeling snug I can almost scent the dinner my mom's cooking while I'm listening to just one more song. The melodies were warm and the performance friendly. I didn't understand any lyrics back then, it was all about the atmosphere. And in a way it still is. Going beyond intellect, experience and the almost sixty years inbetween - dirctly to my gut. This issue was UK only and presumably pressed for export, hinted by the XEEX matrix numbers. First had label as shown here, laminated flip/back Garrods & Lofthouse cover, with the songs interpreted in English on rear, and EMI inner. (PÖX*) (GZÅ*) (ÖXÄP*) (GCÖ*)

THE BEATLES/WITH THE BEATLES PMC 1206 (-63) UK MONO

Gotta post this but not sure what to write that isn't common knowledge already, so I'll just start from scratch and see where it goes. My copy isn't even a very first press...well not a true second press either, but somewhere inbetween. The cover - with large mono on front and the misspelled "You Really Gotta Hold On Me" - is 1st and so are the matrix no:s (-1N/-1N). But the label has the correct "You Really Got A Hold On Me" and "Belinda" credit for "Money", while the very first has "Jobete". As I understand the YRGAHOM spelling on label was corrected at about the same time they abandoned the first matrix settings, and in that case this may be one of the the very last on -1N/-1N. The mother/stamper no:s are also very high (side one 10/RLA, side two 10/RAR), so a change may have been needed to maintain quality. A transition copy it is, showing these pressings often didn't have waterproof bulkheads between them, there was also overlapping at times. Btw the label also has "Recording first published 1963" without the "Sold in UK..." and the vinyl is thick and unflexible. If You're interested in variations also check post on the Australian issue with alternate front cover https://monolover.blogspot.se/2017/01/the-beatleswith-beatles-pmco-1206-63.html. (BÄ*) (PÖX*) (LGÅ*)

JOHN MAYALL/LOOKING BACK (-69) UK STEREO SKL 5010 VS. MONO LK 5010

Compilation of non-LP tracks - six 45 B-sides, four A:s and one previously unreleased - recorded 1964-67. Songs involving participation from a large number of famous names that passed through Mayall's bands those years - among them Eric Clapton, Jack Bruce, Mick Taylor, Peter Green, Mick Fleetwood, John McVie, Aynsely Dunbar, Keef Heartly and Dick Heckstall-Smith. Like a "Who's Who" of British white blues in the sixties, showing on Mayall's enormous influence as gatherer, moulder and disrtibutor within the genre. Probably indispensable for any fan of Mayall or the British blues scene in general, but even if I get the well needed stuff it doesn't feel all right to me. The cuts only existed in mono prior to this release and apart from "Mr. James" being rechanneled, all were remixed to real stereo. Good enough to my ears with a pristine feeling, but not historically correct. And as the mono (see earlier post) is a fold from these stereo tapes I'm not all in with that either. So choosing between newly made stereo mixes and an fold from those...I don't know. Both have some advantages, but if I have to it'll be the stereo since at least a little more honest. Favorite tracks - "Stormy Monday" (with Clapton and Jack Bruce playing together 1965. More from the same sessions on the 1977 "Primal Solos" album - see earlier post), "Looking Back" and "Jenny". Issued all over the world through the years, also on cassette, reel and CD. German as a 2-LP with different tracking. First US on London (PS 562). Premiere UK had label as shown here and laminated fold/out cover with die-cut mono/stereo hole on back. (MÄH*) (MÅW*) (CPYC*)

WINGS/VENUS AND MARS PCTC 254 (-75) UK

Not planning to do many words on this album, but let's see where it goes. With its forerunner, the epic Beatlesque "Band On The Run" still spinning on my turntable back then the expectations were very high, but though I opened up filled with love my feelings were largely unanswered...and still are. Never though I'd say this about an LP, but I do now with all respect for sir Paul - it's got too much rock'n'roll. "Rock Show" one of too many introspective period rock tracks and this more commercially cute than edgy, "Spirits Of Ancient Egypt" and "Medecine Jar" well arranged trifles, "Call Me Back Again" very ordinary but saved by good vocals. The four song sequence - "Love In Song", "You Gave Me The Answer", "Magneto And Titanium Man" and "Letting Go" - on side one is what make this album for me, the rest I can live without. So not all bad, still way below "Band On The Run". Though if disappointed with the musical content there may be consolation in the sleeve. This UK first (and most other originals?) came in a sturdy fold/out cover with two pic posters, hard glossy planet inner and a couple of stickers. Praiseworthy wrapping indeed and together with the good cuts an incentive for keeping. (MÄCC*) (BÄ*)

JULIE LONDON/SOPHISTICATED LADY LRP 3203 (-62) US MONO

For artist background check post on the UK 1962 album "The Best Of Julie". Though that used the same front sleeve pic as this they are two totally different albums - that a compilation of late fifties recordings, this containing twelve new originals. Seemingly an indoor affair, produced by then Liberty boss Si Waronker and since backing is uncredited and more adaptive than special you'd guess label salaried studio musicians. Pressing and audio is impeccable, big and natural allowing her secure sensual voice to reach all the way and create an intimate atmosphere. Slow smooth jazz, more caressing than adventurous, fitting for late evening meetings with cocktails, silk dresses and scent of an enchanting perfume. Probably not sexy enough for the young impatient rock'n'roller today, but it is to me...at least in memory. As far as I can figure out this original release was US only, also as stereo (LST 7203). Reissued on Liberty in UK in stereo sometime in the eighties (ED 260421 1). Japan 2010 CD on EMI (B003G88FOG). Premiere US had label as shown here and glossy cover with Liberty ad inner. (YZÄ*) (FÄV*) (ÖXCÅ*) (CLÄZ*) (JÖL*)

JETHRO TULL/AQUALUNG 12.979 (-71) MONO ARGENTINA

You may see this showing up on auction sites or even in shops and wonder if it's worth your time and money. It could well be. Through the years I've plowed through German, US and UK stereo originals, but this Argentine mono is the one I always return to when I wanna enjoy this magnificient album to the fullest. Though some kind of fold it still has better balance and dynamics on most cuts than any of those stereos. I hear the cooler sound a little sweeter and the harder even rawer when not disturbed by the two-channel treatment. It's very relaxing listening when it all comes through beautifully in one piece. I'm aware some may shy away before bits coming on both distinct and intrusive at the same time, but for us used to old booming monos it's just how it should be. Not sure if made from a US or UK compatible. In any case it works perfectly and everything is there (I might add - to me it sounds best with a round needle, for now a Shure M44-7.) That was about my love. Can't guarantee it'll work for everyone, but should You happen to find it in acceptable nick to an affordable price it's well worth a try. First (only?) had label as shown here and structured fold/out cover. (SÖMI*) (YÖHT*)

ROLLING STONES/THEIR SATANIC MAJESTIES REQUEST (-67) TXS 103 UK STEREO VS. TXL 103 UK MONO

This is what I wrote about the first press mono about five years ago..."Initially a mono mix was made - loud, dynamic and somewhat chaotic, yet clear with good separation (pure joy to my ears - totally unique). But after the stereo was done for some reason Decca decided to withdraw the first mono version and replace it with a reduction of the stereo mix. The mono variations exist with the same label and cover, but can be distinguished by the stamped matrix numbers. The real mono has ARL 8126-1P/ARL 8127-1P (second side sometimes have P1), while the reduction has the number: ARL-8126-T2-2K/ARL-8127-T2-2K. Stereo: ZAL-8126-T2-5K/ZAL-8127-T2-5K. ('T2' stands for 'take two' and indicates a second mix). Easy also to tell from the beginning of 'Lantern' - on the true mono the bell tolls three times, while on the stereo or fold down the bell tolls twice. As I understand all US monos have the earliest of the two variations (London NP-2). Early UK had laminated f/o cover with 3D pic and red/white inner. First press also had ridged label as shown here" (end of quote). Against that background I'm now checking this 1st press stereo. Had both formats at the time, but made an early desicion mono was the one for me as it had the power while I thought stereo sounded measly in comparison. Listening today on an up-to-date equipment I have to admit the two-channel has its advantages. The mono is an obvious drum and bass mix, starting already on "Sing This All Together" where the prominent bass drum sets the path, it's loud and intrusive. The stereo on the other hand has less well done meat, but a little more gravy. At parts vocals, guitars and effects comes through somewhat clearer, bringing it closer and I guess making it easier to connect for some listeners. For a sixties mix, made from four-channel recordings, it's really captivating. So...mono for the hard hitting power or stereo for the details? Glad I don't have to choose anymore. (RÅ*) (MÅW*) (CPYC*)