JOE COCKER/JOE COCKER ! SLRZ 1011 (-70) UK

Listening and enjoying this now it feels strange that, though with healthy sales in US, non of his first two albums had much success in Britain or parts of Europe at first release and couldn't hit big on the UK list before the 1972 2-LP reissue. In retrospective they have to be some of the best rock/soul efforts from a white male singer ever. The sessions for the debute - "With A Little Help From My Friends" - evidently tainted by problems and I guess drugged inputs, making that come out more exposed and you sometimes get the impression of trial and error, but that's what makes it great...so naked with lots of connection. Sadly that was crippled by a very bad original two-channel mix and the all revealing strong and beautiful mono pressed in so small numbers it disappeared from the shops almost immediately (see earlier posts). But there were no such impediments with this. Production, arrangements and stereo mix are all great and song choice as good. Backing truly apt and he sings like a debauchee god. It's a mystery to me why it didn't hit hard everywhere immediately. Favorite tracks - "She Came In Through The Bathroom Window", "Something" and "Darling Be Home Soon" - covers that still give me goosebumps. Personally I prefer the debute, but it's an almost even race. Issued and reissued all over the world on about every possible format through the years. First US on A&M (SP-4224). Brazil mono on A&M (2062). Most CD:s came with "Let It Be" and "She's Good To Me" as bonus tracks. Premiere UK had label as shown here and thin fully laminated cover. (RÄZ*) (JÖC*) (MÖRS*)

THE GROOP BP-233305 (-66) MONO AUSTRALIA

A combo I didn't know anything about when I found this and another of their LP:s a while ago. There's not much about them on the net, but the Wikipedia article is ok and there are some facts on the rear sleeve (see below). Formed 1964 as "The Wesley Trio" by students from Wesley Collage in Melbourne. After adding a fourth member they renamed as The Groop and signed a contract with CBS label for which they released an EP (BG-225114) and a single (BA-221234) 1965 and both doing so well downunder they got the chance to record this album. Guess you could call it a semi-compilation as it includes all four EP songs plus the single B-side, with the remaining tracks so much in the same style they sound like from identical sessions. I've seen them likened with UK acts like Animals and Them, but to me they most of all remind of Downliners Sect. Same kind of unbridled garage beat, filled with positive disrespect and tons of good humor. Simple and direct, most of it seemingly recorded live in the studio. I can't help smiling when listening and I guess it can work as a tonic for most true garage lovers. Favorite tracks - "Ol' Hound Dog", "The Sporting Life", "Cry, Cry Baby" and "Ham An' Eggs"...all busting with energy. This Australian mono was the only original release, re-issued in re-channeled stereo a couple of yeras later (SBP-233305). Never issued on CD in this shape, but all cuts can be found on the twenty track 1989 compilation "The Best & The Rest 1965-69" (463480-2), also on vinyl (463480-1). Not sure if those use the original mono takes, or the faked stereos. Premiere Australian had label as shown here and thin laminated cover. (ÖGÄ*) (DÖW*)

RCA RECORDS ARTISTS AND REPERTOIRE PRESENTATION/ LONDON, OCTOBER 2, 1975 INN ON THE PARK DJL-2 1301 (-75) US MONO PROMO

Probably the most complicated title for a sampler ever...I know, but it can be sorted out. As I understand pressed for and handed out at one occation only - a meeting at the London hotel "Inn On The Park" given date. Not sure who attended, but guess PR people, selected DJ:s and maybe some artist. If anyone reading this knows more about this happening, please comment and tell. A 2xLP set containing one cut each by twentytwo different acts. Musically a rather mainstream blend of pop songs giving a smooth and friendly impression. Not all my cup of tea though as a whole a fine sign of those times providing a good mood background. What excites me about it is all cuts are mixed for radio play in more or less mono. A couple may come through somewhat wider when played in stereo, but the balance remains so mono it is. The audio is next to perfect - big and strong, yet soft, designed to come out best possible way whatever radio equipment may have been used at the time. Listening today on a modern reproduction system I'm blown away. Even if not the songs I usually long to listen to I wanna do it anyway...just because of the audio. Since originally released for just one occation I guess never reissued in any shape. It came with labels as shown here on colored vinyl - one red, one blue - in a very thick structured fold/out cover. (YZÄ*) (ÖXCÅ*) (ÖRJ*) (SÄM*)

PACE UP

Since I'm having a large stack to go through and a little more time on my hands I'm trying to pace up and post more frequently for a while. From now on it'll be Friday, Saturday, Sunday, Tuesday and Wednesday - local Swedish time that is, for some it may appear a day or so later. See you here then. Kindly/Erik

SKID ROW/34 HOURS E 30913 (-71) US

For more background check post on their debute "Skid"  https://monolover.blogspot.com/2015/10/skid-rowskid-s-63965-70-uk.html  . This was the combos second LP and the last with Gary Moore. As apparently recorded by a slightly enforced three-piece in just thirtyfour hours - hence the title - it's amazing how mature, elaborated and precise, yet emotional it sounds. Got all signs of contemporary prog - tempo and theme changes, odd chord sequences and unexpected whims - but not so much built on jazz, instead firmly rooted in rock and blues. Backing exact through carefully planned skids and jumps, vocals apt and the 17 y.o. Moore playing the shirt off most other so called guitar heroes at the time. Managing this outcome in such a short time they must have been a helluva live act back then. All tracks penned by the band. I hear a mix between pre-written and studio jams, yet so well kept together the instrumental portions, though sometimes long, never appear like fillers but blend in perfectly with the prepared parts. Add to the above that this US pressing sounds perfect - big and dirty with top separation - and I can't give it anything but love. Favorite tracks - "Go, I'm Never Gonna Let You", blending heavy blues, prog and rock'n'roll with brilliant guitars. And "Love Story" sounding like Colosseum arranged by a very playful Frank Zappa, again with superb guitars. Wow! Highly recommended to lovers of white blues and prog, but should also do it for guitar aficionados and why not collectors of early hard rock. Premiere UK on CBS (S 64411), also originally issued in Canada, Holland, Spain and Japan. 2xLP reissue on Tapestry Records (TPT 285) came with seven previously unreleased cuts. First US had label as shown here and glossy fold/out cover. (YZÄ*)

THE HOLLIES/BUTTERFLY UK STEREO PMC 7039 VS. MONO PMC 7039

Feel I have to apologize for my condemning of this stereo in my first post on the mono a couple of years ago. I only had the mono back then so my judgement came from part faint memories of playing it on a lesser equipment and part after being disapointed by the "Evolution" stereo catastrophy (see earlier post). I have rewritten it since after finding this first press stereo and realizing that it actually has a lot to offer. Playing it now I hear a totally ok mix as made from a four channel recording - strong and though some of it is panned there's enough overlapping to get a satisfying picture. There are quite a few differences between the formats. E.g. the "Wish You A Wish" mono has birdsong at the beginning and end, stereo a waterfall at the beginning and nothing at the end. "Dear Eloise" and "Charlie and Fred" monos have more reverb. "Try It" stereo has a longer intro seemingly cut off from the mono. On "Postcard" stereo has slightly longer intro and and outro and the seagull noises differ. There's more but as all cuts apparently got separate treatment too much to get into here. Since both these copies are very early pressings it's more surprising that the song title "Wish You A Wish" is written together as "WISHYOUAWISH" on the stereo (-1 matrix/1R mother-stamper) while the mono (-1 matrix/1A mother-stamper) has the separate words. Also on the mono the vinyl show clearly visible gaps between the tracks while they are hardly noticable on the stereo, only seen in strong light (as on early Sgt. Pepper). Still whatever format you choose it is a great album with a perfect blend of emotional and experimental - catchy melodies spiced by well endowed effects. Mono remains my first choice but the stereo has so much to offer it's good to have both. Japan 2014 CD came with both mono and stereo versions plus two mono bonus tracks. EU 2016 2xLP set (PMC 7039/PCS 7039) with one mono and one stereo album, both cut from the original tapes with yellow/black Parlophone labels. Premiere UK had labels as shown here and laminated flip-back covers with EMI ad inner. (HÖLY*) (PÖX*) (MÅW*) (CPYC*)

THE BUSKERS SCX 6356 (-69) UK

("Busker" - one who plays in public places, usually while soliciting money.) After Don Partridge - often called "king of the buskers" - started to make money on his two big selling singles - "Rosie" and "Blue Eyes" - he decided to give something back to his fellow street musicians and hired Royal Albert Hall in London for a "Buskers Concert", where the profits were divided equally between the participants. It could have been a new start for all of the acts, where of many had struggled for a long time whithout recognicion and gained both experience and skill along the way. But apart from Dave Brock (now famed as the founder and eternal motor of Hawkwind) and California born Susan Keeley (who got an EMI contract and released a couple of non-selling singles) it didn't lead to much. Listening to the LP today, at least partly recorded at that Albert Hall gig, it's like getting an important message from another time another place. To me beyond good or bad - it's there and that's the only thing that counts. Though more or less presented as a live album I can't help hearing some of the tracks as recorded in studio with added reverb and/or public noise to mimick stage performances. No big deal, maybe it was for the best. However I'm totally charmed by 60 y.o. street soprano Meg Aitkens two contrbutions. You may think of Mrs. Miller hearing it, but this is a lot more sincere and beautifully out there. Very surprised how professional many of these buskers sound. Not just Don Partridge, Dave Brock and Susan Keeley, but also artists like Jasper Banard, Stephen Sak and Robin Burns - all three doing good self-penned songs well fitting the contemporary singer-songwriter tradition. As a whole good listening, especially if you're into sixties folk singers and/or enjoy the odd stuff. To my knowledge this UK vinyl was the only release, also as mono (SX 6356). It came with label as shown here and laminated flip/back cover. (LYBÖ*)(FÄV*)(SYSÖ*)(HÖWK*)

THE HUMAN BEINZ/NOBODY BUT ME ST-2906 (-67) US STEREO

Those were the days when about any aspiring rockband with enough skill and contemorary agenda could sign a contract for a major label. Often unvalued by executives, instead coupled with understanding producers who did their best to get the band's intentions on track. This is an exemple of that and a good one too. Ohio cover combo starting as The Premiers 1964, but soon changed their name to The Human Beingz to better fit the zeitgeist. The dropped g into Beinz was apparently a label mishap they decided to go with. After a good start reaching #8 on Billboard with a cover of Isley Brothers "Nobody But Me" - spiced with a fine guitar solo and a borderline psych feeling - that was it and they're now considered a one-hit-wonder. Though with continuing success in Japan and a couple of other countries the American dream was soon over and they broke up 1969. This debute album has a mix of covers and self-penned with four tracks written by producer Lex De Azevedo. Side one is mainly up-tempo while side two consists of much calmer stuff. All of it well sung, well played and well produced with fine audio. Maybe not breathtaking, but as whole a worthy exemple of American sixties rock. A little too neat to be called garage, but naked enough. Favorite tracks - the rockers "Nobody But Me", "The Shaman" and "Turn On Your Love Light" plus the much slower "Black Is The Color Of My True Love's Hair" because of its weird orchestral psych part. Stereo mix is partly quite panned but ok anyway. Would love to find an original mono eventually and when (if?) I do you'll be the first to know. Sixties releases in US, Canada, Japan and parts of South America. UK 1991 CD on See For Miles Records (SEE CD 327). Premiere US had label as shown here and glossy cover. (YZÄ*)

DEREK AND THE DOMINOS/LAYLA AND OTHER ASSORTED LOVE SONGS SD 2-704 (-70) US

(Been cut off from the net for about a week due to severe server trouble, but here I go again...) Yet another all time classic I have to post to get this blog more complete. Got nothing to add on the exhaustive wikipedia article so if it's background you're after - go there. I'm just here to shove lots of love over the LP. To me an all time top ten double album and one of the best white blues efforts ever. Two superb guitarists - Duane Allman and Eric Clapton bonding through mutual respect to an excellent backing - Jim Gordon and Carl Radle (former Joe Cocker and Delaney & Bonnie) and Bobby Whitlock (just out of George Harrison's "All Things Must Pass" sessions). A mix of covers and self-penned, blending carefully prepared with studio live. Mostly with a rather smooth and alluring exterior, but there's so much emotions going on under the surface it's almost painful to dig in. I get sadness, regret and a fair share of angst, but also streaks of hope. Funny how a record can carry so much weight for fortyeight years and still coming out so fresh and important invoking such strong feelings. Favorite tracks - "Bell Button Blues", "I Looked Away", "I Am Yours", "Anyday", "Tell The Truth" and "Little Wing". For some reason not totally embraced by fans and critics at release, but is now commonly regarded as sterling of its kind. Issued and reissued all over the world through any possible format. Japan 2009 3xCD (Polydor UICY-93958/59/60) came with a remixed version of the original album, connected jam sessions and alternate outtakes. I had a UK first (Polydor 2626 005) some years ago but didn't like the audio - cut too loud for my taste. This US on the other hand sounds perfect and will remain my only keeper. Still not all in with the rather complicated set-up of different US pressings, but the matrixes on this are etched - ST-C-702043 E-1/44 E-1/45 B-1/46 C-1. Maybe possible to figure out. It came with label as shown here, thick matt fold/out cover and ATCO ad inners. (CÄRÄ*) (YZÄ*)

THE BLUES MAGOOS/BASIC BLUES MAGOOS SR-61167 (-68) US

Had the band's first two LP:s early seventies but lost both many moons ago. I remember liking the garage psych though for reasons I can't recall didn't value them high enough to avoid trading. Listening today from various sources on the net I miss having them and will get new copies as soon as opportunity gives. Found this their third - and last album before original setting break-up - a while ago and as far as I can hear it's different from its predecessors. Apparently influenced by British psych pop/rock and to my great joy at least some by The Move. Not only through the cover of "I Can Hear The Grass Grow" - here more psychedelic than the original and very good as such - but also the lovely "Sibyl Green (Of The Inbetween)". A couple of the other tracks may slightly remind of The Who while others are just weird not reminding of anything else. A little uneven to my taste, yet the blend of UK and US psych, leastways partly profoundly played and produced, makes it worth while. Audio not entirely fitting my ears - too much treble - but it is what it is and as an original canonized since -68. Favorite tracks - "I Can Hear The Grass Grow", "Sibyl Green..." and the mighty heavy "I Can Move A Mountain". To my knowledge only originally issued on vinyl in US and Canada (same number). UK 2004 CD on Repertoire Records (REPUK 1051) came with six bonus tracks, where of four mono single mixes. First US had label as shown here and glossy fold/out cover. (YZÄ*)