TOM JONES/ I WHO HAVE NOTHING LK 5072 (-70) UK MONO

The last original recording released as both stereo and mono in UK. Issued late 1970 it was a "catalog mono"   https://monolover.blogspot.com/2012/05/what-is-catalog-mono.html   and available for special orders only. First I didn't reflect much on the mix (it's not a record I listen a lot to), thought the whole album was a plain fold down from the stereo - Decca made good compatibles at this time. But then I was reminded some of the tracks were released on '45:s and the could have separate mixes. Listening to "Daughter Of Darkness" that sounds like a true UK mono mix with potent base and good separation. Going on to the other tracks I get the same feeling...it's all good mono! Though, again, knowing the Decca format policy at the time I have to assume it is a plain fold of a top compatible. But as it sounds just fine and is a true mono rarity I can live with that.  (UKÖ*)(YMÖ*)(MÖRS*)(TÖJX*)

WORLD OF PETER GORDINO PA 78 (-70) UK MONO

Here is another exemple of the common type album UK Decca still pressed in both stereo and mono late 1970. Gordino had a velvet voice attractive to a somewhat older audience and suitable for radio play. I guess a few of these were sold to people still holding on to their mono recievers, but mainly they were used for the airwaves - a kind of promo. All tracks sounds true mono and not like reductions, but they're mostly from much older '45:s so it must have maked sense keeping them that way for the radio listeners. This copy originally came from the estate of a DJ. (WÖF*)(UKÖ*)(MÖRS*)

THE BEE GEES 1ST 582012 (-67) UK MONO

Although named 1:st, it was actually their third LP. Two first had only been available in Australia and New Zealand, so this was the first to the rest of the world and debute on UK Polydor and US ATCO. The earlier recordings was later re-issued internationally on the "Rare, Precious and Beautiful" albums. In England they were taken care of by Robert Stigwood, born Australian and a gigant in the British music world att the time - producer, arranger and impressario to a large number of groups. Stigwood took the band to IBC studios where they did most of their recordings for the next five years. The sessions are well registered and can be found at numerous sites on the net. It is clear mono is the ground mix and the stereo were made later second-hand. For the backgroud of the mixes please also check my post on "Horizontal" and the Joseph Brennan quote. Issued as mono and stereo in US on ATCO (SD) 33-223. Just have to say for me the mono mix is it, self-evedent and adapted to the musical content. Had the stereo for years, but it never got to me. To be honest most stereo mixes up to -68 makes me nervous, I'm a great fan of music from that decade, but want it as it was ment to be - a cool, revarding one-channel mix. First UK with label as shown here and laminated cover. (BÅXÅ*)

ROLLING STONES/LET IT BLEED LK 5025 (-69) UK MONO

This is regarded as one of Stones greatest. The stereo mix sounds good and with the rude and dynamic "Beggars Banquet" mono in mind I had expected more from this. Most of it is clearly an amended reduction - balance is good, but it sounds more like an AM promo mix, rather damp and edgeless. Maybe radio play was the thought with this mix from the beginning, but it's certainly not rocking enough on my turntable. First UK had label as shown here, laminated cover with sticker, poster and red credit inner. (RÅ*)

HEP STARS/HOW IT ALL STARTED LPE003 (-70) MONO

This may be of limited interest to some, but is starting to draw attention from fans of early garage and die hard ABBA collectors who want the earliest recordings with Benny Andersson. It's a compilation of the first '45:s the group made 1964-65 plus a few obscure B-sides - all non-LP. As shown by track list below they were into contemporary American rock. Seems like recorded almost live in the studio, with only few overdubs. It's all very primitive and very charming. Original mono tapes were used, no stereo mixes existed by the time of this release. Sound quality is beautiful, it's almost like being there. Efel was a budget label, always releasing stuff as it was, without tampering. Back in the days you could get these for a dollar, but now prices are rising fast as they're getting rarer. (SCÄ*)(ÖGÄ*) (HÄH*)(ÄBBÖ*)

JOHN MAYALL PLAYS JOHN MAYALL/LIVE AT KLOOKS KLEEK LK 4680 (-65) UK MONO

Mayall's debute album, recorded live one night december 1964. Though supported by Hughie Flint and John McVie, this is before the Bluesbreakers period. The music is not the traditional blues of later days, more like the UK R&B of the times - Pretty Things or Rolling Stones rather than Leadbetter or Sonny Boy Williamson. The concert consists almost solely of self-penned material of wich some are classics in the genre - "Crawling Up a Hill" and "Crocodile Walk" were also released as '45:s. Guitarist Roger Dean - on Mayalls next "Bluesbreakers" album replaced by Clapton - went on to art and fame for designing album covers (from the start -68 with "Gun" [see previous post] he has made over 50 album covers for a variety of groups, most known maybe Yes and Uriah Heep). Mixed and issued in UK as mono only. First as shown here with ridged label and laminated cover. (MÄH*)(LYBÖ*)

NICE/THOUGHTS OF EMERLIST DAVJACK IMLP 016 (-67) UK MONO

Nice is mainly known for their mix of rock and art music and long, rather boring interpretations of old classic pieces, later leading on to top seller Emerson Lake and Palmer. But that is not what's going on here. This is a psych masterpiece, as good as anything Pink Floyd did at the time. After being a backing group for P.P. Arnold, the guys took a name (rumour says "Nice" comes from the Small Faces song "Here Comes the Nice" and is a reference to being high)and got to record this album. It still feels fresh today - made in kind of a free spirit with lots of original ideas. I get the feeling of a group very skilled turned on musicians with a bunch of good songs and no one is telling them how to perform. "Rondo" is a piece built on Bach and sign of what to come in later years, but the rest is just out there. David O'Lists guitar on "War And Peace" and "Bonnie K" sounds like he got in without really knowing the song, just got the right key and was told to do whatever he wanted. Overlooked for many years this record is now getting the credit it deserves and has been re-issued many times on CD. It was years since I heard the original stereo, so I can't compare the issues, but it sounds like a separate mono mix to me. The only US release I've been able to trace is a 1968 stereo  https://monolover.blogspot.com/2018/01/the-nicethe-thoughts-of-emerlist.html  , but if anyone knows of a mono released there - please tell!. First UK on lilac label as shown here and thin matt cover. (YMÖ*) (YDÄ*)(ÄPY*)

NICO/CHELSEA GIRL V-5032 (-67) US MONO

Nico is mostly known today from her time in Velvet Underground, heroin addiction and tragic death, but it seems she had a whole life of excitement even before she met Andy Warhol. Grew up in Berlin during the Nazis, lost her father in a concentration camp, quit school at 13 and got an offer to work as a model for Coco Chanel at 17. She had a small part in Fellinis "La Dolce Vita" and recorded her first song 1963. Two years later she met Brian Jones and through him got to record a single on UK Immediate label - "I'm Not Saying", produced by Jimmy Page. Shortly after Dylan wrote a song for her - "I'll Keep It With Mine" - wich appears on this album. Then she met Warhol and the rest is history. I have or have had most of the stuff she released as I am a sucker for musical oddities and tragic rock destinies. But to my taste she only made two 100 % top albums - "Drama Of Exile" https://monolover.blogspot.com/2012/08/nicodrama-of-exile-aul-715-81-sweden.html and this one. Here she does songs by Dylan, Tim Hardin and Jackson Browne, backed up by VU:s Reed, Cale, and Morrison among others.Producer Tom Wilson arranged and added strings and flute, making it one of the best chamber pop albums up to date. It has inspired many, among them Leonard Cohen. Nico herself was not pleased with the result - she wanted drums and more guitars and she didn't like the flutes. I truly like it and if I'd ever make a list of best US albums of the sixties, this would come in high. Not sure about the mix, but it sounds true mono to me - over all top quality! First UK issue mid-seventies on Verve Select in stereo only. (NÖC*)(FÄV*) (YZÄ*) (ÖXCÅ*)

WORLD OF JOHN MAYALL PA 47 (-70) UK MONO

In subject of track rarity or oddity this adds nothing to earlier Mayall releases. All tracks previously issued on UK LP and this mono is a fold down from the stereo version. It is very rare as mono and may be interesting for die-hard Mayall fans or label completists. Since it has a nice strong sound and providing an OK compilation of good Mayall numbers it's not all bad. (MÄH*)(UKÖ*)

JEFFERSON AIRPLANE/ AFTER BATHING AT BAXTERS RD7926 (-67) UK MONO

This was the groups third album and different to anything they did before of after. Slick had been into acid since the Great Society days (see previous post) and here it seems LSD was the main motor of the recordings. It includes a homage to Joyce's "Ulysses", long themes of experimental compositions, and non of the "pop" type songs that had been on their previous records. I hold it to be one of the psych masterpieces of the era. This UK issue seems to be made from the original US mono tapes (RCA Victor LOP-1511). Apart from having a more prominent base at most tracks and being more collected and firm than the stereo I can´t hear any major differences. Had the US stereo a while ago and thought that was too spread though with better effects. The mono version has also been issued on vinyl by Sundazed. First UK with ridged black label as shown here and laminated cover. (JÄF*)

PROCOL HARUM LRZ 1001(-67) UK MONO

After releasing their first two '45:s on Deram, the group moved to Regal Zonophone for the debute album. It was a rebound for the Zonophone label who'd seen greater days in the '78 era, but lately mostly had issued Salvation Army music. The recording was innovative and very fresh for its time with its classical music influences, poetic lyrics and elaborated melodies. Danny Cordells production gave it a soft, dreamy quality. Though recorded on multi-track it was released in mono only in UK. (But as You can see below the first pressing had both mono and stereo number on lower flip, so it is possible a stereo was originally planned.)In US the Deram contract was still on for the release - here in mono and re-channeled stereo - (DERAM DE16008/DES18008). US also had slightly differnt tracking - "Whiter Shade Of Pale" instead of "Good Captain Clack". The German 1:st press (POLYDOR 184115) also lost "Good Captain Clack", but on that it was replaced by "Homburg". First UK with label as shown here and laminated flip/back cover. (RÄZ*)(PRÖX*)

PROCOL HARUM/SHINE ON BRIGHTLY LRZ 1004 (-68) UK MONO

It's a beautiful album - innovative, poetic and full of fantastic themes and melodies - with a perfect Danny Cordell production. I would like to know more about the studio process that led to this, but for now I'm blank. It was recorded at about the same time as Joe Cockers debute (see previous post) and Cordell managed both, but with much help from Tony Visconti on the two. Had a stereo copy of this a while ago, but that sounded second-hand and constructed. This mono, on the other hand, sounds right all way through - big, warm and with perfect balance. I would like to think it's the ground mix and that the stereo was an after-thought. The mono is very fullfilling and the stereo not so much I'm having a hard time imagining it was the other way around. Released in US on A&M Records (SP-4151) with a different cover - later also used for German and other European issues. First UK with label as shown here and laminated flip/back cover. (RÄZ*)(YMÖ*)(PRÖX*)

PROCOL HARUM/ ROCK ROOTS 4 - HIFLY 22 (-76) (MONO + STEREO) UK

One of my all time favorite groups. During their first ten years they didn't make one bad album and hardly even a bad single track on any of them. Quality of a group is often shown by their rare or unissued numbers and here is a chance to get some Procol Harum ones on the same LP, without paying a fortune. Among its tracks are three non-LP B-sides - "Lime St. Blues", "In The Wee Small Hours Of Sixpence" and "Long Gone Geek" - plus two earlier unreleased cuts - "Seem To Have The Blues (Most Of The Time)" and "Monsieur Armand". This issue was a collaboration between Decca and EMI. It's part of the Decca Rock Roots serie since many of their early tracks were recorded by Decca/Deram. But there are also exemples here from the EMI/Regal Zonophione years wich is the reason it has a EMI/Cube label and numbers from both labels. Tracks marked * on list below are the mono originals, the rest is true stereo. (DRÖK*)(PRÖX*) (FXÖ*)